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)

Points out that the word "style" can mean how an object is designed or how to identify a particular artist, group, culture, or movement. Illustrates four artworks from the Minneapolis Institute of Arts. Provides background information and questions for students to analyze, interpret, and create artwork. (KM)

Describes how three groups of twentieth-century U.S. artists--Landscape and architectural artists, pop artists, and the photo-realists--used the object as the primary image in their artwork. Maintains that this approach to studying still life may be more relevant for teachers and students today. (KM)

Examines how criticism of Discipline-Based Art Education (DBAE) compares with the larger critique in the visual arts of high-modernism by post-modern critics. Examines DBAE's philosophical position on Classical Idealism and its back-to-basics approach. Suggests that the diversity in today's world should be represented in the classroom. (KM)

Maintains that philosophical aesthetics must be an integral part of art education. Examines existing methods and materials for teaching philosophy to children from the Institute for the Advancement of Philosophy for Children (New Jersey). Describes a sample unit showing philosophical aesthetics in action in a fifth grade class. (KM)

Describes objects from everyday life and analyzes artworks by four contemporary artists whose works make use of familiar objects (Louise Nevelson, Claes Oldenburg, Mitchell Syrop, and Betye Sarr). Divides lesson into four steps: (1) discussing everyday objects; (2) viewing artworks; (3) studying artists; and (4) class activities related to the…

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)

Maintains that in recent years there has been an increasing interest in the history of art education and art education associations. Describes how the Texas Art Education Association has collected and documented material from its past. Points out that art education students can use this information to place current trends in perspective. (KM)

Demonstrates how the art education curriculum is linked to general education. Provides a conceptual approach to an environmental design study curriculum that incorporates the Wisconsin state art curriculum guide's five generalizations with appropriate conceptual statements for primary, intermediate, middle, and high school grades, and the four…

Presents a prospective view of art education by examining the literature of past events. Outlines the three stages of the art education evolutionary process: (1) establishing guidelines for discipline-based art education (DBAE); (2) questioning the assumptions of DBAE by critics; and (3) resolving previously raised issues. (KM)

Discusses how students can examine artists' use of clothing to express ideas about cultural values, lifestyle, and design. Features four, culturally different, artworks from the Art Institute of Chicago. Outlines instructional methods for discussion, creative writing, and art production. (KM)

Maintains that the study of art history should be learning about all forms of art work from every culture and relating it to the present. Describes how one art teacher uses puppetry to actively involve students in art history. Recommends that teachers look to the great teachers and their own teaching for such lessons. (KM)

Discusses the history of modern art and the emergence of post-modernism, assessing the implications for art education. Stating that viewers must be culturally literate to comprehend post-modern art, Parks argues that discipline-based art education will better prepare students to deal with the images, issues, and ambiguity they will be confronted…

This lesson plan introduces seventh-ninth graders to Frank Lloyd Wright and shows how nature influenced and inspired the design of his home and studio. Students will: identify natural design elements from the house, apply their awareness of form to their own natural and built environment, and create designs based on natural forms they find…

Proposes an art curriculum framework that reduces aesthetics to three theories of art: imitationalist, formalist, and emotionalist. Fits each theory into the curriculum at the appropriate developmental stage of the student. Applies these theories to art criticism, art history, and studio production. (LS)