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The author relates her use of dual assignments involving art criticism and creation to encourage preservice teachers to recognize Whiteness and power through images in a course on art integration. Topics discussed include the use of the Pass the Picture strategy to discuss Whiteness and power with the students, themes discovered by the students between the images such as patriotism and propaganda, and importance of teaching future art educators to question history and examine power.

This article draws on Searle's philosophical realism to explore how critical agency is grounded in critical reasoning and supports the construction of art criticism as an institutional practice in art and design education. Examples of critical exchanges between a teacher and her students reveal how intentional beliefs inherent in the teacher's pedagogical choices implicate students in taking critical agency when constructing a collaborative interpretation of the meaning of a contemporary artwork. The article concludes with some reflections on the implications of a realist account of critical agency for teacher pedagogy and student learning. [ABSTRACT FROM AUTHOR]

Many artworks, some would say certainly the best artworks, are difficult, in a cognitive and empathetic sense, to understand and to appreciate. So suggests David Hume, and so says Bernard Bosanquet and George Steiner. First, I argue that art educators need to understand specifically what these difficulties are, as well as understand that art and art appreciation, in their fullest senses, are practiced mostly among aesthetic elites, that is, "elites" in a nonpejorative respect. Second, I spell out how Hume's, Bosanquet's, and Steiner's intuitions are supported by current neuroscientific and cognitive psychological claims. Ultimately, I draw out the implications for art education, suggesting Aristotle's idea of friendship as an art education's ideal. [ABSTRACT FROM AUTHOR]

The article discusses a framework for art interpretation approaches. Topics discussed include intentionality in the artist as the author of the artwork, art criticism, and approaches to art assessment practices. Other topics include how aesthetic and literary criticism frameworks such as intertextuality can apply to fine-art studio practice in higher education, creative development and professional practice learning in art education, and authorship and conditions for creativity.

Art education in Hong Kong has undergone various changes in response to educational reform. In art assessment, a major change in the Hong Kong New Senior Secondary ( NSS) Curriculum is the inclusion of art criticism as a compulsory component of the new public examination. Assessing students' abilities to interpret art in an art criticism public examination context is a critical issue in Hong Kong because the new senior secondary curriculum and assessment has brought attention to the role of written language in the art examination paper. This means the examination assesses not only students' abilities to interpret art, but also their language abilities required to respond to art in written form. Since this new mode of assessment of art criticism has been published a number of issues have appeared. Recent studies show that teachers and students perceive this development negatively and they believe that the written format will assess students' written language abilities rather than their critical abilities. These findings challenge the justification of the new art assessment policy and raise questions about the role of written language in responding to art. This article aims to raise the issue of the marriage between language and art criticism in the Hong Kong public examination context. It argues and examines the relationship of language to art interpretation, reasoning in the assessment, and issues in the public art criticism examination context. The issues addressed in this article provide opportunities for researchers and policy makers to reconsider and refine the new form of examination. [ABSTRACT FROM AUTHOR]

The article presents a lesson plan for secondary education which teaches concepts about the exploration of place by engaging in art making and art criticism.

Heinrich Heine's work "Französische Maler," ("French Painters") a piece of art criticism that he contributed to the Salon of 1831, is conceived as a meta-reflexive reaction to the July Revolution and to the multiplicity of values that was rife at the time. Instead of employing conventional norms to describe a new kind of art and thereby limiting the reception of that art, Heine considers the principal role of the critic to be to render the artwork in an innovative verbal representation that has a threefold result: to allow the observer to perceive the work of art anew; to make palpable the renewal of art through significant historical changes; and consequently to create a new mode of artistic perception. [ABSTRACT FROM AUTHOR]

This criticism looks at the concept of style as it is used and understood by art historians, critics, and the authors of aesthetic works. It examines these through the book "La Peinture en actes," by Bertrand Prévost. Themes include the difficulties in discussing the relationship between creator and creation in art, the presence of distrust and fascination in art criticism, and the questions of semantics and aesthetics in criticism.

Description figures prominently in educational models of art criticism. As these models become increasingly used in classroom instruction, it is important that educators understand the kind of activity they are prescribing. In this article, I argue that the concept of description that educators present in their models differs from the concept of description in ordinary language. It is, instead, a technical concept borrowed from the literature of aesthetics. This article delineates the differences between each concept, describes how the confusion arose, and discusses the implications for art criticism instruction. [ABSTRACT FROM AUTHOR]

Focuses on primary school teachers' conceptions of teaching art criticism in schools. Teacher's lack of understanding of what the teaching of art criticism involves; Studies conducted to prove the theory; Interpretation of the six concepts of the teaching of art criticism; Analysis of the study results; Relationship between extant theory and practice in art criticism instruction.

Examines the importance of assessment in the arts in the education of young children. Use of reflective assessment procedure based on ethnographic methods of participant observation and interpretation; Nature of artistic profiles of individual children.

Arnheim (1986) claims that the two basic interdependent procedures of intelligent cognition are intuition and intellect. An examination of the literature of pedagogical methods of art criticism leads to a perception that there is a split between those which emphasize intellectual analysis at the expense of intuition, and those that stress intuition at the expense of systematic analysis. The following method, beginning from a base which structurally resembles the Feldman (1987) and Mittler (1980) genre, attempts to reconcile intuitive and analytic thinking by systematically incorporating the affective and intuitive into all stages of an analytic, pedagogically specific methodology. [ABSTRACT FROM AUTHOR]

This study compares the stated goals of professors of college studio art courses for their studio critiques with the goals professed in art education literature for the teaching of criticism by art teachers. Findings of this inquiry suggest that in most cases the two sets of goals are in conflict. As a result, during their studio education, future art teachers are being guided by goals for criticism that are not in accord with the goals being set forth in their study of art education. [ABSTRACT FROM AUTHOR]

Addresses aesthetics, framed as critical inquiry, as a teaching and learning strategy for art criticism. Description of an instructional sequence; Focus on Sherrie Levine; Relation of beauty, aesthetic and experience.

Shows how critical inquiry differs from the critical procedures often recommended by educators and its implications for teaching art criticism. Concept of art criticism; Features of critical inquiry; Description of a model of critical inquiry instruction.

Examines three assumptions behind traditional classroom procedures for art criticism. Correlation of first impressions and past experience; Structural constraints; Problems relating to sequential procedures and learning.

Explores approaches to art-making, art criticism and aesthetics as applied to conceptual art created by gifted high school students. Development of a working model of aesthetic criteria to analyze socially critical art; Introduction of aesthetics as a relationship between form and content; Contemporary artists and criticism; Societal and personal issues in the discussions of students.

Discusses the use of make-believe and role-playing in teaching art criticism. Problem-solving learning model that mimics real-life situations; Strategies for making learning fun; Art criticism roles; Scenarios to get students emotionally involved in doing art criticism; Development of student's basic skills and insights in the standard practice of art criticism.

Proposes a unit of instruction which demonstrates how art teachers might put theory of contemporary criticism into practice. Introduction of the background and writings of the critics to be used in the lesson; Discussions of the students and critics' criticism of the instructional materials used in the discussion; More. INSETS: Guidelines for comparative analysis.;Questions for oral response to..;Questions for oral response to..;Questions for oral response to..

The article offers suggestions on how to prepare a lesson plan designed for introductory courses in art education in secondary schools. According to the author, the lesson plan should be designed in the manner that it provides learning to students in all aspects pertaining to art, focusing not on what the students make, but rather on what they have learned at the completion of each lesson. Further, the article overviews a sample lesson plan that focuses on the three kinds of learning in art education, namely art criticism, art history, and studio art.

The article presents information on a study whose purpose was to develop an instructional strategy in art criticism to encourage elementary school students to re-examine established attitudes toward works of art, and stimulate the formation of more positive attitudes toward works of art. The sample comprised of two experimental groups of elementary education students enrolled in separate sections of a course in art education. The instructional strategy that was drawn from studies in attitude and attitude change. The findings of the study indicated that the experimental groups demonstrated a change in their attitudes toward a selection of art slides but the control group did not.

The article focuses on the necessity to incorporate aesthetics into the curriculum of K-12 art programs in the U.S. The author believes that discussing philosophical questions is central to what it means to be a real human being who is exploring the meaning of artistic creation. In planning an art curriculum, learning outcomes can be formulated at the program, unit and lesson levels. Furthermore, these outcomes can comply with most state and district general outcomes. Learning in aesthetics should be sequenced throughout a K-12 program in art, while simultaneously being connected to inquiry in other areas of art production, art criticism and cultural history.

The article presents a proposed lesson plan that seeks to introduce British students in grades K-3 to decorative arts within a cultural and historic framework. The student will be asked to examine an antique wall clock designed by Chantilly Porcelain Factory. Students should identify the materials used, describe the shapes which comprise the whole of the clock and become familiar with the technique of clay modeling. Strategies on how art teachers could guide students to interpret the art work from historical and cultural perspective are presented.

In formulating models of art criticism for schools, educators in the United States have focused most of their attention upon the language of art criticism. Typical prescriptions for art criticism present a series of activities such as describing, analyzing, interpreting, and evaluating, activities that are linked to the performance of specific kinds of statements. The widespread acceptance of such models raises questions about their accuracy as reflections of actual critical discourse, and their practicality and efficacy as prescriptions for classroom instruction. In this article, I argue that current models of criticism both distort the actual discourse of critics and they force educators to rely upon a problematic instructional method: classroom recitation. After critiquing this method, I conclude by suggesting that critical inquiry, rather than critical discourse, is a more fruitful concept for structuring art criticism instruction. [ABSTRACT FROM AUTHOR]