Discusses problems in the teaching of art history to art students. Reports on a study in which student analysis and categorization of their own paintings and paintings of other artists became the primary activity of an art history course. Concludes that this approach enhances the use of art history as a source for students' own creative work. (CFR)

Asserts that the term "basic design" has become well known as a type of design education practiced at England's King's College and Leeds College of Art in the 1950s and early 1960s. Describes the work of James Bradley, who brought the basic design approach to Sidcot School, a secondary school in Avon. (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)

Aims to show that children have a "functional use of drawing" which contrasts with the mechanistic stages model of drawing development. Observes that young children's images often show extended time sequences. Argues that, when considered from this viewpoint, children's drawing abilities develop gradually from a high to a low variety of…

Asserts that efforts at establishing cross-curricular programs with art and other subjects are well established. Questions whether the goals and content of visual art instruction are trivialized or lost in such programs. Provides three criteria that can be used to test the integrity of interdisciplinary programs. (CFR)

Reports on study of use of fractal geometry in a computer graphics program to improve the perception of intermediate grade level students in their paintings. Finds that students are more likely to use changing shapes and colors after viewing slides of fractal computer graphics. Concludes that fractal computer graphics would make highly engaging…

Presents an art education model based on Elliot Eisner's three-domain model, emphasizing students' concept ownership and skill development. Criticizes late-modernism influenced practices, arguing creativity can be achieved only through tradition. Diagrams relationships between what art students learn in college and how they later teach. (KM)