Leonardo

344 Books they did not find much response or recognition of the value ofthe visual arts and of music. The authors conclude with a discussion of how they believe those who direct universitiescan learn from artists on faculties to improve the condition of the arts and of artists. They found that despite the problems encountered, universities offer the best environment for artists, and that, in the main, artists are content in them. The results of this study may be compared with the discussion in the article by A. L. Frcundlich entitled On the University as the‘ Best Environment for Training Artists in Leorrordo 7, 12I ( 1975). Developments in Art Teaching. Terence Wooff. Open Bqoks, London, 1976. 117 pp., illus. Paper, f1.75. Reviewed by David Friend* Changes in school classroom procedures have increased at an unprecedented rate during the last decade, according to John Eggleston, United Kingdom editor of a series of books on the subject. In this one, Wooff outlines a variety of challenges that are being met to expand the scope and to realize the potentialities of art teaching. He almost makes readers into observers of primary and secondary classrooms. One notes how the integration of the visual arts with music, drama and physical education can lead to theeffective idti/ixtio/rof knowledge rather than only to its acquisition by children. One shares in teachers’ discussions on hindrances to progress and how they resolve differences of opinion. As regards improving educational facilities, the recent ‘open-plan’building, in which the visual arts are clustered, appears to offer more flexibility and opportunity for art to permeate the entire school curriculum. There is mounting evidence that the arts play a much more significant role in a child’s overall education than someeducators had previously believed. Children do better in mathematics. science and reading when methods employing only language and formulas are supplemented by an artistic method of presentation . What emerges from the book is that children, not the curriculum, are becoming central in the classroom. They arc being permitted to achieve on their own terms. Not, however. without giving attention to questions such as: Is there any order or reason behind the limitless diversity and spontaneity of children’s experiences? How can their achievement be assessed? Does achievement have relevance to the real world of children and adults? Of course, such complex questions cannot be treated fully in such a short book. Nor are there, in any event. any simple answers. If anything, the book challenges readers to study these and other complex questions that crowd together under the big umbrella of art teaching. Unfortunately, one of the most glaring problems, in my opinion, is that, despite improvements in art teaching, students leave school without the ability to evaluate the subtle artistic qualities that distinguish a painting as a work of art. That such evaluation needs inculcation, beginning at an early age, is demonstrated by the quality of students’ paintings. I estimate that over 9W2,of those displayed in ‘art’ exhibitions fail in some respect to meet Howard Conant’s cry, ‘Where is the art in art education?’ Yet, as a group, art teachers are knowledgeable and dedicated. The curriculum is simply not properly focused. Of what artistic value is a painting that is expressive but visually badly integrated? Is not the striving for a meaningful whole in an art object the goal of art education rather than segmented, partial skills obtained through formal training? Would not this goal help to internalize the process of selfdiscovery and growth towardsthe realization of the best that is in each individual? To remedy this situation, I suggest, in addition to encouraging artistic expression, priority be given to teaching the application ofthe subtle qualities of masterworks in relation to a student’s own drawing or painting. (To provide needed reinforcement of the critical process, I recommend helping *P.O. Box 405. Menlo Park, CA 94025, U.S.A. students to discern the most flagrant weaknesses in their work first, then showing them how the masters avoided them.) For in this way, expression alternates with awareness of holistic relationships and helps students to grasp what artistic oneness implies. I do not doubt that the benefits...