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1
Allen-Masacek, Marjorie Kirsten. „Teaching ARTifacts: Teaching art with a cultural lens“. CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1925.
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2
Pentland, Kathleen Ann. „Similarities and differences in perceptions held by secondary art teachers, secondary art students and animators on the role and character of animation in art education“. Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28998.
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The purpose of this study was to discover similarities and differences in opinions held by secondary art teachers, secondary art students and animators on the role and character of animation in art education. The problem was to determine whether the relative neglect of animation as a part of the art curriculum has come about because the techniques and concepts associated with it are seen as difficult and/or unnecessary to implement by teachers; or whether students are unfamiliar and uninterested in animation as a field of study; or whether animation, in the opinion of professional animators, is not a suitable subject for study.
The study was conducted with five secondary art teachers, nine secondary art students and three professional animators. Informants responded verbally to questions posed by the researcher. These responses were documented on a tape recorder and later transcribed for analysis.
Responses from the informants generated data relating to five areas of animation: 1) defining animation, 2) potent images, 3) popular culture, 4) careers and 5) backgrounds.
The study showed that although animation is a part of students1 popular culture and students are interested in it, teachers are not currently teaching it. Technical difficulties prevent them from doing so, despite the fact that they acknowledge animation as an important art form. The other findings in this study are that both teachers and students are often not consciously aware that they are watching animation; and that there are many misconceptions and prejudices associated with the medium.
Implications for art education are discussed.Education, Faculty of
Graduate
3
Ibrahim, Md Nasir. „The development of value awareness through art education“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0022/MQ50524.pdf.
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4
Jensen, Jordan. „A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art“. BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2861.
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Most colleges and universities offer a general course in elementary art education to provide instruction to the elementary generalist to enable that student to later provide art instruction to students at the elementary level. This course is commonly referred to as the two-credit course in elementary art education throughout this thesis. This thesis is a case study investigation of a certified elementary art specialist and a non-art certified teacher teaching elementary art in the Subject School District in Utah. It asks and gathers data on three main questions. How is art education valuable for elementary students? What is a quality elementary art curriculum? How does an elementary art specialist change the learning experience of elementary art students? Under these three main questions the following questions are also considered: Where do teachers obtain their curricula? What research exists that describes differences between art specialists and non-art specialists teaching elementary art? What were the qualities within each art room? What types of art projects are being taught in these two different classrooms?Further, a survey was constructed to seek answers about the attitudes towards art education in the Subject School District in relation to the three questions under consideration. To ensure the maximum in statistical accuracy, the survey was sent to every elementary school in this district including all elementary administrators. The survey contained 49 statements on attitudes towards elementary art education. There were 129 elementary educators and administrators out of 2,300 from Subject School District that responded. The data from the survey was analyzed to determine where these attitudes lie and the thoughts on the importance of art education at the elementary level. The results of this survey show the typical elementary educator in Subject School District feel the arts are indeed an important part of the elementary curriculum. However, the majority do not feel fully prepared to teach a quality elementary art curriculum and feel elementary art should be taught by art specialists.
5
Fleming, Margaret Jean 1954. „DISCIPLINE-BASED ART EDUCATION AS AN ALTERNATE APPROACH TO THE PROBLEMS ASSOCIATED WITH LEARNING ART HISTORY AT THE HIGH SCHOOL LEVEL“. Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276432.
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The definition of discipline-based art education presented in this thesis includes all domains of art learning and practice: art history, art criticism, art production, and aesthetics. The study develops a series of art history lessons for adolescents at the junior high and high school level. Activities are designed to present instructional strategies appropriate to the educational needs and concerns of these groups of students. These lessons primarily focus on art history, and art criticism as a means for approaching studio production concepts. One instructional unit includes a day-by-day description of art history learning activities covering a period of 10 days, or two regular school weeks. Also included is a description of the order in which the art history, art criticism and production activities occur for each lesson. Specifics regarding media, materials, artists to be studied, styles, reproductions and the vocabulary terms and images to be used for each day are also included. (Abstract shortened with permission of author.)
6
Ammar, Khalifa Sharef Salem. „PROPOSED GUIDELINES FOR THE IMPROVEMENT OF THE ART AND ART TEACHER EDUCATION PROGRAMS AT AL-FATEH UNIVERSITY IN LIBYA“. Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/298784.
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Visual arts education provides the knowledge, skills and attitudes necessary for students to become more responsive and responsible citizens who are aware of the interaction among the visual, aesthetic, economic and social aspects of their culture. A well-prepared visual arts educator is an essential contribution to the quality of student learning in this area of education. The purpose of this study was to suggest a series of guidelines and recommendations for the improvement of the art and art teacher education at Al-Fateh University in Al-Jamahiriya (Libya). Development of these guidelines and recommendations was based on the following steps: (1) Review and examination of developments and trends in Al-Jamahiriya's formal education system. These included secondary education, teacher preparation, and visual art education. (2) Examination of the present art education program at Al-Fateh University and its role in preparing qualified visual art teachers for Al-Jamahiriya's secondary schools. (3) Comparative study of selected factors pertaining to art education teacher preparation at Al-Fateh University and four exemplary American universities. (4) Library research regarding current thought and practices in the areas of visual art education and teacher preparation. A questionnaire was also developed and sent to the art education department at Al-Fateh University to help obtain descriptive data concerning the teacher education program. A panel of experts at the University of Arizona had identified four exemplary American university art education programs. These programs were examined as part of this study. Recommendations are made regarding selected improvements in the art and art teacher preparation programs at Al-Fateh University.
7
House, Nancy Ellen. „Teaching art history to adult students: A teaching model and pilot study /“. The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487943341526939.
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8
Myerchin, Naomi Sue. „The value of art integration in grades four through six“. CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2043.
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Research supports ideas that relate the value of arts integration to success in the elementary classroom. This thesis explores the theoretical and practical aspects of the integration of the visual arts and their value, specifically to elementary grades four through six.
9
Zheng, Jie Jane, und 鄭潔. „The Shanghai Art College, 1913-1937“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B37969833.
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10
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.
11
Eschedor, Jennifer Hope. „The Memory Collage Project: Art education with older adults“. Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/291731.
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The Memory Collage Project was an art experience for older adults that used the natural process of life review to inspire imagery to create a visual collage. Eighteen older adults, ages 62-94, were asked to reminisce about an experience they wanted to share with others in both a visual medium and a tape-recorded story. Using copies of their own photographs, Life magazines from the 50's and 60's, maps and other materials, memory collages were created in a one-hour session. The culminating event was an art exhibition that featured the storytelling of four of the participants. Participants were interviewed about their experience, which provided data for quantitative analysis. I also obtained data from observations of videotape footage that recorded my instruction and interactions, as well as the group dynamics throughout the production and at the closing exhibition. These data were coded to develop qualitative responses to my research questions. I examined the value of the lesson plan, specific teaching strategies and how I would adjust my current elementary teaching pedagogy to encourage participation from older adults. Curriculum has not been developed for older adults in the field of Art Education. Life expectancies are increasing, so there is a greater demand for educational opportunities in our later years. This thesis describes a studio project utilizing the process of life review and examines effective instruction and teaching strategies for an older population.
12
Shaw, Peter. „The conceptions of art practice held by tertiary visual art students“. Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.
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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.
13
Christine, Deborah. „The teaching of children's artistic expression“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276714.
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The development of Discipline-based Art Education (DBAE) has focused attention on curricular structure, especially as it relates to the concept of students' creative expression. Creative self-expression, the focus of many school art programs, is to encourage students' art production. Discipline-based art education in contrast strives to develop students' artistic expression. Achievement of artistic expression requires conceptually focused instruction of art content from four art disciplines, art history, art criticism, studio production, and aesthetics. A discipline-based lesson can be examined for the way artistic expression is fostered as a part of production. Specific examples drawn from one lesson are used to illustrate that artistic expression can be recognizable, sensitive to instruction, and subject to evaluation.
14
Walters, Anne E. „Making art-the child's perspective“. Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/36630/1/36630_Digitised%20Thesis.pdf.
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Current research into the status of art in primary school education suggests that there is overwhelming support for a more vigorous approach to the artistic and creative development of children in Australian education. A recent Australian Council Report (Costantoura, 2000) into the arts in Australia found that as many as 85% of Australian adolescents and adults felt that involvement in the arts "should be an important part of the education" (p. 86) of every child.
Despite such support however, there is a lack of emphasis on the creative arts in the curriculum of many Australian primary schools and there are few schools which would consider themselves particularly well-equipped with either the teaching or practical resources to facilitate a dynamic and progressive arts program. Art education is predominantly the responsibility of classroom teachers in primary schools in Australia and, while many teachers manage to provide their students with outstanding experiences in visual art, the priority assigned to the subject can vary according to the interests and skills of individual teachers and/ or school principals.
How then do young recipients of a visual arts education view their involvement in the subject? Is it an important part of their education and can they explain in what ways they are able to see value (or not) in further participation in artmaking? While adults present the bulk of research, discussion, planning, and evaluation on the subject of art in education, this study considers the perspectives of a group of children aged between eight and ten years from three schools, who have elaborated broadly upon their thoughts and feelings on the subject.
Although the intention of the study was to consider children's perspectives as artmakers, and the interview questions guided the information collected, pre-determined outcomes and predicted responses were not set. Collection of data was based upon (1) informal discussion and semi-structured interviews with children, (2) collection of artwork and photographic material, (3) participant observation in the classroom during art classes. Using Strauss and Corbin's (1990) approach to grounded theory, collected material was decoded and analysed, and the triangulated material was used to isolate a number of possible key issues or categories. These related to the importance of the teacher's approach to artmaking classes and the subsequent effect of this upon children's individual and general attitude to artmaking, the ramifications of using art to broaden cultural appreciation and association, and the need for increased understanding of the cognitive aspects of artmaking.
The overarching outcomes emerging from the study concentrate on the value which can be attributed to the children's perspectives. What the children had to say about artmaking requires further investigation and this study provides a glimpse into what children think about art and artmaking. The key finding, and that which has formed the basis for theory building is that the children's perspectives contain significant insight and understanding that is both important and useful to educators working with them - as well as educators and researchers investigating the value and development of art in education.
15
Lackey, Lara Marie. „Pedagogies of leisure : considering community recreation centres as contexts for art education and art experience“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25083.pdf.
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16
Taran, Caroline. „Discipline-based art education : from theory to practice, challenges of implementation“. Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35320.
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This study examines the concept of art education known as Discipline-based art education, (DBAE), from three vantage points. It begins by tracing the history and development of DBAE theory, and by examining its defining characteristics. It follows with a critical discussion of DBAE theory, specifically from within the context of multicultural education. The discussion then shifts to the realm of practice. The study describes a two week professional development program offered by the Minnesota DBAE Consortium, in Minneapolis, in the summer of 1995, and grounds the discussion in the results of questionnaires and interviews with six secondary school art specialists attending the Summer Institute. Finally, the study examines some of the potential challenges of implementation based on the issues that emerged as the participants translated theory into practice, and focuses specifically on the aspect of the incorporation of the disciplines of art criticism and aesthetics in the classroom.
17
Johnston, Jerre Lynn. „ART CRITICISM: A "READING" OF THE VISUAL ARTS“. Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.
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Winter, Regina Beth 1945. „An integrative model for a discipline based feminist history of art“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276708.
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This thesis establishes guidelines and develops art historical instructional materials that answer requirements of discipline-based and feminist art education. Recent literature on the theoretical bases and curricular applications of DBAE,and feminist writings in art education and art history serve as conceptual sources for developing an integrative art historical model. This study applies this model to develop a variety of high school level instruction materials based on the lives of 19th century American neoclassical women sculptors. These materials contain biographies, sources of reproductions, and an analysis of these artists' particular positions as women, and as artists, in nineteenth century America. The last chapter provides information and suggestions for teachers on how to use the materials in a discipline based context. This kind of integrative approach can serve to broaden our understandings and experiences of the visual arts so that they are more truly representative of all humankind.
19
McSorley, Julie A. F. „Primary school teachers' conceptions of the teaching of art criticism“. Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36691/1/36691_Digitised%20Thesis.pdf.
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20
Hewett, Gloria Jean. „A QUESTIONING STRATEGY FOR AESTHETIC SCANNING“. Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275404.
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21
Rada, Alena. „Writing about art : a linguistic consideration of art history and related genres“. Phd thesis, Department of Linguistics, 1989. http://hdl.handle.net/2123/5456.
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22
Kitching, Dornehl. „Experiences of novice art teachers in high schools“. Thesis, Cape Peninsula University of Technology, 2017. http://hdl.handle.net/20.500.11838/2515.
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Thesis (MEd)--Cape Peninsula University of Technology, 2017.The teaching profession is unique in this sense that in no other employment industry, are beginner employees straight out of university expected to do the work and hold the responsibilities equal to that of a senior or more experienced colleague. This idea is held as one of the main reasons why teachers need support in their first few years of teaching (Darling-Hammond, 2010; Le Maistre & Paré, 2010). From my own experience as well as that of the novice art teacher participants in this research, it was clear that art teachers in their first three years of teaching experience positive encounters as well as several challenges. Challenges varied from the lack of support and orientation from school management to several other factors that contributed to a demanding workload and stress. The theoretical framework that informs this research is grounded in the combination of theoretical perspectives developed by Geert Kelchtermans (1993; 1994; 1999) namely the narrative-biographical perspective and the micro-political perspective. Participants were interviewed and requested to attend a focus group session where they were asked to create a River of Life representation of their experiences since starting their art education careers. The transcripts were analysed in conjunction with the drawings to forge connections between the participants’ feedback to establish themes. The themes of this particular research relate mainly to the common experiences that the participants face as novice art teachers and the support they receive from their school management and education authorities.
23
Beeshligaiiyitsidi, Roberto Randall 1943. „IMPROVING VISUAL ARTS PROGRAMS FOR NAVAJO STUDENTS THROUGH DISCIPLINE-BASED ART EDUCATION“. Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/276522.
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This thesis will promote an understanding of discipline-based art education in conjunction with some methods of Navajo culture for the purpose of teaching the visual arts. How the Navajo child responds to natural objects, and to those objects of the Southwest he or she identifies as works of art, is shaped by the culture of the Navajo child. The methods that the Native American teacher has already attained of the Navajo culture would exercise discipline-based art education and could provide a much-needed vehicle by which to converge the theoretical bases of the profession.
24
Brewin, Julie. „An exploration of the influence of the acculturation process on an artist's practice and the implications for education“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1482.
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This Creative Arts Project investigates the relationship between expression in the visual arts and the process of acculturation. The focus of the study is my personal negotiation of this process. The descriptive study is about engagement with the organic world and its past and present dialogues within the ongoing process of acculturation. I have explored the connection between nature, culture and art using a phenomenological research method. The propositions that we do not see things as they are; we see things as we are (Talmud), and that as visual artists we are the 'architects of our own experience', (Eisner, 2001) are explored. The reflexive nature of visual arts activity is acknowledged and the impact of cultural influences and natural environment on the choice of subject matter is examined. My investigation of a new physical environment is facilitated through the medium of a third cultural aesthetic that makes reference to the art and design of Japan. The Project is divided into two parts. Part one is the thematic exhibition and part two is this exegesis that explains and supports the research. Documentation of the project also takes the form of visual diaries that record phenomena and explain design development through drawing and painting. The main research question is directed towards evidence of the reflexive nature of the acculturation process as manifested in the work of the researcher. It is: How is the process of acculturation manifested in the visual artworks of the individual who has entered a new physical and cultural environment? Whilst acknowledging that the acculturation process is unique to the individual I believe that phenomenon experienced in this way has value in classroom practice. Therefore the secondary question is: What implication does this have for the visual arts curriculum? The significance of this Creative Arts Project for the visual arts curriculum is seen in the interaction of culture, personal experience and environment as integral parts of the creative process. Through my own process I have found that there are connections between past and present life-worlds that influence expression in the visual arts. Heritage and experience of the natural environment are linked to this process. Exploration of these phenomena within the classroom may lead to a clearer understanding of the nuances of a new physical environment. This research has been influential in the development and production of curriculum material for a Western Australian educational institution. The materials are displayed as part of the thematic exhibition. It is hoped that the publicising of this research may be seen as having value for the development of a multicultural visual arts curriculum.
25
Woods, Joyce H. „Enlightened cherishing of art : formative influences and their relevance to British Columbia art curricula“. Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26942.
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The problem was three—fold: (1) to document formative influences on a population who possessed enlightened and cherishing attitudes toward art; (2) to compare their experiences with relevant aspects of Harry S. Broudy's notion of enlightened cherishing; (3) to assess what implications these findings might have for the most recent British Columbia fine arts curricula. Procedure
Fifty personal interviews were conducted with a population consisting of visual artists, art critics, art historians, art teachers, art gallery curators, aestheticians, art collectors, and an art consultant. The instrument was an open—ended question schedule which allowed for separate analysis and interpretation of experiences which were: (1) educational (formal) vs. extra-curricular (informal); (2) studio art experiences (aesthetic expression) vs. art critical/historical/aesthetic—based experiences (aesthetic impression).
From these taped interviews, thirty were chosen for transcription. The resulting data were categorized and qualitatively analyzed. Comparisons were made with prior research relating to art attitudes, with aspects of Broudy's theory and, finally, with aspects of the British Columbia fine arts curricula. Conclusions :
The research supports Broudy's recommendations for more teacher training in art, for art classes at elementary level to occur on a daily basis and for art classes to be given equal status with other subjects in schools.
The research does not support Broudy's recommendation that specific art exemplars be chosen by curriculum designers for implementation in the classroom by teachers. Instead, the research suggests that operational-definitional standards in art be suggested by curriculum designers so that teachers may make their own choices for exemplars and, when appropriate, even use exemplars from the realm of what Broudy refers to as popular art. Recommendations : Out of this study come the following recommendations for art education in British Columbia:
— that the level of training for elementary generalists be upgraded in areas of aesthetics, art history, and studio methods.
— that more art monospecialists be recruited at both elementary and secondary school levels.
— that both teacher training and art curricula include references to the significant role (in nurturing a cherishing attitude toward art) played by: a teacher's encouragement of the student's progress in art; open-ended and imaginative teaching strategies allowing for some independence for the student; sound evaluation practices; and knowledge and enthusiasm for the subject area.
— that the implementation of art curricula in schools be mandatory and that the art curricula include information on the use and choice of art exemplars (works, materials, and processes).
— that time for art (aesthetic expression and aesthetic impression) equivalent to that allotted for other subjects be provided at the elementary school level.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
26
Bastiaans, Patricia A. „Integrating art into the basic elementary school curriculum“. CSUSB ScholarWorks, 1985. https://scholarworks.lib.csusb.edu/etd-project/312.
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27
Dohm, Alexandra Maria Ethlyn. „Career skills needed to be a successful artist: Finding links between art teachers' practices and artists' beliefs“. Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278742.
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By interviewing professional artists, I explore the career skills fine artists perceive as necessary for financial success in the art world. Through interviews with art teachers, I examine how these necessary career concepts are being taught in elementary and secondary art classrooms. I also discuss reasons for insufficient implementation of career skills and provide suggestions for how art teachers can improve their career education curriculum.
28
Metcalfe, Jason Lauth. „Examining relationship building in a donor participation program for the arts in higher education: A case study of selected members of the Medici Circle and the College of Fine Arts at the University of Arizona“. Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278743.
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High quality relationships between philanthropic organizations and their donors are central to the success of development and fund raising practices. The purpose of this study was to examine what components in a philanthropic relationship influence "relationship building" between a philanthropic organization and its donor base. A philanthropic program supporting the fine arts in higher education was used as the basis for a case study. Theories relating to philanthropy and social psychology were used to guide the research. Eight donors were interviewed and qualitative research methods were employed to analyze the data. Results indicated that creatively communicating the results of a donor's involvement, building a social and/or advocacy reference group, and utilizing dynamic leaders in donor relations valuably contribute to building high quality philanthropic relationships.
29
Bertrand, Jose Antonio 1948. „The design and development of an interactive high school art education CD-ROM: The Retablo of Ciudad Rodrigo“. Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/291873.
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This paper is a first-person account of the design and development of an interactive High School art education CD-ROM for the University of Arizona Museum, entitled The Retablo of Ciudad Rodrigo CD-ROM. Based on the learning theories of Donald Arnstine and the work of Dr. Dwaine Greer within the framework of Discipline Based Art Education (DBAE), this report provides an account of how art educators and computer theoreticians and programmers worked together on a joint project involving the use of computer CD-ROM technology within art education. Several solutions are discussed in addition to the desktop reference materials included in this thesis.
30
Wong, Kit-mei, und 黃潔薇. „Preschool teachers' conceptions and pratices of art education“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31959866.
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Meli, Alisa A. „Eye of the beholder: Children respond to beauty in art“. Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3081/.
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The purpose of this study was to determine if beauty was important to elementary age children when exploring and making aesthetic judgements about works of art and to determine the criteria elementary students used in judging beauty in works of art. This study also explored beauty as a concept that could be used as an organizing idea for designing a thematic unit with the purpose of introducing elementary students to postmodern art and issues. One hundred and sixty first grade and fourth grade students looked at 20 pairs of art reproductions and picked the artwork they considered the most beautiful. The criteria elementary students use for determining beauty in artworks was found to be color, realism, subject matter and physical appearance of the subject of the work of art.
32
McArdle, Felicity. „Art in early childhood : the discourse of 'proper' teaching“. Thesis, Queensland University of Technology, 2001.
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This thesis is a problematisation of the teaching of art to young children. To
problematise a domain of social endeavour, is, in Michel Foucault's terms, to ask how
we come to believe that "something ... can and must be thought" (Foucault, 1985:7).
The aim is to document what counts (i.e., what is sayable, thinkable, feelable) as
proper art teaching in Queensland at this point ofhistorical time. In this sense, the
thesis is a departure from more recognisable research on 'more effective' teaching,
including critical studies of art teaching and early childhood teaching. It treats 'good
teaching' as an effect of moral training made possible through disciplinary discourses
organised around certain epistemic rules at a particular place and time.
There are four key tasks accomplished within the thesis. The first is to describe an
event which is not easily resolved by means of orthodox theories or explanations,
either liberal-humanist or critical ones. The second is to indicate how poststructuralist
understandings of the self and social practice enable fresh engagements with uneasy
pedagogical moments. What follows this discussion is the documentation of an
empirical investigation that was made into texts generated by early childhood
teachers, artists and parents about what constitutes 'good practice' in art teaching.
Twenty-two participants produced text to tell and re-tell the meaning of 'proper' art
education, from different subject positions. Rather than attempting to capture 'typical'
representations of art education in the early years, a pool of 'exemplary' teachers,
artists and parents were chosen, using "purposeful sampling", and from this pool,
three videos were filmed and later discussed by the audience of participants.
The fourth aspect of the thesis involves developing a means of analysing these texts in
such a way as to allow a 're-description' of the field of art teaching by attempting to
foreground the epistemic rules through which such teacher-generated texts come to
count as true ie, as propriety in art pedagogy. This analysis drew on Donna Haraway's
(1995) understanding of 'ironic' categorisation to hold the tensions within the
propositions inside the categories of analysis rather than setting these up as discursive
oppositions. The analysis is therefore ironic in the sense that Richard Rorty (1989)
understands the term to apply to social scientific research.
Three 'ironic' categories were argued to inform the discursive construction of
'proper' art teaching. It is argued that a teacher should (a) Teach without teaching; (b)
Manufacture the natural; and (c) Train for creativity. These ironic categories work to
undo modernist assumptions about theory/practice gaps and finding a 'balance'
between oppositional binary terms. They were produced through a discourse theoretical
reading of the texts generated by the participants in the study, texts that
these same individuals use as a means of discipline and self-training as they work to
teach properly.
In arguing the usefulness of such approaches to empirical data analysis, the thesis
challenges early childhood research in arts education, in relation to its capacity to deal
with ambiguity and to acknowledge contradiction in the work of teachers and in their
explanations for what they do. It works as a challenge at a range of levels - at the
level of theorising, of method and of analysis. In opening up thinking about
normalised categories, and questioning traditional Western philosophy and the grand
narratives of early childhood art pedagogy, it makes a space for re-thinking art
pedagogy as "a game oftruth and error" (Foucault, 1985). In doing so, it opens up a
space for thinking how art education might be otherwise.
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Ailey, Gabriele Elisabeth. „Understanding images : a study of the use of materials designed to include the teaching of art history and art criticism together with related studio exploration in B.C. secondary schools“. Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28570.
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This study examines the use of locally relevant curricular materials Understanding Images: Bill Reid and Understanding Images: Gathie Falk by three art teachers. The materials were developed by the researcher and modelled on the concept of discipline-based art education. The major purpose of this investigation was to determine if relevant instructional support material which addresses the historical and critical domains together with studio production were developed and made available would visual art teachers be inclined to offer a more balanced program and one which parallels the prescribed curriculum for junior and secondary art education in British Columbia. Secondary interests of this investigation were to determine if an understanding of the integration of the historical, critical and production domains was reflected in 1) the quality of dialogue between the teacher and the student, 2) the quality of talk among students and 3) the student art work.
The descriptive, qualitative study followed the in-class activities of three art teachers in three junior secondary schools. The major instrument was the researcher who, in the role of non-participant observer, collected field notes. Further data were collected by questionnaires, sample interviews, random conversation with students, samples of student art work and photographs of classroom activity.
The framework for the study was based on Eisner's (1979) model of educational criticism in which he identified three major aspects: the descriptive, the interpretive, and the evaluative aspect. (p. 211)
As a result of the findings, strengths and limitations of the instructional materials were identified and implications for development and implementation of similar instructional materials for visual art education were made.Education, Faculty of
Graduate
34
Frost, Marcia Brenda Davis. „A survey of the teaching of reasoned criticism in British Columbia secondary schools“. Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28049.
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The purpose of this study was to determine whether British Columbia teachers were achieving the goal of teaching an integrated art program. The component of the curriculum which is specifically studied is reasoned criticism, traditionally a neglected component in art education.
Through a survey of art teachers in selected B.C. high schools, information was gathered to assess the impact of the new B.C. Secondary. Art Curriculum grade 8-12 upon teaching practice in criticism.
The results of the study show that the new curriculum has had little impact on the teaching of reasoned criticism. The results indicate that art production remains the focus of- art programs while reasoned criticism occurs most frequently as a process of informal discussion between the student and teacher while attention is focused on the student's work.
A summary of the findings is provided and implications of the study for classroom practice are discussed.Education, Faculty of
Graduate
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Chandler, William L. „Sixth grade students' thinking about art making : a naturalistic study“. Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833009.
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Students are regularly involved in art making as a part of the general school curriculum. This study investigated and documented sixth grade students' art making in terms of thinking and the construction of knowledge. Following qualitative research procedures the study took place in two sixth grade classrooms. Four questions directed the investigation. These included inquiries into the subjects' art making knowledge base, how knowledge is used in the practice of classroom art making, ways in which art making exhibits cognitive and reflective thinking, and finally how student production is affected by interactions with other members of the environment. Data was collected through observation and informal interview. Data collection activities focused on three student subgroups, identified by peers as having an interest, disinterest or a neutral attitude toward classroom art making.Analysis of data revealed three broad patterns of behavior relative to student art making. Reflecting the research questions these behaviors considered ways art making knowledge is constructed by students, how art making knowledge is used for the process of art production problem solving, and the impact of other members of the environment on the art making.These data indicate that subjects are especially able to construct and use art making knowledge in terms of technique and procedure. Knowledge exhibited through the use of analytical and critical language was observed less frequently, and with less skill. Subjects' processed art making as cognitive and reflective thinking, rather than as spontaneous activity. Students identified asart interested especially pursued their production activities, making choices and decisions relative to their act of making and their constructed object. Junctures of the art making activity specifically considered the envisioning of the problem, choosing appropriate production actions and the determination of a work's completion. Interaction between members of the setting was also prevalent during class observations. Teacher input resulted in the highest level of impact relative to student art making. The focus of student interactions was primarily social and thus had limited influence on the art making practices of their peers.Department of Art
36
Stroud, Elizabeth J. „Opening the Door to Meaning-Making in Secondary Art History Instruction“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5244/.
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Each day countless numbers of high school students remain standing at the threshold of the door to meaningful learning in art history because of traditional authoritative instructional methods and content. With the keys of feminist pedagogy, interactive teaching methods, and the new art histories, the teacher can now unlock that door and lead students to personally relevant learning on the other side. A case study using both qualitative and quantitative research methods was conducted in a secondary art history classroom to examine the teacher's pedagogical choices and the degree to which they enable meaningful and relevant student learning. The analysis of multiple sources of data, including classroom observations, revealed statistically significant correlations between the teacher's instructional methods and the content, as well as their impact on student meaning-making.
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Rountree, Janet, und n/a. „A framework for virtual artifacts : digital images as teaching tools in Classical art“. University of Otago. Department of Information Science, 2005. http://adt.otago.ac.nz./public/adt-NZDU20060809.112225.
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This thesis explores the problem of how to present digital images of ancient artifacts in a manner that supports the task of visual analysis.
The real object presents the "truth": exact scale, colour, and fine details. An original work of art provides the viewer with the opportunity to react directly with the object, is closest to the impact intended by the artist, and provides a tangible physical link with the past. Digital images limit and alter the experience of a work of art (1) with regard to the amount of data available (resolution), and (2) through the interpretation of the object by the producers of the digital copy (mediation).
A new framework is developed to improve the understanding and presentation of virtual artifacts. This Fidelity-Mediation framework provides a continuum for considering the effects of design strategies on media used in teaching Classical arch�ology. Two small-scale experiments and follow-up interviews were undertaken to assess the usefulness of the Fidelity-Mediation framework as a descriptive model. During the experiments, quantitative analysis could detect no statistical difference in the effectiveness of different types of presentation (real object, VR object, and still digital images).
This is a surprising result as it might be expected that there is nothing like seeing the real thing. Digital images provide less visual integrity. However, the digitised artifacts make up for the loss of excitement and authenticity by providing the advantage of mediated focus. Digitised artifacts thus turn out to be useful, effective study tools in the analysis of Classical art.
Findings from this research are expected to generalise only to learning situations which support task orientation--situations conducive to developing personal skills and mastery--in contrast to performance orientation where the goal is to display performance relative to others. The distinction between task orientation and performance orientation is discussed in Chapter Eight of this thesis.
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Paul, Diane Elizabeth. „The effect of a multicultural art program on students' art appreciation and attitudes towards other cultures“. Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31289.
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The purpose of this research study was threefold: to determine if a multicultural art program would have a positive effect on students' appreciation of their own art work, art from other cultures and attitudes towards other cultures. The program supported a multicultural view of art which emphasized the cultural similarities and values which were common to all students.
A nonequivalent control-group design was used within a quasi-experimental framework. One grade eight class participated in the Multicultural Program while the other served as the control group. Both classes were pre- and posttested with the Borgardus Social Distance Scale and a Cultural Appreciation Measure to determine if there was an attitude or appreciation change as a result of the treatment. Student journals and a Journal Posttest also provided data for analysis and reflection.
No significant statistical differences were found between experimental and control groups on the pre- and posttest. However, student journals and the Journal Posttest provided data to indicate a significant positive change in students' attitudes towards their own art and the art of other cultures. This was complemented by the researcher's journal which described the classroom proceedings. The results from the journals and the Journal Posttest indicate that teaching art through a multicultural perspective, which emphasizes the similarities across cultures, can change attitudes about art.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Rafferty, Pat. „An interpretive study of elementary school teachers' descriptive accounts of the art teaching task“. Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27671.
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Art educators perceive a state of disjuncture in the field when what is persistently practiced in elementary schools as art stands in opposition to basic tenets about the teaching and learning of art. Two reasons are given to explain this sense of disjuncture. First, art education orientations and research associated scholarship are posited to be less than successful
in disclosing to teachers what is educationally relevant. Neither a child-centered nor a discipline-centered orientation seems to have considered the adjustive effort teachers make in translating intended purposes into classroom practice. Second, a school art orientation is perceived to be in opposition to art education ideals. Recent studies suggest that features of the classroom setting and the strategies teachers use to make them comprehensible may have an impact on the outcome of instruction in art.
Guided by a theoretical stance developed from the literature on commonsense knowledge,
I adopted a method of approach to investigate teachers' interpretive accounts of the teaching and learning of art. Observation and interview strategies were used. I discovered two guidelines teachers consulted, and I examined the context in which the guidelines and events mutually elaborate one another.
1. When properly programmed, an art task guides the synchronization of an aggregate of recognizable and approved action, and
2. The use of the art classificatory scheme of structured and experimental art activities in practice is contingent on maintaining this programmatic course of action.
Teachers' accounts revealed four features useful in making their work recognizable and approved:
pacing and phasing of action, physical conditions, thematic content, and effort. The features elaborated a proper programmatic effect and structured art activities over experimental
ones as a way of achieving this effect. This kind of activity was described as school-like and successfully addresses the problem of how to regulate the efforts of an aggregate of children over a specified period of time with due respect for order. The prescription for a preformulated content and stylistic form of art determined acceptable effort.
Ideally, experimental art activities were understood to heighten personal awareness by encouraging the child to be more of a task determiner. With less opportunity to rely on stock responses, because the relevance of idiosyncratic action had to be determined anew whenever this kind of activity was undertaken, teachers chose to set this kind of activity aside until conditions became ideal. The difficulty children had in deciding what was intended
by the invitation to experiment was not recognized as significant.
Choice of structured art activities appears to be attributed to two related factors: a taken-for-granted conception of the requirements for organizational control and an unresolved conception of experimental art activities in the context of this organizational structure. This in-school orientation does not seem to indicate a rejection of formally approved
art education orientations, but rather an unquestioning acceptance of the practical necessity of organizational control acquired as a result of teaching experience. These demands determined what is possible in art. Basic tenets of art education intended to have educational consequences have been indefinitely set aside, unwittingly reducing children's involvement
in art and teachers' responsibility to assist children in interacting with the discipline.
Reified conventions such as freedom of expression and experimentation have made art education remote by creating a chasm between theory and practice, implying that art education
can be dealt with at a theoretical level without consideration of how teachers handle everyday experience. Reasonable conclusions to be drawn from evidence provided in this study are that educators need an approach to art education that will not artificially produce the gap that structured art activities have come to fill. It would have to bridge the gap in a manner that recognizes art education orientations (theory) and what teachers do with them (practice) as aspects of the same thing. The present study is a first step toward reflective intervention in the taken-for-granted ways teachers and art educators think about what they do. If it is important for children to interact with the developed structure of the art education
discipline, and if teachers are to take responsibility for ensuring that the art education
experience takes place, then change would have to be urged by apprising teachers, art educators, and others of the state of disjuncture reported here, and how factors associated with it have come to complement and contradict the interchange between the goals of art education and the school as a workplace.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Whelan, Jane. „Teaching visual arts through distance education : an evaluation of the program Anyone can draw“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/908.
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The problem under investigation is concerned with the teaching of drawing through distance education. Traditionally drawing has occupied a central position in visual art teaching and learning and is still regarded as a significant area of visual arts education. In the visual arts curriculum of Western Australia, drawing, which is included in the broader term visual inquiry, is regarded as the foundation for studio practice. It is therefore appropriate to include drawing as part of every visual arts teaching program. The correspondence mode of teaching, which has a text-base, is a more formal style of teaching art than the responsive teaching that normally occurs in an art class. Through distance education it is difficult to encourage drawing skills either through remediation or extension without creating a burden of extra work for the students. This is due to the design of the course booklets in projects which schedule the drawing lesson as one of many the student is required to complete in a semester. The projects culminate in a final studio product, thus emphasising that drawing remains a step towards the product.
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SCHWARTZ, KATHERINE ANNE. „EDUCATORS' PERCEPTIONS OF AN INSTRUCTIONAL SUPERVISION SYSTEM FOR DISCIPLINE-BASED ART EDUCATION“. Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184036.
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This study investigated educators' perceptions of an instructional supervision system for implementing discipline-based art education (DBAE). The purpose was to determine whether teachers, principals, and supervisors who are in a position to use the system perceive its components as clear and useful. The survey research design on which this study was based was carried out at the 1985 Getty Summer Institute for Educators on the Visual Arts. The sample for the design included 47 educators defined by their institutional role and their knowledge of DBAE: Returning Principals, Elementary Classroom Teachers, Art Educators, Art Supervisors, and New Principals. The respondents rated 25 DBAE teaching behaviors on a Supervision Scale from 1 (No Help) to 5 (Very Helpful), and an Art Content Scale from 1 (Unclear) to 5 (Clear). Written comments were compiled and qualitative comparisons were made within and between groups. A Principal Components Factor Analysis was used to determine the underlying factors within the Supervision System. Analyses of variance techniques were used to determine whether there were statistically significant differences among the four educator groups for each of the teaching behaviors. Pearson product moment correlation was used to determine relationships between total ratings and the respondents' years teaching, years in educational administration, and years as art educator. The results of this study indicate that: (1) the teaching behaviors in the Supervision System measure three distinct constructs of DBAE instruction: Content, Curriculum, and Context; (2) the System was perceived as clear and useful by each of the educator groups included in this study; (3) the items were rated higher as their years in educational administration increased; and (4) the Content and Curriculum items were rated lower as years in art education increased, while the context items were rated higher. The DBAE approach to teaching art is in its development stages. The constructs included in the Supervision System should be reevaluated as DBAE evolves.
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Betts, John David. „Art as mediation for learning: The Arts Integration Program“. Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186865.
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This study is based on the Arts Integration Program, a series of lesson outlines utilizing fine arts experiences (dance, music, theatre, and visual arts) to teach core curriculum subjects. The study took place over two years in six schools, combining qualitative and quantitative research methods to determine: if learning actually took place concurrently with the program's lessons; how the classroom learning environment was affected; and what teachers who use the Arts Integration Program lessons for the first time report about the experience? The study was continued into a second phase based on results of the first. In the development of an Arts Integration Program teacher-mentor model, two teachers from the first year of the study worked with new teachers in their schools who were beginning to use the program. This second phase of the study asked: What is involved in establishing a successful teacher-mentor model with the Arts Integration Program? And, How do the lessons effect the classroom learning environment? Lesson outlines and arts integration techniques are described and results from the Content Area Tests and the Perceived Self-efficacy, Attitude, and Linguistic Domain Questionnaire from both phases of the study are presented. The evolution of the Arts Integration Program Teacher-mentor Model is also described. The process of implementing the program in each school was documented through teacher journals, observations, interviews, and videotapes. The aesthetic reaction that Vygotsky (1971) wrote about seems to be present in these children. Their teachers each report having a more cohesive and supportive classroom environment as a result of the theatre lessons. They all noted improvement in the childrens' communication, expressive and receptive, skills. There is also evidence of transfer into other academic areas. The study showed the more successful Arts Integration Program Teacher-mentor model to be: (1) At least a one-year. (2) Concentrating on one, or two, arts areas. (3) With teacher observing teacher. (4) Regular meeting to plan and discuss. (5) Videotape and review for teachers and students. Plans for future implementation of the Arts Integration Program and ideas for further study are presented.
43
Agbeze, Richard. „TEACHING FOR SOCIAL JUSTICE: A CASE STUDY OF A SECONDARY ART EDUCATOR“. Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587743645964416.
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Lackey, Lara Marie. „Art experience in a group setting : a study of four young subjects“. Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28095.
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This thesis provides an analysis of video recordings and written observations of four preschool-aged children as they spontaneously explored art materials within a group setting. The focus of analysis is the extent to which subjects interacted with other children and adults during art material use, and the effect of interaction on the subjects' uses of materials. For each subject, data are categorized and presented according to location, type, and approximate length of activity; presence or absence of others; and types of interactive behavior: watching, verbal interaction; imitation; and distraction from the activity. Descriptive passages are presented which detail specific episodes of interaction, and behaviors of adults interacting with subjects are also described. The conclusions argue for heightened awareness of social interaction as a factor in children's art experiences.Education, Faculty of
Graduate
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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
46
Le, Kim. „Cultural hybridity and visual practice: Towards a transformative-repair multicultural pedagogy for visual arts education“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/790.
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This research project examines how transitional multiculturalism, cultural hybridity and transformative-repair are practiced by a professional artist-researcher and novice artists. Transitional multiculturalism and cultural hybridity are examined through a series of artworks by a Vietnamese-born artist-researcher. This series of artwork, which reflects 35 years of creating art in both Vietnamese and Australia, demonstrate a personal engagement with issues of cultural diversity, upbringing, and related aesthetic studies. The intention of this exhibition is to chart the characteristics of the artist's expression, which is culturally hybridised. This part of the study aims to identify those artistic conventions associated with specific visual traditions that have been incorporated into the artist-researcher's paintings. The main influences identified originate from both Eastern arts traditions (Viet nam, Japan and China) and Western visual arts traditions. This study also aims to identify how to use artistic conventions associated with the expression of one's culture und ancestry, which may continue to improving one's knowledge in different traditions and history across diverse aesthetic systems of hybridity. Information and understandings gained from the first part of this research will provide insigns, which will have relevance to secondary school visual arts learning areas. The transformative-repair model of multiculturalism is examined through a visual arts project conducted by secondary school students. More specifically this part of the study aims to identify principles, approaches and content for transformative repair, experiences of two students of culturally diverse hack grounds (African and Vietnamese) who are currently engaged in this culturally diverse Australian society.
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Politowicz, Zak. „ANALYSIS AND METAPHOR SEARCH STRATEGY CONCERNING VISUAL WORKS OF ART (LANGUAGE, EDUCATION)“. Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275390.
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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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Brow, Jo-Ann. „Developing an art curriculum for elementary education“. CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1506.
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Pierce, Beth Suzanne. „Art in a sheltered-English multicultural classroom“. CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/803.
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