An investigation designed to increase the understanding and utilization of visual expression is undertaken. The book examines the basic visual elements, the strategies and options of the visual techniques, the psychological and physiological implications of creative composition, and the range of media and formats included among the arts and…

A sequential framework of study, that can be individually and creatively expanded, is provided for the purpose of developing in children understanding of and enjoyment in art. The guide indicates routes of approach to certain kinds of major art, provides historical and biographical information, clarifies certain fundamentals of art, offers some…

Meant to serve as an authoritative source of information on camera work in large scale feature productions, this book attempts to give some basic understanding of the problems of motion picture photography, the working conditions and artistry of lighting for mood and dramatic effect, budget problems for making films, and facts about working with a…

A course of study concerned with the area of sculpture known as "found art"; i.e., assemblages of common, every day objects into works of art, is presented. Objectives of the course require the student to be able to describe the procedures for found art techniques, define vocabulary concerned with found art, and demonstrate competency in…

An in-school field trip to the boiler room inspired students to an exceptionally high level of achievement in painting. (Editor)

Jackson Pollock's approach to painting was revolutionary and singular. No one in the history of painting had arrived at the same radical technique, labeled "drip painting". Certain influences upon Jackson Pollock, the individual, were instrumental in the development of his artistic style and these are discussed. (Author/RK)

Nicolas Poussin's painting, "The Holy Family," is used to help secondary students comprehend the power, mystery, and significance of classical 17th century Western painting. Includes suggestions for classroom activities. (BR)

Offers a rationale for teaching art history as an integral part of the K-12 curriculum. Maintains that art history instruction should begin in kindergarten. Includes sections on the relationship between art history, art production, art criticism, and aesthetics. (JDH)

Introduces students in grades 10-12 to photo-realism and the work of Ralph Goings. Observing the work "Collins Diner," students discover the elements of photo-realist work and how it differs from other art movements. Includes instructional strategies, student activities, and background information on the movement and the artist. (GEA)

The Virginia Beach (VA) schools provide a comprehensive, highly structured, and creative art curriculum that is as balanced and specific as the basic subjects curriculum. (Author/MD)

Describes the three part system of human vision. Explores the anatomical arrangement of the vision system from the eyes to the brain. Traces the path of various visual signals to their interpretations by the brain. Discusses human visual perception and its implications in art and design. (CW)

An "agreement in principle" outlines a plan for the transfer of the art collections owned by the Norton Simon Foundation and the Norton Simon Art Foundation to UCLA, which would assume responsibility for operating the Norton Simon Museum in Pasadena, where much of the art is now exhibited. (MLW)

This article recommends fundamental changes in the way art is perceived in our society. The author argues for increasing the role of visualization and emphasizing visual thinking at all levels of the school curriculum. (JDH)

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…

The first of a three-part series on teaching about photography, this article argues that photography is significantly different from drawing and painting and that the differences should be highlighted so that photography can be appreciated for what it uniquely offers. The concepts treated are selectivity, instantaneity, and credibility. (JDH)