Reconceptualising the art curriculum

International Journal of Art and Design Education

Volumn 17, Issue 1, 1998, Pages 41-49

  Hughes, Arthur ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 54749117420     PISSN: 14768062     EISSN: 14768070     Source Type: Journal    
DOI: 10.1111/1468-5949.00104     Document Type: Article

References (31)

1. The author has spent many years closely involved with the design, moderation and scrutiny of public examinations in art
2. Glancy, J. Guardian newspaper, June 21 1997
3. Newick, J. [1962] The Education of Those Who Teach. The National Society for Art Education
4. The rise in modular degrees is undoubtedly leading to a significant increase in the number of school students enrolling directly onto degree courses containing elements of art and design
5. Rosenberg, H. [1972] The De-definition of Art. Secker & Warburg, London
6. Field, D. quoted in Miller, A. [1986] unpublished M.Phil. Thesis, University of Central England
7. Weitz, M. [1970] Problems in Aesthetics. Macmillan, Ontario
8. Weitz, M. [1970] Problems in Aesthetics. Ibid
9. Efland, A. [1976] School Art Style: A Functional Analysis. National Art Education Association
10. Glancy, J. School Art Style: A Functional Analysis. Op. cit
11. Newick, J. School Art Style: A Functional Analysis. Op. cit
12. Efland, A. School Art Style: A Functional Analysis. Op. cit
13. Newick, J. School Art Style: A Functional Analysis. Op. cit
14. Reid, L.A. [1980] The Intrinsic Value of the Arts in the Education of Children. Journal of the National Society for Education in Art, Vol VII, no. 2
15. Reid, L. A. Journal of the National Society for Education in Art, Ibid
16. Meecham, P. [1996] What's in a National Curriculum. Critical Studies and Modern Art, The Open University
17. Newick, J. Critical Studies and Modern Art, Op. cit
18. Hughes, A. [1997] The Evisceration of Art Education? Journal of Art & Design Education, Vol. 16 no. 2
19. It is interesting to note in this context that the first draft of the National Curriculum for Art gave as possible examples for children to work from, objects such as shells and drift wood - forms which seem to have been around for ever in our art rooms, whereas in fact, to underline the point of accretion of content, there are reasonably firm indications that objects such as these first entered English art rooms in the 1940's, probably as a by-product of the influence of artists like Moore, Hepworth and Sutherland. The valuing of natural forms as an artistic stimulus in professional training was central to the influential practices adopted at the Bath Academy of Art under Clifford Ellis (a former pupil of Marion Richardson).
20. School Curriculum and Assessment Council. [1996] Exemplification of Standards, Art: Key Stage 3
21. School Curriculum and Assessment Council, Exemplification of Standards, Art: Key Stage 3 Ibid
22. Strong, R. [1997] Keynote Talk. The Arts in the Curriculum. Invitation conference organised by the Department for National Heritage and the School Curriculum and Assessment Council
23. Strong, R. Keynote Talk. The Arts in the Curriculum. Ibid.
24. Chalmers, F. G. [1996] Celebrating Pluralism. Art, Education, and Cultural Diversity. J. Paul Getty Trust
25. Williams, R. [1976] Communications. Penguin
26. Department for Education. [1995] The National Curriculum. London. HMSO
27. Williams, R. The National Curriculum. Op. cit
28. Meecham, P. The National Curriculum. Op. cit
29. McAdoo, N. [1993] Making Sense of the National Curriculum Attainment Targets for Art : A Philosophical Perspective, Journal of Art & Design Education, Vol. 12, no. 2
30. Meecham, P. Journal of Art & Design Education, Op. cit
31. Efland, A. Journal of Art & Design Education, Op. cit