A model for art history within discipline-based art education.

摘要

The study proposes a model for generating and organizing teaching and learning art history within the structure of discipline-based art education and the context of Australian education. The argument for the model is developed in three parts, which portray appropriate educational components for authentic understanding of art historical content as a domain of the visual arts. Part One deals with art education. Part Two explores art history as a discipline and presents the practices of the domain in five case studies of the work of selected historians. Part Three secures and interprets the elements of the study into an educational model for art history expressed as a nine-cell matrix. The model is defined, analyzed and evaluated. The study concludes with a claim of educational appropriateness justified in terms of Clark and Zimmerman's conditions for generation of adequate educational content (1983).; The educational constituents are defined in terms of general education, the North American version of discipline-based art education, and art history. A conceptual framework has been derived from Jurgen Habermas's writings on three kinds of knowledge and human interests and communicative action (1971, 1984, 1985). Habermas's work is engaged with the concept of the artworld developed by Arthur Danto. (1964). The framework for analyzing and constructing the pedagogical and disciplined elements of a learning structure for art history education in the school years are set out in a series of matrices.; Art history is defined and subsequently described in terms of authentic practices. Characteristics of practice are investigated using a range of contemporary commentary. Case studies of five selected historians, Giorgio Vasari, Alois Riegl, Erwin Panofsky, Michael Baxandall and Svetlana Alpers, constitute illustrative data to vivify the model for educational applications of art historical practice. Disciplined education is interpreted as an artworld orientation to art historical learning, using the artworld categories and three kinds of knowledge which constitute the model. The inclusively descriptive matrix uses a series of propositional cells to engage these artworld and epistemological concepts and present a necessary and sufficient scheme for pedagogical action consistent with becoming generally educated.