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Handbook of Research and Policy in Art Education HANDBOOK OF RESEARCH AND POLICY IN ART EDUCATION HANDBOOK OF RESEARCH AND POLICY IN ART EDUCATION Edited by Elliot W. Eisner Stanford University Michael D. Day Brigham Young University NAEA NATIONAL ART EDUCATION ASSOCIATION LAWRENCE ERLBAUM ASSOCIATES, PUBLISHERS 2004 Mahwah, New Jersey London Director, Editorial: Lane Akers Executive Assistant: Bonita D’Amil Cover Design: Sean Trane Sciarrone Textbook Production Manager: Paul Smolenski Full-Service Compositor: TechBooks Text and Cover Printer: Hamilton Printing Company This edition published in the Taylor & Francis e-Library, 2008. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Copyright c 2004 by Elliot W. Eisner and Michael D. Day All rights reserved. No part of this book may be reproduced in any form, by photostat, microform, retrieval system, or any other means, without prior written permission of the editors and publisher. Lawrence Erlbaum Associates, Inc., Publishers 10 Industrial Avenue Mahwah, New Jersey 07430 www.erlbaum.com Library of Congress Cataloging-in-Publication Data Handbook of research and policy in art education / edited by Elliot W. Eisner, Michael D. Day. p. cm. Includes bibliographical references and indexes. ISBN 0-8058-4971-8 (case : alk. paper)—ISBN 0-8058-4972-6 (paperbound : alk. paper) 1. Art—Study and teaching—North America—History. 2. Art—Study and teaching—North America—Research. I. Eisner, Elliot W. II. Day, Michael D. N103.H36 2004 707.1 073—dc22 2003025839 ISBN 1-4106-0993-6 Master e-book ISBN Contents Introduction to the Handbook of Research and Policy in Art Education 1 Elliot Eisner and Michael Day I: HISTORICAL CURRENTS IN ART EDUCATION 1 Learning from Histories of Art Education: An Overview of Research and Issues 11 F. Graeme Chalmers 2 Questioning the Past: Contexts, Functions, and Stakeholders in 19th-Century Art Education 33 Mary Ann Stankiewicz, Patricia M. Amburgy and Paul E. Bolin 3 20th-Century Art Education: A Historical Perspective 55 John Howell White II: POLICY PERSPECTIVES IMPACTING THE TEACHING OF ART 4 Policy and Arts Education 87 Ralph A. Smith 5 Art Education in a World of Cross-Purposes 93 Samuel Hope 6 Spirit, Mind, and Body: Arts Education the Redeemer 115 Constance Bumgarner Gee 7 Cognitive Transfer From Arts Education to Nonarts Outcomes: Research Evidence and Policy Implications 135 Lois Hetland and Ellen Winner 8 Aesthetic Education: Questions and Issues 163 Ralph A. Smith 9 Varieties of Multicultural Art Education: Some Policy Issues 187 H. Gene Blocker 10 Museum Education and Controversial Art: Living on a Fault Line 201 E. Louis Lankford and Kelly Scheffer v vi CONTENTS III: LEARNING IN THE VISUAL ARTS 11 Introduction: Development and Learning in Art 227 Anna M. Kindler 12 Researching Impossible? Models of Artistic Development Reconsidered 233 Anna M. Kindler 13 The Art of Infancy 253 John Matthews 14 Child Art After Modernism: Visual Culture and New Narratives 299 Brent Wilson 15 Sculpture: Representational Development in a Three-Dimensional Medium 329 Claire Golomb 16 Aesthetic Judgment and Reasoning 359 Norman H. Freeman 17 Learning in the Visual Arts: Characteristics of Gifted and Talented Individuals 379 David Pariser and Enid Zimmerman IV: TEACHING AND TEACHER EDUCATION 18 Introduction to Teaching and Teacher Education 409 Enid Zimmerman 19 State of the Field: Demographics and Art Teacher Education 415 Lynn Galbraith and Kit Grauer 20 Contexts for Teaching Art 439 Mary Stokrocki 21 Interaction of Teachers and Curriculum 467 Mary Erickson 22 Teacher Education as a Field of Study in Art Education: A Comprehensive Overview of Methodology and Methods Used in Research About Art Teacher Education 487 Frances Thurber 23 An Overview of Art Teacher Recruitment, Certification, and Retention 523 F. Robert Sabol 24 The Practice of Teaching in K–12 Schools: Devices and Desires 553 Judith M. Burton V: FORMS OF ASSESSMENT IN ART EDUCATION 25 Assessment and Visual Arts Education 579 Elisabeth Soep 26 Assessing Art Learning in Changing Contexts: High-Stakes Accountability, International Standards and Changing Conceptions of Artistic Development 585 Doug Boughton CONTENTS vii 27 The NAEP Arts Assessment: Pushing the Boundaries of Large-Scale Performance Assessment 607 Hilary Persky 28 The Evolution of Large-Scale Assessment Programs in the Visual Arts 637 Carol M. Myford and Alice Sims-Gunzenhauser 29 Visualizing Judgment: Self-Assessment and Peer Assessment in Arts Education 667 Elisabeth Soep VI: EMERGING VISIONS OF THE FIELD 30 Emerging Visions of Art Education 691 Arthur D. Efland 31 Discipline-Based Art Education 701 Stephen Mark Dobbs 32 Investigating Art Criticism in Education: An Autobiographical Narrative 725 Terry Barrett 33 Art Education as Imaginative Cognition 751 Arthur D. Efland 34 Art and Integrated Curriculum 775 Michael Parsons 35 Studio Art as Research Practice 795 Graeme Sullivan 36 Curriculum Change for the 21st Century: Visual Culture in Art Education 815 Kerry Freedman and Patricia Stuhr Author Index 829 Subject Index 849 Introduction to the Handbook of Research and Policy in Art Education Elliot Eisner and Michael Day The Handbook of Research and Policy in Art Education, which we have had the privilege of editing, marks a milestone in the field of art education. The initial forays into the teaching of art emerged in America around the middle of the 19th century. It was largely practical in orientation, a means through which girls might secure some of the skills that at that time were believed to define their gender. Art education also enabled manufacturers whose work depended on the design of their products to find able apprentices, trained in drawing, who could contribute to the success of their businesses. Even throughout the first half of the 20th century, the general orientation of the field was focused on matters of craft, on the making of the beautiful image, and on the development of creativity, especially in young children. What this hallmark handbook represents is an effort to bring together research and theory, policy and concepts that guide and give shape to what people in art education try to accomplish. It should not be said that there is a uniform chorus of opinion concerning what members of the field ought to embrace with respect to its aims and its content. There is, indeed, a healthy diversity. The section of the Handbook dealing with emerging visions describes some, but not all, of these competing orientations. The Handbook also serves as a kind of assertion—an assertion that the field of art education has a body of scholarship to which prospective teachers of art and surely those aspiring to scholarship in the field should have access. This volume represents an effort to define some of the categories needing attention and to share with readers some of the ideas that researchers and other scholars have generated with respect to them. Those familiar with other fields—such as the study of teaching, music education, the field of general curriculum—are aware of the fact that in these fields, research handbooks have already been published; some are in their second and third editions. In many ways, those fields have had a closer affinity to scholarship and research than has the field of art education. As we have indicated, the roots of art education are found in the practice of teaching arts and crafts, for arts and crafts served as the major models for teachers and scholars wishing to understand what might be done at the practical level. Theory and research were to come later. Research was not 1 2 EISNER AND DAY a term that had high currency in the field. The first research journal serving art education on a national level was Studies in Art Education which was initially published in 1960. In a sense, in this Handbook the field proclaims its affinity to scholarship and takes its place among fields that take their scholarship seriously. For many working in the educational community, such as principals and superintendents of schools, and parents and teachers, the idea that there is a body of scholarship around the practice of teaching painting or the creation of sculpture will come as something of a surprise if not a shock. In this sense, the Handbook is also a testimony to others that work- ing in the arts in school, classrooms, out-of-school settings, and higher education, is not simply a matter of emulating prior practice—Although a part of it certainly is—but that it is built on reflection and the effort to understand how complex forms of thinking can be promoted. Thus, the Handbook can be considered a kind of mapping of some of the ter- ritory that art educators and others interested in visual art education might consider when attempting to understand the parameters of the field. If the map is a good one, it will change over time. Useful work in the field of art education not only describes the field as it is but also provides the material through which scholars can generate new ideas and new di- rections in which to travel. Tautologically speaking, the process of change is marked by change. We hope that the Handbook contributes not only to change but also to improve- ment. It is also important, we think, to say something about what the Handbook is not. It is not a body of fixed conclusions. It is not a recipe book for how to do things. It is not a dictionary. It is a resource for one’s professional reflection. This reflection includes, of course, new ideas about any aspect of the field, ideas that have the potential to give it direction or to yield insights that deepen our understanding of what is teachable, learnable, and what can potentially be experienced in and through art.
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