Invites greater discussion of the ultimate social and political consequences of different ideologies and justifications of art education. Uses West Germany's educational practice and philosophy as example. (Editor/RK)

Sets forth diagramatic representations of the four art disciplines (aesthetics, criticism, history, production) as a basis for devising a discipline-based art curriculum. Provides an example of an inquiry framework to guide the planning and application of instruction. (AEM)

Discusses three articles by Vincent Lanier, E. Louis Lankford, and Kenneth M. Lansing pertaining to Discipline Based Art Education that appeared in a previous issue of this journal. Points out the positive aspects and shortcomings of each. (AEM)

Directs attention to the theoretical model for discipline based art education developed by the Getty Institute for Education in the Visual Arts. Observes that there are variants from the Institute model which exceed the DBAE model and raises the issue of theory deterioration through popularization and mislabeling of some programs as DBAE. (AEM)

Discusses a cognitive model that is an alternative to Jerome Bruner's spiral curriculum, developed and based on the metaphor that the mind's knowledge base is a lattice. States that the lattice metaphor offers an understanding of cognition but some questions still remained unanswered. (CMK)

Maintains that the National Arts Standards allows for the inclusion of multicultural perspectives integrated within a dominant European American culture. This places the responsibility for a truly representative and multicultural curriculum back on the art teacher. Provides a neat and concise summary of the arguments for and against multicultural…

Discusses the theoretical structure of Discipline Based Art Education (DBAE). Elaborates on the role of imagery for learning in all areas that involve perception, especially art history, art criticism, and aesthetic perception. (AEM)

Maintains that the explosion of information technology combined with a cornucopia of new critical approaches places even heavier demands on art teachers and students. Examines some of the cognitive and curricular consequences of these changes. Offers recommendations for guiding future research on art learning and curricular development. (MJP)

Maintains that time and money are significant variables affecting the way art is taught. Reports on a survey of elementary art teachers. Finds that the teachers perceive themselves to be undervalued, have little planning time, and are provided with limited budgets to achieve educational objectives. (CFR)