Research in art education must deal with the structure-in-process of creating, including both cognitive and intuitive approaches of human understanding. The Structural-Existential (S-E) Model can analyze this paradox. To exemplify the theoretical arguments, the author uses excerpts from contexts of creating in art. (SJL)

The probable economic impact on the art market, museums, and the artist of California's "droit de suite" legislation, designed to yield to artists a portion of the resale value of their works, is examined. It is argued that only a few living artists will benefit. The statute, California Civil Code 986, is appended. (JMD)

Offers an art lesson designed to introduce junior high school students to a Shiva sculpture and to Hindu symbolism. The lesson is based on a full-color photograph of a 500 year-old bronze sculpture entitled Shiva Nataraja, King of Dancers. (BR)

A review of research (particularly that conducted by N. Meier, T. Munro, and B. Lark-Horovitz et al.) about the nature of giftedness in the visual arts and focusing on creativity, imagination, aesthetic judgment, and perceptual ability, provides a basis for examining current assumptions and practices and a foundation for future research. (CB)

Outlines the components of Discipline-Based Art Education (DBAE). The program is based on the development of four domains in art: production, criticism, art history, and aesthetics. These areas are important dimensions in artistic development, and the acquisition of art skills broadens childrens' sensitivities to the world in general. (MD)

Describes the Arts in Education Program developed in rural Pennsylvania schools. It is made up of educational leaders, artists, community members, university faculty, teachers, students, board members, and an Arts in Education staff. The team works to improve the quality of life and education for students through the arts. (MD)

Outlines the discipline-based art education curriculum developed by the Getty Institute for Educators on the Visual Arts in the Los Angeles County elementary schools. (Author/MD)

Discusses ways of relating students' personal experiences to complex modern literature such as Joyce's "Portrait of the Artist" and Eliot's "The Wasteland" so that they can better understand and relate to these texts. Also discusses the use of paintings to help students see the literature and then analyze it. (SRT)

Provides a developmental interpretation of some of the differences in peoples' responses to art. The interpretation is based on a theory that focuses on how people understand paintings. Identifies a five-stage theory of aesthetic development and illustrates the typical stage responses of people viewing the Ivan Albright painting "Ida." (JDH)

Using William M. Harnett's 1884 oil painting "After the Hunt," this lesson introduces students in grades seven through nine to the style of realism popular in the late nineteenth century. The lesson is also designed to show how art reflects the values of the society in which it was created. (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)

A project which involved 11th- and 12th-grade art students in creating a "Jackson Pollock type" lyrical action painting is described. As a result of the project, the students gained a freedom of expression which was evident in their subsequent art projects and a tolerance toward twentieth-century art. (RM)

The needs of Black children in elementary visual arts classes are discussed. (RM)

Argues that even with an adaptive academization of the arts, the college and university milieu jars with the mores of the bohemian subculture in which many artists still participate. A subculture growing out of highly atomized, loose occupational structures, exalting qualities of anarchistic individualism confronts the culture and imperatives of a…