This planning grid for teaching visual arts in grade 6 in Delaware schools outlines the following six standards for students to complete: (1) students will select and use form, media, techniques, and processes to create works of art and communicate meaning; (2) students will create ways to use visual, spatial, and temporal concepts in creating…

In this document, standards for knowledge and skill acquisition of Maine students in the visual and performing arts are identified. The document serves as a guideline for teachers regarding what students should know and be able to do at various checkpoints throughout arts education. The arts identified include dance, music, theater, and visual…

Although the art gallery or museum is not available in most historically Negro colleges, this writing is concerned with those that pioneered in this area, historic exceptions characterized by financial stability, international reputations, an acute consciousness of their missions, and a record of proven worth and accomplishments. (Author/JM)

Outlines a course in photography for use in secondary school art classes to develop perceptual awareness and extend range of vision. (DS)

Research reported supported in part by grants from the Ford Foundation and the U.S. Office of Education to the University of Pittsburgh's Learning Research and Development Center. (RS)

A court holding disregarding the statute of limitations in a case of stolen artworks by Georgia O'Keefe (discovered many years later) makes recovery of lost works by an artist easier. The statute of limitations was not held to begin until the owner reasonably knows of the possessor's identity. (MSE)

Argues that art education is basic to school learning because it develops three levels of visual communication skills: the use of visual symbols to communicate at a very general level; to communicate accurately and specifically; and to communicate uniquely and expressively. (Author/SJL)

Describes seven art activities for elementary and secondary classes. Activities include making Pueblo Indian-style pottery, casting stained glass designs in plaster, constructing cloth gnome-dolls, making ceramic reliefs of Victorian house facades and dream cars, drawing South American folk art objects, and sewing wearable art. (AM)

Describes an art unit that integrated art history and studio projects to teach surrealism to 14- to 19-year-olds. The unit was designed to apply a research study which found that students learned more art history and produced better art using an integrated approach. Class experiences confirmed research results. (AM)

Describes an activity in which eighth graders explored color relationships in art. Students selected their favorite pieces of art work, redrew and redesigned the artists' composition, and then painted them using completely different color schemes. Student confidence in their own artistic judgment and capabilities increased. (AM)

Examines the current status and changing patterns of copyrights, resale royalty rights, and moral rights that have the potential of according the fine artist greater protection and economic security. Discusses an existing California law as a model for protection of the fine artists' moral rights. (JMF)

An essay on the relationship of the visual arts to learning, particularly general vs professional art education, the question of artistic activity-making art vs viewing art, and the content of the visual arts. (Author/SJL)

Intended for researchers, teachers, and administrators, this bibliography covers much of the literature concerned with visual art education and samples materials from the related areas of visual perception, creativity, art therapy, leisure research, and space planning. (Author/SJL)

This essay examines issues of giftedness and excellence, beginning with classical references to human striving toward the "good," the attraction of gifted children to quality, and the recent discovery of the oldest known cave art with its manifest excellence. Classroom activities related to cave art and language arts, social studies,…