Ellen Winner is Professor Emerita of Psychology at Boston College, where she taught from 1978 until 2020, served three terms as chair of her department, and directed the Arts & Mind Lab. She is a long-time member of Project Zero, a research group on education and the arts at Harvard's Graduate School of Education. She received a B.A. in English Literature from Radcliffe College and a Ph.D. in Psychology from Harvard. Her research focuses on development in the arts in typical and gifted children, arts education, and philosophical questions about the arts that can be addressed empirically. She has published over 200 empirical articles as well as six previous books.

• Preface Chapter 1. A 1982 Journey to Reggio Emilia Chapter 2. A 1987 Journey to China Chapter 3. Art Education in 19th Century America: Parallels to China Chapter 4. The Progressivist Revolt: Parallels to Reggio Emilia Chapter 5. Two Offshoots of Progressivism: Arts in Education Movement and Aesthetic Education Chapter 6. Arts as its Own Academic Discipline: Discipline-Based Art Education Chapter 7. Putting Making at the Center: The Arts PROPEL Alternative to Discipline-Based Art Education Chapter 8. Standards and Assessment: The Struggle for Authenticity and Reliability Chapter 9. Shameless Utilitarianism: Arts for Boosting Academic Performance Chapter 10. Studio Thinking: Teaching for Artists' Habits of Mind Chapter 11. Reimagining Art Education for the Twenty-First Century (and More Parallels to Reggio Emilia) Final Words

What Uneasy Guest does is lay out, chronologically, how art education has progressed in the United States, beginning with 19th century art classes as a way to encourage "moral and social utility" in young students and moving through progressivism in the 1940s, the quick failed move into disciplined based art education in the 1960s, extreme utilitarianism of the 1980s and 1990s (where we still hear echoes strongly today), and into possible futures for the arts in schools. She contrasts authentic art goals versus subservient arts integration and asks whether art class is a sanctuary or whether it is an integrated part of a whole educational system.

Ellen Winner is Professor Emerita of Psychology at Boston College, where she taught from 1978 until 2020, served three terms as chair of her department, and directed the Arts & Mind Lab. She is a long-time member of Project Zero, a research group on education and the arts at Harvard's Graduate School of Education. She received a B.A. in English Literature from Radcliffe College and a Ph.D. in Psychology from Harvard. Her research focuses on development in the arts in typical and gifted children, arts education, and philosophical questions about the arts that can be addressed empirically. She has published over 200 empirical articles as well as six previous books.

• Preface Chapter 1. A 1982 Journey to Reggio Emilia Chapter 2. A 1987 Journey to China Chapter 3. Art Education in 19th Century America: Parallels to China Chapter 4. The Progressivist Revolt: Parallels to Reggio Emilia Chapter 5. Two Offshoots of Progressivism: Arts in Education Movement and Aesthetic Education Chapter 6. Arts as its Own Academic Discipline: Discipline-Based Art Education Chapter 7. Putting Making at the Center: The Arts PROPEL Alternative to Discipline-Based Art Education Chapter 8. Standards and Assessment: The Struggle for Authenticity and Reliability Chapter 9. Shameless Utilitarianism: Arts for Boosting Academic Performance Chapter 10. Studio Thinking: Teaching for Artists' Habits of Mind Chapter 11. Reimagining Art Education for the Twenty-First Century (and More Parallels to Reggio Emilia) Final Words

What Uneasy Guest does is lay out, chronologically, how art education has progressed in the United States, beginning with 19th century art classes as a way to encourage "moral and social utility" in young students and moving through progressivism in the 1940s, the quick failed move into disciplined based art education in the 1960s, extreme utilitarianism of the 1980s and 1990s (where we still hear echoes strongly today), and into possible futures for the arts in schools. She contrasts authentic art goals versus subservient arts integration and asks whether art class is a sanctuary or whether it is an integrated part of a whole educational system.

Ellen Winner is Professor Emerita of Psychology at Boston College, where she taught from 1978 until 2020, served three terms as chair of her department, and directed the Arts & Mind Lab. She is a long-time member of Project Zero, a research group on education and the arts at Harvard's Graduate School of Education. She received a B.A. in English Literature from Radcliffe College and a Ph.D. in Psychology from Harvard. Her research focuses on development in the arts in typical and gifted children, arts education, and philosophical questions about the arts that can be addressed empirically. She has published over 200 empirical articles as well as six previous books.

• Preface Chapter 1. A 1982 Journey to Reggio Emilia Chapter 2. A 1987 Journey to China Chapter 3. Art Education in 19th Century America: Parallels to China Chapter 4. The Progressivist Revolt: Parallels to Reggio Emilia Chapter 5. Two Offshoots of Progressivism: Arts in Education Movement and Aesthetic Education Chapter 6. Arts as its Own Academic Discipline: Discipline-Based Art Education Chapter 7. Putting Making at the Center: The Arts PROPEL Alternative to Discipline-Based Art Education Chapter 8. Standards and Assessment: The Struggle for Authenticity and Reliability Chapter 9. Shameless Utilitarianism: Arts for Boosting Academic Performance Chapter 10. Studio Thinking: Teaching for Artists' Habits of Mind Chapter 11. Reimagining Art Education for the Twenty-First Century (and More Parallels to Reggio Emilia) Final Words

What Uneasy Guest does is lay out, chronologically, how art education has progressed in the United States, beginning with 19th century art classes as a way to encourage "moral and social utility" in young students and moving through progressivism in the 1940s, the quick failed move into disciplined based art education in the 1960s, extreme utilitarianism of the 1980s and 1990s (where we still hear echoes strongly today), and into possible futures for the arts in schools. She contrasts authentic art goals versus subservient arts integration and asks whether art class is a sanctuary or whether it is an integrated part of a whole educational system.