Suggests that educational reform efforts, such as the back-to-basics movement, leave art educators wondering whether visual arts instruction will survive the reforms. Argues that the three Rs are insufficient for a balanced education. Asserts that the arts foster both affective and cognitive development. (KM)

Outlines how past art education provided a refuge for students from the rigors of other academic subjects. Observes that in recent years art education has become "discipline based." Argues that art educators need to reaffirm their commitment to a humanistic way of knowing. (KM)

On converting industrial education programs to the metric system. (GB)

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)

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)

Asserts that the introduction of the term "critical studies" to British art education reflects art educators' views that the practice of art alone is insufficient to gain a full experience and coincides with a political will to return to traditional forms of content and knowledge. (CFR)

Contends that, over the past 10-15 years, critical studies has become established in the primary and secondary phases of art and design education. Maintains that critical studies is a collective term for a range of interests and activities that enrich those practical components of the art curriculum regarded as core disciplines. (CFR)

Examines issues related to critical studies and educational goals included in the National Curriculum in Great Britain. Concludes that the emphasis on production in art education has declined and that aesthetics and cultural diversity, both components of critical studies, has increased insignificance. (CFR)

Reports on the responses of headteachers and teachers in 570 primary schools in England and Wales to the introduction of the national curriculum in art. Finds that a significant majority of the respondents welcomed the national curriculum. (CFR)

Emphasizes the importance of providing some curriculum aspects in which students experience a sense of ownership. Compares the English National Curriculum with a national assessment instrument to determine which instructional methods are preferred. Speculates on potential routes into higher education for secondary students. (CFR)

Highlights issues in teaching art curriculum courses in preservice teacher education. Discusses student self-confidence and conditions that are barriers to active engagement in art activities. Describes how preservice art teachers can develop personal autonomy and become reflective teachers. (CFR)

Reports findings of a 1986 survey on multicultural approaches in art and design curricula in the United Kingdom. Identifies seven ways teachers were encouraged to introduce multicultural issues into the classroom. Examines origins and value orientations to multicultural reform. Favors multicultural curriculum reform from an internationalist,…

The beginning of the twentieth century was a period of pedagogical enthusiasm and renewal in the field of education. Based on a list of articles concerning art education published in Belgian periodicals between 1903 and 1923, the author undertakes an analysis of the title words in order to study how the subject was able to evolve. For this…