Last year these authors addressed an issue in these pages that echoed Linda Nochlin 's (1971) haunting question, "Why have there been no great women artists?" (Clark, Folgo, & Pichette, 2005). That essay examined the question, "Have there now been any great women artists?" through a study of art history textbooks primarily written for college…

While artists and academics have produced a wide range of work trying to understand national and individual identity, very little has been written about the experiences of student artists as they work to make sense of their particular political, social, and artistic identities and put them to work in the world. This article takes up that question,…

Notes that educators often view art as an intellectually shallow, mechanical process. Describes Sir Joshua Reynolds's concept of invention as the intellectual combination of placing the painter's mental picture of actions, expressions, and characters on canvas. Calls for educators to stress intellectual qualities of art in order to develop…

Examines the "picture study" movement which began in the late 1800s and faded during the 1920s. Focuses especially on the work of Oscar Neal, a leading picture study advocate. Attempts to show how the aesthetic theory, beliefs about art, social assumptions, educational limitations, educational beliefs, and technology of the time interacted to make…

Contends that Discipline Based Art Education (DBAE) upholds and exemplifies a tradition that supports the male-dominated status quo in art education. Presents gender-biased quotes from various theorists and philosophers whose works form the foundation of DBAE. Concludes by showing how feminism may strengthen arguments for DBAE. (JDH)

Presents a biography of Mine Okubo, a prolific Japanese-American artist who was among the thousands of Japanese imprisoned in "relocation camps" during World War II. Provides insights into Ms. Okubo's philosophy as well as the phases of her art, emphasizing her role as a living repository and documentor of Japanese-American history. (JDH)

Reviews Betty La Duke's 1985 book "Companeras: Women, Art, and Social Change in Latin America." States that La Duke's background as an artist with more than 30 years of experience in Latin American travels produces a very clear impression of the aesthetic response of women to the fabric of their lives. (JDH)

Nothing will kill the value of historical research more readily than a trendy, purposelessness, and careless methodology. Suggestions offered aim to give pause to future historical researchers so that they may reflect about what aspects of art they choose to study. (RM)

Studio art education is being affected by dramatic changes in the art world, including the development of a postmodern aesthetic, the use of video cameras as artistic tools, the availability of better and cheaper computers for generating graphic images, and the development of alternative galleries. (IS)

Discusses why elementary and secondary art teachers, educators involved with the training of art teachers, and researchers in art education should be interested in art history. Educators must help students understand that history is primarily a discipline of thinking, not memorizing. (RM)

The author describes the history, theories, and methods of the German institution called the Bauhaus, which he considers to be the basic influence on American studio art education in the last 50 years. (Author/SJL)

Shows how learning, in an art appreciation class, can be more meaningful and lasting by emphasizing expressive outcomes that develop during class and reflect students' life experiences. Explains how teachers can take advantage of students' spontaneously generated questions. Provides four examples from an undergraduate class that can be applied at…

Describes how Zen and the art of pottery expand into a Great Tradition where the potter dreams his forms in a realm of imagination between sense and mind. Explains how decoration plays a vital role connecting art and our life-world. Outlines how students need a decade to reach this spiritual level. (KM)

Examines a curriculum experiment in a university art education course titled "Women and Their Art." Explores how classroom dynamics and educational outcomes were affected by the introduction of a quilt-making project. Addresses the historical functions of quilts and the evolution of a participatory curriculum. (KM)

Contends that teaching interpretation within art criticism is probably the most difficult aspect of teaching criticism. Provides suggestions and 17 principles to guide art teachers in engaging their students interpretive dialog about works of art and to provide criteria for assessing their interpretations. (CFR)