Discipline-Based Art Education Research Articles

Developments in Discipline-Based Art Education (DBAE): From Art Education toward Arts Education

Art education has moved from an expressionist viewpoint toward a more conceptual approach. Refinements and additions to discipline-based art education (DBAE) ideas, in the seven years from 1984 to 1991, are described as taking place amidst controversies that surrounded support for implementation of DBAE by the Getty Center for Education in the Arts. Writings, curricula, and materials that add content from art disciplines are described as additions to the theory and practice of DBAE. Developing interest in discipline-based approaches among educators in music and drama is cited as evidence that it is time to pursue discipline-based arts education.

In Defense of a Theory of Art for Art Education

Although the new art education—the ideals of which are most clearly embodied in the discipline-based art education movement—seems to have won the day in the scholarly literature, art curricula in colleges and universities continue to embrace a studio emphasis and a de facto doctrine of art known as formalism. These orientations may prove to be counter-productive in the training of art education majors who will have to meet the challenge of teaching art criticism, art history, and aesthetics in a pluralistic world of art. To supplement, if not counteract, the influences of formalism, this author suggests that the field consider recent theories of art, particularly those developed by Dickie and Danto. Undergraduate art and art education majors, as well as their teachers, should be versed in such theories.

Harry Broudy and Discipline-Based Art Education (DBAE)

In a 1992 article describing discipline-based art education' to a crafts audience Albert Anderson said, Over the past several years a major philosophical shift in the art education field has initiated what appears to be the early stages of a revolution in the way art is taught in the public schools.2 The impact of discipline-based art education on the field of art education is usually marked by its adoption by the Getty Center for Education in the Arts in 1983. The history of the growing influence of DBAE is often seen as closely allied to the series of Getty projects that followed.3 The first of these projects were in large part grounded in the work of Harry Broudy, though he might find it amusing to be considered the author of an incipient revolution in art(s) education. I will suggest that he deserves either much of the credit or much of the blame, depending upon how one views discipline-based art education and its effects on the teaching of art. This change in paradigm or philosophy for teaching art, like other innovations, did not just suddenly appear. A long series of related events either prepared the way for or contributed to discipline-based art education (DBAE).4 As I survey the development of DBAE and the Broudy role in its formulation and introduction, I find it difficult to construct an accurate picture of how his many writings and activities interconnect in their influence and impact on DBAE. In some instances, changes connected to his work were in the field of general education; in other cases, changes were directly in art or arts education; and in still others, in writings and events paralleling the development of DBAE. I will, of course, be selective as I trace the history of DBAE. The role that Harry Broudy, a preeminent philosopher of education, played in various education and art education histories can be found described in the other essays in this issue. These essays provide a context for this particular history, but what one realizes in reading them is how wide-

Critical Studies in Art and Design Education

Critical studies - the museum of contemporary art and social relevance, David Thislewood structure and magic in discipline-based art education, Elliot Eisner critical studies in art and design education - passing fashion or the missing element?, Rod Taylor new ways of seeing, Mike Hildred approaches to the teaching of critical studies, Andrew Mortimer the copy, the parody and the pastiche - observations on practical approaches to critical studies, Arthur Hughes talking about art workers - the verbal dilemna, John Bowden gallery and school - art study programmes, Katy MacLeod art history in the classroom - a plea for caution, Brandon Taylor art history and critical studies in schools - an inclusive approach, Maureen Price art history in schools - a comprehensive strategy, Tony Dyson before the vanishing point - some perspectives on teaching art history to studio practitioners, Tony Collins art history and art students, Rosalind Billingham the use of art and design education archives in critical studies, John Swift.

Discipline-Based Art Education: Can it save Art in Our Schools?

Discipline-Based Art Education: Can it save Art in Our Schools?

Enhancement of Self-Concept through Discipline-Based Art Education

Enhancement of Self-Concept through Discipline-Based Art Education

The Content of Art Criticism

The task of defining art criticism as one of the four disciplines of discipline-based art education becomes increasingly difficult in direct relation to the extent one thinks of criticism as distinct from other disciplines. It becomes increasingly apparent that although each discipline has certain distinct features and functions, a defining quality of disciplinebased art education is the interdependence and overlap of one discipline with another. For example, the metacritical definitions in which I am about to engage are a primary task of aesthetics. Likewise, metacriticism is an important activity of the art historian. These three disciplines can be managed as separate entities through defining their unique qualities, but in reality there is an irrevocable interdependence. The only way criticism can be separated from history and aesthetics in a practical sense is that it, like studio production, is a physical practice, an activity, a craft in which a skill is developed and techniques refined through practice and application. The practice of this craft is art criticism. Any talk about the nature of this activity is metacriticism (Ecker & Kaelin, 1972) and rightfully falls into the camp of aesthetics. Art criticism is funded by aesthetic theory. Among the dominant theories funding criticism have been phenomenology, analytic, positivist, Marxist, romantic, pragmatic, structuralist, and deconstructionist aesthetics. Important figures in this parade include Kant, Wittgenstein, Santayana, Croce, Dewey, Collingwood, Whitehead, Langer, Hegel, Danto, Dickie, Beardsley, Derrida, Goodman, Weitz ... and on ... and on.

Child-Centered and Discipline-Based Art Education: Metaphors and Meanings (abridged)

(1990). Child-Centered and Discipline-Based Art Education: Metaphors and Meanings (Abridged) Art Education: Vol. 43, No. 2, pp. 16-21.

Context, Criticism, and Art Education: Putting Meaning into the Life of Sisyphus

According to E. D. Hirsch, Jr., in his very influential and proportionately controversial book Cultural Literacy: What Every American Needs to Know, a certain level of background information is required before anyone can even minimally participate in communication and transactions that take place within a culture.1 Thus, to the extent that an American culture exists, every American who wants to engage effectively in his or her society needs to know certain things. Hirsch provides a list of these things in this volume and, with Joseph F. Kett and James Trefil, provides thumbnail sketches for each item in a subsequent volume, The Dictionary of Cultural Literacy.2 Hirsch represents a growing body of educators and theorists who believe that institutions and practices, and their products, cannot be properly studied in isolation but must be viewed contextually. One movement in art education, Discipline-based Art Education, also exemplifies this general attitude. Claiming that adequate art education goes beyond simply teaching people how to produce objects, DBAE adherents urge inclusion of aesthetics, history, and criticism in art curricula. There are things one needs to know in order to appreciate artistic objects and activities, they believe. Because historical, aesthetic, and critical activity does play a large part in most adult experiences of art, I am inclined to agree with theorists who argue that these disciplines have much to contribute to elementary and secondary art education. I have recently developed theories of art and the aesthetic that I believe have important implications for art education. In this article I will describe my own aesthetic views and show how historical context and criticism are crucial for an understanding of aesthetic objects and experiences. Finally, I will suggest ways in which my theories figure in education generally, where 'education' is to be understood as that which

Implications of Gregory Bateson's Ideas for a Semiotic of Art Education

This article examines how a classroom art lesson can reproduce a Cartesian pattern of thinking where creativity is represented as an autonomous act and the aesthetic is seen as a property of an art object - which also is considered to have an autonomous existence. The ideas of Gregory Bateson, as well as insights from the field of semiotics, are used to illuminate how the individual (as artist) is part of a larger ecology of relationships and how these relationships serve as the information pathways essential to the survival of the larger system. The recent work of Ellen Dissanayake is used to clarify how art, as making special, can involve giving everyday relationships (sign systems that communicate) an aesthetic dimension-which is a view of art that corresponds more closely to the ideas of Bateson and to an understanding of the aesthetic dimensions of the sign systems that we use to communicate about relationships. The conceptual categories that underlie the epistemology of the dominant culture influence the most taken for granted and seemingly straightforward patterns of thought and expression. Witness, for example, the explanations in the teacher's manual forArt Works (1989), which is part of a discipline-based art education instructional materials series: As students create their crayon etchings, comments such as the following may be helpful: You (the student) are pressing down hard onyour crayons, which will help you as you etch. Your sense of humor is being reflected in your art. (p. 47, italics added) This representation of the person as an autonomous source of agency and of art as an entity with an independent existence, which, if good enough, may be displayed for the purpose of viewing by others, carries over to the explanations that are to guide how the student thinks about the art of traditional cultures. The students are to be told that Kenojuak Ashevak is a contemporary Canadian Eskimo artist whose artwork reflects the traditions of her cultural heritage, the hunting and gathering Inuit, or real people, of Northern Canada. Her stonecut print, Enchanted Owl, was included in a collection of Eskimo art in 1960, and in 1970, it was selected for use on a postage stamp. (p. 31) The cultural epistemology that frames the student's artistic expression as autonomous and art as an entity also reframes the wide range of aesthetic expression that characterizes traditional cultures into a reductionist and modern point of view where art is an object- this time to be displayed on a postage

A Qualitative Exploration of Discipline-Based Art Education and the Ohio Partnership

A Qualitative Exploration of Discipline-Based Art Education and the Ohio Partnership

University Art Programs and the Discipline-Based Art Education Movement: What Prospects?

Abstract The following article was awarded the first-place Reston Prize 1989, sponsored by the National Association of Schools of Art and Design, the National Association of Schools of Dance, the National Association of Schools of Music, and the National Association of Schools of Theatre.

How Shall Students Be Graded in Discipline-Based Art Education?

(1989). How Shall Students Be Graded in Discipline-Based Art Education? Art Education: Vol. 42, No. 6, pp. 33-41.

Discipline-Based Art Education: Some Questions and Answers

Discipline-Based Art Education: Some Questions and Answers

Discipline-Based Art Education: Seeking Its Origins and Considering the Alternatives

Discipline-Based Art Education: Seeking Its Origins and Considering the Alternatives

DBAE At the Secondary Level: Compounding Primary Gains

Discipline-Based Art Education, says this writer, may not guarantee that a student will become an art historian, but it does present an opportunity to improve an all-too-frequent state of affairs wherein students graduate with a vague sense of having been engaged in activity without being sure of its purpose, its quality, or its importance in their lives.

Principal's Role in Implementing Discipline-Based Art Education

The principal, as instructional leader, must take the lead in establishing a DBAE program in the school, says this writer. Here's how.

A Rationale for Discipline-Based Art Education

Developing and implementing a DBAE program is both time and ener gy consuming, this writer admits. However, he says, the results make the effort more than worthwhile.

Redesigning Preservice Programs to Implement DBAE: Institutional Realities

T hhe purpose of the Snowbird Seminar, supported mainly by the Getty Center for Education in the Arts, was to explore preservice teacher preparation in discipline-based art education (DBAE). As a result of the seminar and the proposals submitted by the participants, the Getty Center awarded yearlong contracts to 10 art education departments' ...to support such projects as developing new courses, creating materials for instructional support, and faculty development (The J. Paul Getty Trust Bulletin, 1988, p. 15).2 If those projects are to be included in preservice programs, the departments will have to make curricular changes of varying magnitude in order to preserve program coherence). Whether an art education department considers complete or partial redesign

Discipline-Based Arts Education—Developing a Dance Curriculum

Discipline-Based Arts Education—Developing a Dance Curriculum