In 1982, the Getty Center for Education in the Arts, an operating entity of a private foundation, began to promote discipline-based art education (DBAE), a newly-articulated paradigm that had evolved within the art education field over the previous twenty years. The new paradigm, which advocated balanced and sequential instruction in aesthetics, criticism, art history, and studio production across the grades, contrasted sharply with traditional practice that focused on the student's innate creativity and expressiveness. A controversy ensued as the Getty Center and the National Art Education Association, the field's professional affiliation, each tried to advance a definition of art education practice. Rather than focusing on the contentious paradigms, this dissertation considers the Getty Center's activities on behalf of DBAE as an instance of professional challenge. Working from the sociological literature on professions and using a time series of selected Getty and NAEA documents published between 1985 and 1989, this study examines the dialectic between the Getty and the art education field and NAEA as each tries to garner sufficient legitimacy to establish its prescribed form of art education practice. The dissertation offers a new perspective for the art education field and refines professionalization literature by describing the process of professional challenge.

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The purpose of this study was to discern the topical content and educational content level of selected presentations given at National Art Education Association conferences and to identify the gender, level of involvement, and occupational background of participants who provided this information. The printed content of nineteen national conference bulletins published from 1951 through 1980 was analyzed to identify presentations and participants that focused on art education teachers, students, and programs in preschool through grade twelve.

The purpose of this study was to provide a basis for understanding among Tech Prep and School-to-Work change agents, and educational leaders, of the role that Discipline-Based Art Education (DBAE) can perform as a part of the core curriculum, within the framework of these reform movements. The literature indicated that the federally supported Tech Prep and School-to-Work reform movements were not acquainted with DBAE reform initiative which were supported by the Getty Education Institute for the Arts through the work of Regional Institutes. Therefore, they had no ideas about the possible worth of art as an education core component. Also, DBAE was not acquainted with Tech Prep and School-to-Work and therefore had established no common terminology to communicate the power of what they do in a manner which was relevant to that audience. The DBAE Regional Institutes provided individuals to assist in the development and validation of the study tools, and to participate in the pilot study. The Regional Institutes also identified the 10 Discipline-Based Art Education experts who composed the national Delphi panel for the study. The findings were reported according to research questions. They show the national Delphi panels' perceptions of which SCANS skills can be developed by Content Standards and Performance Standards from the National Standards for [Visual] Arts Education. The study concluded that: 1) there is a relationship between the Content and Performance Standards taken from the National Standards for [Visual] Arts Education and the SCANS skills; 2) SCANS Basic skills, Thinking skills, Resources skills, Information skills and Systems skills could be developed through the achievement of the Performance Standards of the National Standards for [Visual] Arts Education; and 3) the relationship between the SCANS Workplace Know-How skills and the National Standards for [Visual] Art Education was validated by a national Delphi panel. Recommendations were made for DBAE, Tech Prep and School-to-Work, and Future Studies.

This study is an historical-philosophical analysis of art education in elementary, secondary, and normal schools in the United States from 1883 to 1910 as revealed through the Journal of Proceedings and Addresses of the National Education Association. Its purposes are to define and describe the role, practices, and status of art education as related to or influenced by selected philosophies, psychologies, theories of learning, and research, along with other prevalent factors such as the scientific, industrial movements, and mores of the period. Art education was found in an admitted state of infancy as the period began. 1883 marked its initial separation from the Manual Training Department and first recognition as an entity. This study of its status traces growth and improvement to a point of tentative public acceptance, and re-attachment of the Art Department to the Manual Training Department as an equal partner. Evidence presented seemed to indicate that progress had been made by art education in several important ways. School administrators had recognized that art did have a legitimate role in education, and a national organization had been formed to act as a forum. A uniform course of study had been presented, and current research in mental development had been considered. The scope of art instruction had been broadened to better serve educational and practical needs. Facilities had been improved, and there was a growing number of trained teachers and supervisors.

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