Dissertationen: „Art in education“

1

Lai, Shu-Ju Alice. „Virtualizing art education : An educational ethnographic case study of a distance art education course /“. The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486457871785818.

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2

Danner, Sarah E. „Creative Leadership in Art Education: Perspectives of an Art Educator“. Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217001351.

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3

Annan, Esi Sam. „SANKOFA ART EDUCATION: A CULTURAL BASIS FOR GHANAIAN ART EDUCATION“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3867.

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This study is a curriculum research project that focuses on teaching the traditional arts of Ghana and enduring artistic ideas to Ghanaian basic school students. It has been designed based on data from a survey conducted with experts in Ghana arts history and on the traditional arts of Ghana. The curriculum covers the major arts practiced by the traditional artists. It also recognizes some contemporary Ghanaian artists and their artworks. This study offers insights into Ghanaian basic school art teachers’ philosophies and experience with their traditional arts. Through analysis of the findings, the major themes that emerged were changes in the assessment strategies of the national curriculum for Creative Art subject, the opportunities this new curriculum might bring to multicultural education, and the positive effect this curriculum has had on teachers’ understanding and designing of traditional art lessons.

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4

Silverman, Karen M. „Multicultural art education /“. View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1548.html.

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Thesis (M.S.)--Central Connecticut State University, 1999.
Thesis advisor: Dr. Cassandra Broadus-Garcia. " ... in partial fulfillment of the requirements for the degree of Master of Science [in Art]." Includes bibliographical references (leaves 65-68).

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5

Smith, Timothy. „Nomadic Encounters with Art and Art Education“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480418270792104.

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6

Pedrosa, Sebastiano Gomes. „The influence of English art education upon Brazilian art education from 1941“. Thesis, Birmingham City University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332216.

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7

Lim, Kyungeun. „An Inquiry of How Art Education Policies are Reflected in Art Teacher Preparation| Examining the Standards for Visual Arts and Art Teacher Certification“. Thesis, Indiana University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10635268.

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Policy changes influence various aspects of art education such as K-12 art education curricula, state licensure systems, and contexts of art teacher preparation. Despite strong relationships between art education policy and practical fields, few studies have attempted to understand art education from the perspective of policy analysis. This study explores the connections between art education policy and the field of art education through a focus on art teacher preparation in Indiana. Additional attention was paid to perceptions of the appropriateness of alternative licensure routes in relation to policies of academic and quality standards and the extent to which visual art teachers’ sense of identity as teachers and artists is affected by appropriation of these standards.

The theoretical framework of this study is the need to understand policy appropriation of standards (including visual art and art teacher preparation standards) as an on-going process, that is continually influenced and changed by internal (human level) and external (institutional level) factors. The appropriation process is effectively expressed through practices, narratives, and texts of practitioners.

To understand the status and factors of the art education policy appropriation in art teacher preparation, I collected data as printed or digital documents, and as interviews with faculty members and pre-service art teachers in two traditional visual art teacher preparation programs in Indiana. I analyzed external (institutional level) and internal (human level) factors to adopt and work with state and national standards. While national standards for visual art education (were adopted by many states and presented as voluntary policy, in Indiana the national standards were built into the Indiana’s Academic Standards for Visual Art Standards for K-12 students. Visual art teachers were required to complete a traditional teacher preparation program and pass examinations to become licensed to teach art.

Findings reveal that faculty of higher art teacher education programs in Indiana paid attention to the national and state standards in K-12 visual art and the standards for teacher education when preparing students to become licensed K-12 art educators. External motivations were accreditations system for teacher preparation requested by Indiana Department of Education related to NCATE. Schools and districts could be external motivations that pre-service art teachers adopt the standards in order to succeed in a job market. Internal factors were respects of roles and leaders of art education associations, desires to train/be qualified teachers and attain balanced knowledge between art studio and art education. Alternative routes to licensure were viewed as economically advantageous but not supportive of high-quality education. Policy had little impact on issues of identity. I concluded with recommendations for improvement in art teacher preparation that were needs of supportive policies for pre-service teachers’ teaching and teaching licensure including traditional and alternative licensures.

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Haggar, Janette. „Issues in community art education : developing a profile of the community art educator“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0018/MQ54342.pdf.

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9

Greh, Deborah Ellen. „Computers in art education /“. Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778184.

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10

Fulton, Lori Beth. „Building Art Education Relationships with Local Art Agencies“. Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/37.

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This educational study on building art education relationships between art educators and local community art agencies was conducted in early February of 2009. Data was collected by means of an art teacher survey, mailed to the homes of metro Atlanta art educators and by conducting face-to-face interviews with professionals working in the education departments of high profile metro Atlanta art agencies. The data analysis provides insight into the goals of local K-12 art educators, and they are compared to the goals of community art agencies. The findings of this study reveal that art teachers and art agencies share many common goals and face similar challenges. And together, through networking and close communication, they may better serve the needs of students K-12 as they become lifetime participants and supports of the visual arts.

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11

Quin?ones, Agar V. „Student Art Assessments, Teacher Evaluations, and Job Satisfaction among Art Teachers“. Thesis, St. Thomas University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10745119.

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The purpose of this qualitative case study was to explore and recognize if district-created student art assessments and teacher evaluations influenced the job satisfaction of art teachers due to the increased teacher turnovers and teacher shortages. The experiences, beliefs, and perceptions of the art teachers were critical in understanding and establishing if the increased implementation of the accountability measures added to the stress level and job satisfaction experienced by art teachers. The sample for this case study comprised of 10 male and female art teachers who were certified to teach art within the State of Florida for at least five years and were currently or formerly employed in the Central Florida region. The art teachers were invited first through email invitations and subsequent participants were recruited through the snowball method. Data gathered in this study was collected through audio and visual recordings through the semi-structured interview process. The data collected were analyzed using NVivo 11 Pro (QSR International, 2017) software to uncover themes, patterns, and critical phrases shared by participants. The five themes were: (a) there is a greater level of stress is experienced by teachers from student art assessments and teacher evaluations than ever before; (b) there is much confusion and lack of information on the purpose, procedures, and calculation of student art assessments and VAM scores; (c) class size and an overloaded schedule are detrimental to both the already heightened stress level of art teachers; (d) a supportive, understanding, and appreciative leadership team at each school has a positive impact on an art teacher; (e) a teacher evaluation system that is applicable and fitting for performing arts courses is a necessity within the district. Research findings from this qualitative study exposed the experiences, perceptions, and challenges art teachers have encountered in relation to the district-created student art assessments and teacher evaluations, while teaching in the Central Florida region.

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Albakri, Ghadah Shukri H. Shukri. „Transforming Art Education in Saudi Arabia: Inclusion of Social Issues in Art Education“. Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707324/.

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The purpose of this study was to describe in-service Saudi Arabian art education teachers' (a) philosophies of education before and after an issues-based art education (IBAE) workshop, (b) perceptions of the IBAE workshop and its products, (c) perception of the importance of IBAE approach, reasons, topics, and challenges after the workshop, and (d) perception of IBAE within the Saudi Arabian context. A mixed-methods approach was followed. The qualitative portion of the study utilized a post-workshop questionnaire and reflective essay completed by 37 participants, and personal teaching journal protocol and focus group discussion from 18 participants who attended the workshop and implemented the IBAE lesson in their classrooms. Analysis of the data confirmed that art teachers' perspectives towards IBAE positively increased after attending the IBAE workshop. Specifically, in the quantitative findings, participants indicated a positive attitude toward the teaching philosophy of social reconstruction after the IBAE workshop. These results demonstrate that the tenets of social reconstruction align with the IBAE approach. In addition, the quantitative data suggests that teacher participants' overall perception of the importance of addressing social issues in the art curriculum was positive, with 91.9% of respondents agreeing. Overall the qualitative findings, indicated a positive attitude toward the IBAE workshop. Further, the analysis confirmed that these teachers had positive perspectives toward incorporating social issues in their art education again in their classroom of the IBAE approach especially within the Saudi Arabian context.

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13

Lutkus, Lauren Julia. „Holistic Approaches to Art Education: A Case Study of Choice-based Art Education“. Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1564572381222662.

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14

Sharp, Neil. „Modernity, art and art education in Britain, 1870-1940“. Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.

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15

Smith, Devin. „Augmented Reality in Art Education“. The University of Arizona, 2016. http://hdl.handle.net/10150/621860.

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As digital media changes constantly, art education must stay updated with current and emerging technologies and pedagogies in order to stay relevant. One specific technology that has many potential applications in the art classroom is augmented reality (AR), as its uses are diverse and can offer engaging and collaborative experiences to students. This qualitative research examines possible ways in which AR can be utilized in art education, while also studying whether or not AR can enhance three different learning activities set to students in 3rd-10th grade.

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16

Uhl, Allison K. „Understanding Innovation in Art Education“. Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587998333171341.

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17

Yoon, Sohhyoun. „VIRTUAL REALITY IN ART EDUCATION“. VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2021.

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This thesis project presents possible uses of Virtual Reality for art education. To understand VR, this thesis reviews the history of using technology in educational environments and explores the concepts, definitions, and characteristics of VR in general. Then, it shows diverse purposes of VR for education and art educational environments. For an art class, the units present the use of Teen Second Life, which is a free on-line virtual world. The units demonstrate how art educators may use Teen Second life for high school art classes to build students’ understandings of their identities by creating their avatars, clothing, objects and artwork and by displaying the artwork in a virtual community. The purpose of this thesis project is to suggest possible uses of VR for art educational environments.

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Williams, Cheryl Lynn. „Mapping the art historical landscape : genres of art history appearing in art history literature and the journal, Art education /“. Connect to this title online, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1102365647.

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19

Hardy, Cheryl Winifred Mary. „Bourdieu and the art of education : a socio-theoretical investigation of education, change and art“. Thesis, University of Winchester, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550217.

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This thesis presents a series of small-scale empirical investigations into artists, education and change. It is flamed by a theoretical perspective derived from the work of the French social theorist Pierre Bourdieu and his conceptualisation of the social world and its functioning in relationship to education, formal and informal, and, artistic and cultural change. See (Bourdieu, 1977/72), (Bourdieu and Passeron, 1970), (Bourdieu, 1993). The thesis combines published book chapters and journal articles with a previously unpublished commentary to highlight aspects of education and artistic change in terms of habitus field, and cultural capital. Each empirical research project employs a three-level relational approach (Bourdieu 1992) to the analysis of artists' biographies, including their educational experiences in relation to cultural institutions, and to the changing structures of the artistic field. Artists are studied during the 30s and 40s in St Ives, in the 40s and 50s in New York, and at the turn of the twentieth century in London. The studies investigate how artists of a certain habitus constituted themselves as an avant-garde by their positioning within the art, field and the broader social space, and examine the role of education in the development of an artistic avant-garde. In each case, configurations of social, economic and cultural capital are examined to show the crucial role of education at times of change. The temporal structure of social change and its disruptive effects are discussed directly in a book chapter -Hysteresis. Cultural institutions are also analysed as sites of informal education and artistic consumption, e. g. through field analyses of the founding of three major museums. The study explores how such a social analytical approach to artistic production enriches and deepens our understanding of the 'rules' of art and the part played by education within this. Qualitative analyses of this type which apply Bourdieu's methodology and theory of practice to art and culture are original and have been developed from the earlier work of Grenfell (Grenfell, 1995) that explored the nature of pedagogical habitus for trainee teachers. A series of qualitative methods have been developed by the author and are presented in this thesis. Concluding remarks also address what, in the author's view, are the advantages and limitations of adopting a Bourdieusian approach to the study of the social world.

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20

Reibel, Shannon. „THE FUTURE OF AESTHETICS IN/AND VISUAL CULTURE ART EDUCATION IN 21ST CENTURY ART EDUCATION“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1752.

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This grounded theory project researches and analyzes publications from 1990-2008 assessing the debate over aesthetics in/and VCAE in 21st century art education. Through a series of visual models, a working theory and its supporting evidence assess this contested subject. Within the context of Modern and Postmodern paradigm conflict, art educators’ debate over aesthetics in/and VCAE fundamentally deals with differing conceptions of identity and freedom. Although commonly sharing the goal of fostering the formation of student identity through the provision and exercise of freedom, art educators’ differing perspectives on identity and freedom result in differing prescriptions for 21st century art education. By presenting qualitative data analysis through grounded theory, I guide fellow art educators through this debate by providing snapshots of information as well as detailed portraits of the scholars and their multifarious rationales.

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21

Muirheid, Amanda J. „Visual Culture within Comprehensive Art Education and Elementary Art Curriculum“. Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/80.

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This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas.

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22

Black, Christen Anne. „(Re)presenting Art Therapy: A Critical Conversation With Art Education“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306962321.

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23

Hillard, Wonda Y. „An Art Educators' Perception of an Art Professional Development Workshop“. ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6578.

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There are no guidelines in South Carolina for developing workshops that reflect the needs of art educators, and there are no tools to evaluate and support their professional development. The problem is a lack of informative, substantive, and academically oriented art inservices that are standards-based and focused on the enhancement of pedagogy, teaching strategies, and content. The purpose of this case study was to explore participants' perceptions of an art professional development workshop as an approach to examining art standards, instructional strategies, and policy changes. Dewey's experiential theory served as the conceptual framework. A purposeful sample of 10 art educators who attended a district-sponsored professional development workshop participated in this study. After the workshop, data about educators' perceptions of the inservice were collected through a beta test and a focus group with 2 participants, 1 open-ended questionnaire with 8 participants, and a workshop observation with 20 participants. Data were analyzed using comparative analysis to identify patterns in the data. Member checking and triangulation were used to verify the data and control bias. Five themes emerged from the data: adult-centered hands-on learning, professional development experiences, grants, collaboration and networking, and best practices. This study contributes to social change by showing the importance of on-going adult-centered, research-based, hands-on professional development for educators addressing visual art standards, practice, instructional strategies, policy changes, and the facilitation of student-centered activities.

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Kim, Sunah Irvine Hope. „Art in schools: considering the profession of teaching secondary art“. Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.

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25

Lintner, Natalie Elaine. „Living art history in the elementary art room“. The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407397595.

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26

Taylor, Kristin Vanderlip. „Visual Art Communities of Practice| Cultivating Support for Beginning Visual Art Teachers“. Thesis, Pepperdine University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816921.

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Visual art teachers, from beginning to veteran, often report experiencing feelings of professional isolation and a desire for content-specific support and collaborative professional learning experiences. Mentoring and Induction Programs (IPs) offered by schools and districts continue to fall short of meeting the needs of beginning visual art teachers in particular. There are a large number of visual art teachers in the state of California, especially in Los Angeles County, yet there are no visual art specific support networks for beginning visual art teachers to help them navigate their first years teaching. Collaborative learning groups, such as communities of practice (CoP), may offer visual art teachers opportunities to learn together and support one another in shared learning, yet none have been formally documented in Los Angeles County as a means of supporting novice art educators. The Exploratorium in San Francisco, CA has established a community of practice called the Teacher Induction Program (TIP) to support beginning science teachers with content-specific pedagogy during their first two years of teaching. Using the TIP as a framework, a visual art professional growth support community was outlined for this study based on the needs and concerns of visual art teachers reported throughout the literature. Beginning visual art teachers in Los Angeles County were interviewed to help the researcher better understand their existing and desired supports, as well as their individual needs and concerns as new teachers. The visual art CoP was proposed to them to elicit feedback about its anticipated values (immediate, potential, applied) based on their lived experiences as first or second year PK-12 public school visual art teachers in Los Angeles County.

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27

Ashworth, Elizabeth Laura Auger. „Elementary art education : an expendable curriculum?“ Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2403/.

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This ethnographic study was initiated by the concern that elementary art education is an endangered subject, not only marginalised but expendable. This concern was based on informal conversations with pre- and in-service teachers and observations during pre-service teacher evaluations in elementary schools in Ontario, Canada. From these conversations and observations, it seemed that the emphasis in elementary schools is on core subjects with anything else deemed to provide balance alongside initiatives to improve literacy, numeracy, character, and inclusion. The school day is teeming with subjects and initiatives and the resulting crowded curriculum may be affecting teaching and learning in non-core subjects, such as art, negatively. In addition to such external issues are individual challenges faced by generalist teachers with little or no background in visual arts. These teachers’ lack of comfort with art might, I surmised at the start of this study, impede the effective planning, implementation, and assessment of art education. To understand what impacts art education, specifically visual arts instruction, I used a variety of interpretive enquiry methods to interrogate what makes art in elementary schools a vulnerable if not an expendable subject. Initially seeking to find out if art was expendable, I went beyond this to explore perceptions of teachers on teaching art through a localised small-scale study involving 19 elementary teachers in two school boards in north-eastern Ontario. I conducted interviews, recorded observations, and read related documents to answer my research questions, which were as follows: Why is art education important, or not, for students, educators, parents, and other stakeholders? Is art jettisoned in favour of implementing other policies and curricular subjects? Do teachers use other programmes and initiatives as an excuse not to teach art? How do teachers feel about teaching art? Is art expendable? Nussbaum’s (1997) capacities (critical self-examination, connectedness with the world, narrative imagination, scientific understanding) provide the theoretical framework for the study, support the analysis of the state of art education, and help defend its importance at the elementary level. Possible barriers to effective art education (history, policy, practice, economics, geography) and how they may affect learners’ ability to connect with the capacities through visual arts instruction are also analysed and discussed. Through this study, I found that elementary art education is threatened in the participants’ schools for a number of reasons including external issues (minimal attention to, inconsistent delivery of, and poor funding for the mandated art curriculum; a high focus on literacy, numeracy, and other initiatives) and internal issues (discomfort with teaching art; wide range of concepts of art). The study concludes with concerns regarding overall problems with miscommunication and disconnection that threaten effective elementary art education. Recommendations for addressing external and internal issues, and these overall problems are outlined, along with plans to improve art education in pre-service teacher education, in-service practice, and the world beyond the classroom.

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Teschers, Christoph. „Education and the Art of Living“. Thesis, University of Canterbury. School for Educational Studies and Leadership, 2013. http://hdl.handle.net/10092/8688.

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Today’s societies are characterised by a host of opportunities and challenges. The pace of life is quicker than ever before, and the changes and developments in societies, science and technology come about faster every day. One of the major challenges for human beings is to make a myriad of choices on a daily basis, which will define their place in society, in life and in the world altogether. To make prudent and sensible decisions is, therefore, one of the key competencies for a successful and good life. This study revisits the idea of an education focused on the personal development and well-being of human beings instead of economic growth. Drawing on philosophical ideas about the good life -- especially Schmid’s art of living concept Lebenskunst -- and recent research in positive psychology, an argument is made for a shift of focus in education and schooling towards a good life and an art of living for today's students. Possible implications of this change of focus for educational practice are discussed, including suggestions for curricula and school subjects, the structure of schools and learning environments, teaching methods, and teacher training. The original contributions to knowledge in this study are: a critique of Schmid's concept from an educational point of view; a comparison of positive psychology research and philosophical concepts of the art of living with a focus on Schmid's work; the development of an educational approach to the art of living, including a discussion of schooling in relation to the art of living; and consequent first steps towards the development of an education for life concept.

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Gray, Carole. „Teaching styles in higher art education“. Thesis, University of Aberdeen, 1988. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=128434.

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The purpose of this study was to identify teaching styles in higher art education. The research was qualitative, and the methodology was one of triangulation, involving the views of lecturers, students, and the observer (author). Preliminary interviews with students and staff at one college provided the framework for the research and highlighted basic important variables in teaching art at college level. A 3D perspex model was designed to encourage lecturers to exteriorize and articulate in a visual/spatial way the various emphases they had in their teaching. The resultant form was a 3D 'concept map', indicating the person's approach or style. The research was replicated at another college, and extended by videotaping lecturers teaching, and interviewing students. Cluster analysis was used with the model data to establish groupings of lecturers, and when cross-referenced with the analysis of student interviews and videotapes/observations resulted in four different styles of teaching, which were labelled 'Fundamentalist', Structurist', 'Objectivist', and 'Artist'. There was found to be no real difference in style that could be attributed to the two different institutions; length of teaching experience markedly influenced styles; aims objectives and philosophies of courses had a strong influence on teaching styles.

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Springborg, Claus. „Art-based Methods in Management Education“. Thesis, Cranfield University, 2014. http://dspace.lib.cranfield.ac.uk/handle/1826/9212.

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The purpose of this dissertation is to develop explanatory theory for the learning processes facilitated by art-‐based methods in management education (ABMs). Such theory is important because managerial educators increasingly use ABMs, and without a well-‐developed theory it may be difficult to realise these methods’ full potential. Current research on ABMs uses theories from other fields but generally sees ABMs as methods for making important information available for reflection, e.g. information about unconscious assumptions, aesthetic experience, or non-‐propositional or tacit knowledge. This shows that the field is grounded in a representationalist view of cognition. This view of cognition makes it difficult to explain certain themes in the research field, such as, the importance of staying with the senses without reflecting, aesthetic agency, and the process of making. I therefore asked: What insights can be gained from exploring ABMs, using theories grounded in the embodied view of cognition, in particular Conceptual Metaphor Theory (CMT) (Lakoff & Johnson, 1999) and simulation theories (Barsalou, 2008). For the empirical work, I used an experimental design with 60 managers from Danish companies. All participants selected problems from their work they perceived as important, yet unsolvable. They were randomly divided into three groups: Two groups using different ABMs to address problems and a comparison group where no ABM was used. The experiment indicated that 1) creating new metaphors for a problem based on different sensory metaphors enabled the participants to import behaviour from contexts unrelated to the problematic situation, and 2) focusing on sensory experience enabled participants to remove judgments about self or others. Furthermore, the experiment indicated that learning outcomes reflected participants’ experience of the concrete learning intervention. These findings contribute to CMT by suggesting that it is possible to formulate relationships between changes in metaphors and specific learning outcomes. They contribute to ABM by suggesting that experiences that participants have during ABMs are later used as tools for structuring other experiences – not merely as data for reflection.
ESRC (Economic and Social Research Council)

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31

Wipert, Cheryl A. „Promoting Gender Equity Through Art Education“. The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391770302.

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32

Pace, Christine R. „Art Museum Education and Well-Being“. Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469887811.

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33

Langdon, Elizabeth Ann. „Place-Based and Intergenerational Art Education“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011804/.

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This qualitative inquiry explored how art educators might broaden their views of place through critical encounters with art, local visual culture, and working with older artists. I combined place-based (PB) education and intergenerational (IG) learning as the focus of an art education curriculum writing initiative with in-service art educators within a museum setting to produce PBIG art education. This study engaged art educators in cooperative action research using a multi-modal approach, including identifying and interviewing local artists to construct new understandings about local place and art to share with students and community. I used critical reflection in our cooperative action research by troubling paradoxes in local visual culture, which formed views of place including Indigenous cultures. Using Deleuze's Logic of Sense (LOS) theories of sense and event, enabled concept development through embracing the paradoxes of this research as sense producing. LOS theory of duration complements IG learning by clarifying the contributions of place and time to memory and experience. Duration suggests that place locates the virtual past, which is actualized through memories--one of the shared experiences of IG learning. Rethinking IG relationships as a sharing of experience and memory while positioning place as a commonality, dismantles ageist notions by offering alternatives to binary thinking about old and young. By triangulating participant data based on the extended epistemology of cooperative action research and Deleuze's pure event, I assess the credibility of participant learning. Critical reflection in cooperative action research combined with LOS theory is significant because the reflective aspect of action research aligns with Deleuze's pure event. Vital curricula and teacher praxes resulted when participants integrated localized experiences of place through older artists' memories and art.

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Villeneuve, Pat. „Contending art education paradigms and professionalization“. Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185997.

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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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Dmytryuk, S. „Educational technologies in art and design higher education of great britain“. Thesis, Diamond trading tour, 2017. https://er.knutd.edu.ua/handle/123456789/8263.

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The article provides an overview of different types educational technologies used for learning and teaching in Art and Design higher education of Great Britain. In particular, special attention is paid to the use of 3D visualization technology for educational purposes.

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Myers, Sally Ann. „A description and analysis of preconceptions about art and art education held by preservice elementary education students“. Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/186018.

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This study is concerned with pre-existing beliefs or preconceptions teacher candidates bring to their methods classes. It specifically addresses students in art education methods classes at a middle sized midwestern university and the population of generalist teachers the classes serve. The research question is particularly important because of the emergence of a new theory for delivering art education, discipline-based art education (DBAE) (Greer, 1984), that has challenged the existing art education paradigm. The study draws heavily on curriculum enactment research (Doyle, 1978). Through interviews with two groups of students, one entering and one exiting the teacher education program, the research seeks to identify and analyze the persistence of students' preconceptions about art and art education. The study's analytical framework is drawn from two bodies of research: (1) science and math studies concerning preconceptions held by students about subject matter; and, (2) studies of teachers and teacher candidates regarding the effect of their implicit beliefs on instructional choice and activities. The study finds that students have various preconceptions. Students believe that art is significantly different from other subjects. Instruction and evaluation are not deemed appropriate. Students believe that providing instruction or setting limits in an art activity is likely to restrict their students' creativity, and that any evaluation is a threat to students' self satisfaction. Entering students believe that talent is a genetic trait and can be improved very little by instruction. A prevalent preconception about observing and analyzing art is that all explanations for an artwork are equally valid since only the artist knows the real meaning behind the work. Despite a curriculum that was designed to teach students a discipline-based approach to art education, a model that emphasized the value of instruction, analysis and evaluation, many of the students' perceptions persisted. Most surprisingly, and importantly, preconceptions concerning talent and training, and instruction persisted. Although students moved toward a DBAE paradigm in some of their beliefs, in most respects students' preconceptions remained unchanged by the art methods classes.

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Palumbo, Jill. „ASSESSING ARTS EDUCATORS: HOW THE PERFORMANCES OF PUBLIC AND PRIVATE HIGH SCHOOL ART TEACHERS ARE ASSESSED IN VIRGINIA“. VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3204.

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Teacher assessment is a hot topic in today’s high-stakes, test-driven, accountability-focused educational environment. My recent research addresses how high school art educators, under the umbrella of non-tested subjects and grades, are assessed in their classroom teaching practices in Virginia. Based on my findings, it is clear that while the teachers surveyed do not fear accountability, they are wary of being evaluated by those who lack the content knowledge in the arts, by methods that are subjective, and with criteria that is inflexible. This thesis addresses the need to develop open forums that include the educator’s voice in order to create better teacher assessments that focus on student learning achievement in authentic and holistic ways. By learning about and sharing resources regarding how teachers in non-tested subjects and grades are evaluated suggestions are made to organize resources that may help develop more authentic assessments for art teachers focusing on meaningful student learning and achievement.

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Breitenstein, Gary. „A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation“. Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3156/.

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Texas programs in pre-service art teacher preparation vary little. Since 1970, the National Art Education Association (NAEA) has created voluntary standards in hopes of decreasing variability among programs. In 1999, the NAEA published Standards for Art Teacher Preparation, outlining 20 content areas that art pre-service programs should provide their students. To obtain information on the implementation and the extent to which these 20 standards are being implemented, a questionnaire was sent to all programs in Texas. The 20 standards were the dependent variable for the study. The four independent variables used in this ex post facto study were: the size of the institution where the program exists; the number of full-time art faculty; the number of full-time art education faculty; and, the number of undergraduate art education students who graduated last year. The 20 standards or provisions were scored on a Lickert scale with six options: zero (not taught) to five (comprehensively taught). The response size (N = 23) was 47% of the state's 49 approved programs. The results from the survey suggest no significant difference among programs. However, the results showed a significant difference in the number of provisions taught between programs with no art educators and those with 1 to 3 art educators. One art educator seemed to increase the number of pedagogical provisions taught but did not increase the extent or enhance the degree to which each provision was taught. A comprehensively taught response to the NAEA provisions on the questionnaire was further investigated through analysis of catalog course descriptions and correspondence with participants. The results are estimated in credit hours and indicate that there may be a point where time on task decides the limit that constitutes a comprehensive preparation. Perspectives on content are discussed and regarded as too subjective to define comprehensive preparation. Comprehensive time on task varies with content, which may imply an unconscious marker of time shared by educators that defines a comprehensive preparation for each provision. Changing and local standards in art pre-service programs may have produced a range of interpretations regarding the meaning of "comprehensively taught.";

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Nichols, Laura. „Assessing Multicultural Art Education: What approaches are currently being used in Virginia public high schools?“ VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2298.

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This study utilized a survey of Virginia public high school teachers to examine how teachers understand multicultural education, how frequently they teach from this perspective, what cultures are represented, what teaching strategies they use, and what, if any incentives would encourage them to teach in this way more frequently. Through analysis of the findings, three major themes emerged which describe participants’ views of the purpose of multicultural education. These themes are “exposure” to other cultures, “understanding” of the way cultures interact and of the context surrounding a culture’s art, and promoting “equity” in the classroom environment and by encouraging students to view other cultures with greater tolerance. The findings of this study were presented at the 2010 VAEA conference and to Virginia art specialists.

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Bowers, Sylvia Gibson. „Multicultural Art Education: Possibilities for Reducing Cultural Conflict in the Art Classroom“. The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392893834.

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41

Underhill, Helen P. V. „Art school, art world, art circuit : an ethnography of contemporary visual art education and production in two Palestinian locations“. Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30303/.

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Alvarez, Azalea Aluija. „The effects of an augmented art curriculum on the attitudes of high school art students toward diversity in art“. FIU Digital Commons, 1995. http://digitalcommons.fiu.edu/etd/1118.

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The purpose of this study was to investigate the effects of an augmented art curriculum on high school art students to determine if those receiving it had more positive attitudes toward diversity in art and used diversity in their art more than students receiving traditional instruction. This study was conducted in a South Florida public high school, with beginning art students. Using a posttest-only control group design and ANOVA (a = .05), it was found that students (n = 54) receiving an augmented art curriculum did not have significantly higher scores on the Attitudes About Art questionnaire than students (n = 57) receiving traditional instruction F (1, 91) =.00, p > .05. However, using the Checklist of Cultural References in Student Art to evaluate student work it was found that there was a significant teacher effect F (1, 30) = 14.14, p

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Bianchi, Jessica. „A Week in Your Shoes| The Impacts of a Visual Art Program Informed by Clinical Art Therapy With Adolescents in a School Setting“. Thesis, Loyola Marymount University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3671778.

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This study looked at the impact of a weeklong visual art program informed by clinical art therapy on empathy development with two groups of adolescents in their school setting. The study used a mixed-methods approach to uncover any quantitative change in empathy as well as identify emergent themes seen through qualitative data. Quantitative outcomes indicated no change in empathy development as seen through analysis of a survey measure. Qualitative analysis uncovered several key findings seen through observations, participant interviews, and visual art data; most specifically, participants illustrated beginning levels of empathy by way of increased self-awareness and several cognitive functions involved in empathy development.

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Tiranasar, Ampai. „Art education for elementary school teachers : a study of educational needs in Thailand /“. The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu148726013535529.

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45

Fouquet, Monique. „Contemporary art/contemporary pedagogy : interrupting mastery as paradigm for art school education“. Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31304.

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Contemporary art/contemporary pedagogy: interrupting mastery as paradigm for art school education is a narrative exploration of artistic and pedagogical practices within the specific context of post-secondary art school education in stand alone art schools as opposed to a university art department. This study considers the following three primary questions: How can art school education better reflect postmodern cultural production? What are some of the ways in which pedagogical practice disrupts the monolithic model of mastery? How can art school pedagogy be re-oriented away from an overly deterministic notion of education? Through reflexive inquiry, I offer a personal perspective on art school education, weaving together my own experiences as student, artist, teacher and administrator, and juxtaposing 'my' text against the text of three artist pedagogues, representing specific aspects of field experience. Throughout the dissertation I seek to unearth the hidden assumptions that are embedded in historically inherited ways of being and doing in relation to contemporary art. I suggest that the partitioning of the institutional space into studio disciplines also segregates knowledge, and as such, largely determines the pedagogical framework of art schools. In the face of the interdisciplinary character of contemporary practice, I question the usefulness and relevance of disciplinary pedagogues modeled around the notion of achieving mastery as a paradigm that has shaped curricular practices in art schools in the past, and largely continues to define art school education today. I propose that the three artist pedagogues in this dissertation are each contributing to creating new inquiry structures that challenge boundaries between studio disciplines, between school and not-school, and between and among places of learning. I end by suggesting, as a topic for further research, complexity science as it may offer a productive framework to re-consider art school education.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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46

Park, Jeong-Ae. „Modernism and postmodernism in contemporary Korean art : implications for art education reform“. Thesis, Roehampton University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362641.

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47

Bernasconi, Gina. „Art and religious education: Seeking meaning in the sacred seriousness of art“. Thesis, Australian Catholic University, 2006. https://acuresearchbank.acu.edu.au/download/4866d8aeffa87aa911cd9ec0550330f1da5a5413861095d66dc5812ac891d9b1/3609586/Bernasconi_2006_Art_and_religious_education_seeking_meaning_in.pdf.

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In relation to the post-compulsory religious education program of a Catholic secondary college for boys, this research study set out to ascertain the role of art as a medium for the self-revelation of God in the linking of aesthetic and religious experience. In other words, this research study proposed to provide a group of students with a space and opportunity for a ‘calling to attend’ experience of God; that is, an experience that was compelling. The theoretical framework called on two types of concepts: first, those related to the theological investigation of revelation and its connection with the aesthetic and religious experience; and secondly, those developed from current educational research and research into Religious Education paradigms. The development of this research study therefore: established the context within which the study was situated; discussed a theological framework from Hans Urs von Balthasar and its links with this research study; examined the theory of Bernard Lonergan that art was a carrier of meaning for religious experience; discussed the role of revelation, aesthetic and religious experience and the religious imagination located within the ‘graced nature’ concept of Catholic theology; and sought to determine the contribution such a learning experience could make to the religious development of post-compulsory students in a boys’ senior secondary college. This study operated within a constructivist paradigm using case study and qualitative research methods. A focus group provided the research instrument for data gathering and included: participant observation; field notes; focus group discussions; and transcript analysis of the taped conversations of participants. The findings of this research study provided direction for further research and practice in post-compulsory religious education classroom program.

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Granlund, Magdalena, und Maria Silén. „"We Really Are Not Artists, We Are Military. We Are Soldiers": The Street Art Culture of Chile and its Power in Art Education“. Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35528.

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This thesis describes the street art culture of Chile and its power in art education. The thesis highlights the didactic questions what, how and why. With the Swedish art curriculum in upper secondary education (Skolverket, 2011) as a starting point, the following research examines what topics street artists in Chile address in their work; and how and how can educators in Sweden use street art in the classroom when they wish to highlight topics such as communication, identity and democracy, and with what purpose. The implementation of the study is based on a method of qualitative research. Semi structured- as well as informal interviews are used. Observation in form of visual field notes is presented through photography. This results in four different themes that is highlighted. The themes are cultural heritage, artivism and democracy, identity and school. The conclusion regarding what benefits street art may serve in school are that Swedish teachers in upper secondary art education can benefit from using street art in the art classroom when they wish to highlight the communicative aspects of street art. Another conclusion being made is that Chilean street artists use street art as a communicative tool when they wish to highlight topics such as cultural heritage, political views and as an identity marker.

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Gormly, Robin K. „Education for Education's Sake? Exposing the Arts District of Downtown Dallas“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4876/.

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This thesis discusses the relatively new approach of art education, by paralleling it to Marxist ideology on art. The Dallas Arts District is one example of a city where museum art education is in conflict: being adopted more vigorously by some and with less acceptance by others. In order to provide a glimpse into the museum ideology of downtown Dallas, previous schools of thought regarding the role of curators and the introduction of educators into museums will be detailed, as well as conflicts between these two factions. The following questions will be addressed: Is museum art education truly a movement which strives to infuse the American culture with a greater appreciation of art? Is there a link to overcoming Marx's key issue of class? How is the movement affecting the Dallas Arts District and to what extent is museum art education being utilized within this forum? Is the emphasis toward museum art education greater in Dallas than in other large cities across the United States, and if so, how has that affected the cities' patrons?

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Ewing, Gillian. „Secondary school art education : the artist’s viewpoint“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25386.

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Artists are seldom consulted in the making of school art programs yet many are vitally concerned with the need for a visually literate public. This study summarizes the history of art education, examines recent issues documented by art educators, looks at opinions of artists of this century on the teaching of art, and presents interviews with six British Columbian artists to elicit their thoughts on what is necessary in a secondary school art curriculum. The interviews are essentially informal in nature and only those remarks dealing with secondary school education, or related concepts, are included. The final chapter contains an infusion of the artists' ideas under headings suggested by issues raised by art educators. An evaluation of the data collected from the interviews leads to recommendations for consideration for secondary school programs and the conviction that artists should be encouraged to participate in matters relating to art education.
Education, Faculty of
Graduate

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Dissertationen zum Thema „Art in education“

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