Maintains that an anthropological perspective offers exciting possibilities for developing intercultural understanding in the visual arts. Examines the problems encountered when applying this perspective to the visual art of radically different cultures. (JDH)

Asserts that efforts at establishing cross-curricular programs with art and other subjects are well established. Questions whether the goals and content of visual art instruction are trivialized or lost in such programs. Provides three criteria that can be used to test the integrity of interdisciplinary programs. (CFR)

Deals with differences between drawing in art class and in other subjects. Points out that the latter are considered serious learning while learning promoted by art class is often dismissed. Advocates both rational analysis of art and the imaginative extension of such rational art as maps and diagrams to promote visual literacy. (KO)

Discusses the effects of teaching rural East African children to portray human beings by means of stick conventions. Sees this imposition of rational knowledge as inhibitive to the aesthetic outlook of students. Argues that an imposed art style suppresses imaginative identification in any setting. (KO)

Reviews the development of the new structure of art in England, France, and the United States. Examines how twentieth century changes in technology and science have created such artistic tools as photography and the computer. Explores how man's relationship with nature has changed in this period. (BSR)

Reviews the life of Henri de Toulouse-Lautrec (1864-1901) and examines how his early experiences influenced his art. (BSR)

Discusses value of having Scottish students critique art collections throughout their country. Elaborates that this type of art appreciation consists of five major components: (1) critical activity, (2) history of art, (3) connoisseurship, (4) aesthetic experiences, and (5) production of art and design. (BSR)

Discusses the project Learning to See which is concerned with the aesthetic and design aspects of environmental study. Focuses on research work in the schools that is based on environmental experience. Presents a five-point plan for art and design relative to environmental study. (KO)

Examines two designing traditions and their influence on architectural design education. Points out that the emphasis upon either idea or technique is often uneven in proportion even though design is, in fact, an interaction of the two. Suggests that success of a course depends upon its methodological focus as well as its content. (KO)

Calls for discontinuing the teaching of the "masterpieces" and modern art in the British primary school. Argues that images of a wider, more accessible kind should form basis of primary visual education. Concludes that children should have a foundation in disciplines such as history, sociology, and art before sophisticated visuals are…

Divides visual literacy into three categories: basic, artistic, and aesthetic. Maintains that this expanded conception of visual literacy contains the potential to significantly alter the content and methods of art education. (JDH)

Questions the origin of design history and its relationship to art history. Maintains that design historical knowledge is produced, and it must be acknowledged that there are design histories and not one monolithic body of knowledge. (KM)

Identifies the distinct paradigms concerned with the teaching of craft and the teaching of design, two elements which are interdependent in an art course. Reports teaching experiments that encourage pupils to seek out visual analogies of shapes and shape-relationships. Advocates the incorporation of guided concepts into pupils' techniques. (KO)

Develops a conception of the arts as cognitive activities. Draws implications of this conception for the schools including the following: concepts of talent and lack of talent have been used too long to cover up for weak or non-existent arts programs, and full cognitive development cannot exist without substantial arts instruction. (JDH)

Describes the objectives and scope of a larger research project on women's experiences in art and art education, in relation to creativity and society. Reviews research on women artists' experiences in the past and compares with data collected in contemporary women artists and students. Proposes to investigate these similarities further. (KM)