Over the past few years, there has been an increased amount of art education scholarship that has focused on race, some of which has begun to examine Whiteness. However, many aspects of the art education field remain unexamined, allowing Whiteness to continue to operate invisibly, stealthily undermining our antiracist agenda. Using…

Proposes using feminist art criticism, rather than the modernist emphasis, to teach art criticism. Outlines three goals for feminist art criticism: social analysis, political activism, and self-knowledge. Examines each goal and its complementarity, stressing a pluralistic approach. Maintains that such criticism promotes socially relevant learning.…

Examines empowerment as an art education goal from a feminist perspective. Challenges Elliot Eisner's cultural capital theory, arguing that it disempowers students by homogenizing culture. Identifies three goals by which a feminist conception of art education celebrates cultural diversity and empowers students with personal autonomy and critical…

Discusses Viktor Lowenfeld's influence on art education in general. Assesses the impact of popular culture on perceptions of art and art education, arguing that to be of value, art education must surpass contemporary culture and introduce students to the larger storehouse of human history and achievement. (GEA)

Examines Viktor Lowenfeld's Viennese experiences and analyzes the relationship of those experiences to his views and practices as an art educator in the United States. Questions the appropriateness of ideas developed from Austrian social and educational experiences and from Viennese aesthetic notions in the context of art education for U.S.…

Reports on a study of 815 elementary and secondary students and adults on the types of evidence referred to in art historical interpretation. Finds that participants referred to four general types of evidence: (1) artist; (2) viewer; (3) culture; and (4) perception. (CFR)

Examines seven controversial issues in art education and sets them in a larger social context to help identify their contributions to art education. Concludes that art education should include all art forms from all cultures, develop more interaction between people in theory and practice, and extend the use of social and behavioral sciences. (KM)

Replicates Jessica Davis' study of the U-shaped aesthetic development curve in a cross-cultural setting. Examines whether a similar U-curve is evidenced in Chinese aesthetic development. Presents results that suggest that Chinese aesthetic criteria do not produce a U-shaped evaluation of artistic skills. Discusses limitations of the study. (DSK)

Critiques the attempt by David Pariser and Axel van den Berg to apply the author's methods to a cross-cultural study. Argues that their study is too flawed to be definitive. Suggests means to test the universality of the U-curve as a cognitive development pattern or an artifact of culturally defined aesthetics. (DSK)

Responds to a critique of the authors' work by Jessica Davis. Enumerates and responds to each of Davis' critiques, arguing that many of them are invalid. Defends the research design choices made by the authors and the results of their study. (DSK)