The study described here is the first comprehensive attempt to document museum education programs and to provide a handbook to educators to help them make intelligent use of the art museum resource. (Author)

Although art, metaphorically, makes statements and conveys information, an identification of art with language is likely to be misleading in the teaching and learning of art. Why visual art is not a language is discussed. (Author/RM)

Traces how broad, historical, conceptual frameworks established by Arthur Efland continue to be useful in categorizing contemporary arguments on the form of art education. Contends that many popular justifications for art education lack a solid epistemological rationale. Advocates an approach to art education as a study of reasoned perception.…

Suggests that the roles and activities of the professional artist, art critic, art historian, and aesthetician be established as models for outcomes of a visual arts program. Attempts to show that the professional practices of experts in these four roles are appropriate sources for the content and design of educational activities unique to the…

Inquiry in art is proposed as a model of the predominantly cognitive behaviors that are involved in producing visual art. The model behaviors are: set a direction, discover, visually analyze, classify, personalize, hypothesize, reorder, synthesize, and evaluate. These behaviors provide the basic structure for a teacher questioning strategy…

Describes European Viktor Lowenfeld's version of the visual-haptic theory. Recounts how Lowenfeld modified the theory while serving as a studio art teacher in a black U.S. college from 1939 to 1946. Compares Lowenfeld's European and U.S. transformations of the theory. (BSR)

Author looked at the position and role of the visual arts and the artist as they reflect and contribute to the creation of a culture's concept of reality or world view and what this means to art educators. (Author/RK)

Changes in concepts of creativity and culture necessitate closer attention to the sociological aspects of creativity. Problems emanate from disregarding the modernization process in our culture, as that process relates to creativity, and from the impact of the contemporary fine arts on creativity research and art education practice. (Author/SR)

Investigates the effects of prior knowledge, presentation time, and selected task demands on information processed by college students of two-dimensional visual art that displayed varying abstraction levels. Results indicated that the amount and type of information subjects remembered about visual art were influenced by each of these factors.…

Teachers and students who are ethnographers and who study the artifacts and "visual sign making" of their own culture will learn to value and understand the arts, as well as to produce art that matters. (Author)

Explores theoretical and practical advantages of a constructivist shift from breadth to depth, and from formalism to contextualism, through the inclusion of artists' primary source writings. Believes that students benefit from linking artist's words to their images providing students with another point from which they can survey the world of…

The record of eye fixations and movements is an objective measure of an individual's involvement with an art object. This review of eye movement research reveals distinct patterns of viewing behavior which are determined by the age of the viewer, the type of visual materials, the nature of the problem confronting the viewer, and the structure of…