Contradictions in the literature abound concerning Franz Cizek's role in fostering creative art. Researchers should turn to student recollections to determine what Franz Cizek's contribution to art education really was. A former Cizek student who today is prominent in design work is interviewed. (RM)

Under the directorship of Holger Cahill, who drew upon John Dewey's principle of the universal communicability of art, the Federal Art Project of the Great Depression era gave all of the people the opportunity to study and enjoy art. Specific programs of the project are described. (RM)

A review of reports, a survey, and national assessments of art education shows that visual art students are not learning art knowledge and skills because art teachers do not teach art appreciation, art history, or design and drawing skills. Priorities concerning art education content and teaching methods must be changed. (RM)

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)

Discusses the contents of typical art education learning packages. Those of the Central Midwestern Regional Laboratories (CEMREL) are designed to heighten student involvement through use of media. Other packages focus on art history, art appreciation, and arts and crafts activity. A package has also been developed for special education students.…

The initial efforts of the Getty Center for Education in the Arts center on developing more holistic art teaching. Projects include case studies in twelve school districts; educational programs for teachers, administrators, and school board members; applying electronic media to art education; and using the Getty museum to educate visitors. (IS)

One source of materials for art education historical research, which has barely been tapped in the United States, is ephemera, casual bits of handwritten and printed paper used in daily life. These circulated images and documents convey actual practices, commitments, and attitudes of people. (IS)

Rather than just being a study of past art works, art history can also be a study of process in which students learn about describing, attributing, reconstructing, and interpreting art. Sheet music is suggested as a possible resource to develop these skills. (IS)

Many students leave high school with little knowledge of our artistic heritage. While this is partly because of low exposure to art classes, another reason can be found in the lack of training in art history among art teachers. Recommendations for increased training in art history are made. (IS)

Finding "aesthetic experience" to be a difficult and paradoxical concept, the author argues that a social as well as an historical perspective may be a more beneficial route for the future of art programs in our schools. (Author/SJL)

Presents Efland's reply to Charles Dorn's article (November 1981) in which Dorn argues that the goal of an art curriculum incorporating studio work, art history, and criticism has not been realized and is undesirable. Efland supports school art curricula which integrates history and criticism with real-world applications. (AM)

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)

Tracing the changing concept of child art from the theories of Rousseau to the present, the author expounds the view that the interpretation of child art and the content of art education are functions of the social issues surrounding adult art in a given culture. (Author/SJL)

The author describes how advance planning of tours, inservice, and teaching materials by school and museum educators ensured that Minneapolis teachers and students learned a great deal when the traveling museum exhibit "The Vikings" came to their city. (SJL)

The author challenges certain curricular conceptions, based on aesthetic discourse, professional occupational descriptions, and instrumentalist social applications which he believes have hindered the development and integration of art critical and historical education into the high school studio art program. (Author/SJL)