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Dissertations / Theses on the topic 'Art students'

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Published: 4 June 2021

Last updated: 29 July 2024

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1

Knight-Mudie, Karen, and n/a. "Attitudes towards art competitions of senior secondary art students and teachers." University of Canberra. Education, 1988. http://erl.canberra.edu.au./public/adt-AUC20060811.154408.

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Growing concern for the popularity of art competitions that encourage participation of secondary school senior art students is reflected in debate by many Australian art educators. It appears that acceptance of the external goal of winning a prize may demonstrate that many students and teachers have not fully considered the adverse implications of extrinsic rewards on learning strategies relevant to artistic behavior. On the other hand the benefit of exhibitions of student art work appears to be overshadowed by the prevalence of art competitions. This study surveys attitudes and perceptions of art teachers and secondary senior art students towards art competitions supported by the school. Subjects include secondary senior art students and teachers from selected Brisbane Independent Schools. It appears that participation in art competitions is more frequent in these schools. Results may prove beneficial to art educators who are concerned with the issue of extrinsic rewards for artistic behavior.

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Netto, Amelia M. "ESOL Students in the Art Room: An Art Educator's Resource Guide." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/100.

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The research conducted in this thesis is centered on the ESOL Hispanic student population, in the art classroom in Georgia. The information contained in this paper is meant to serve as a guide and resource for art educators with high populations of ESOL students in their classrooms. A review of current ESOL best practices in several content areas is included. Based on the research, guidelines and suggestions for accommodating these learners in the art room were developed, as well as a sample unit that includes three lesson plans, PowerPoint presentations and assessment rubrics.

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3

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.

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Kreamer, Lisa Marie. "Undergraduate art students: Influences affecting the career decision to major in art." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278611.

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This thesis surveys 171 undergraduate art students at the University of Arizona to evaluate the effect their high school art teachers had on their career decision to enter a college art program. The parental influence is addressed. Student responses are viewed by gender, classification and major. Findings indicate the teachers influence less than 50% of their students and that parents have a greater influence in the decision process. There are definite gender differences, males talked with their parents more than females but females expressed more support from parents once in an art program. Students in commercially viable studio programs, graphic design and photography, report greater parental support.

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Nelson, Gayle. "Perceptions About Hands-On Art Making by Non-Art Major Online Students." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5641.

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As higher education moves increasingly to online and hybrid programs, more students will be taking art appreciation courses virtually. The research that exists on student perceptions related to hands-on art making suggests that active creation is valuable in fostering creativity, inspiring knowledge, and supporting and motivating students. The purpose of this case study was to explore non-art major, college-level students' experiences, perceptions, and reflections of an active learning component within an online art appreciation class delivered at a public university in the southeastern United States. Three research questions were developed to explore the students' experiences, perceptions, and reflections of this hands-on art making component. The conceptual framework was based on the combined work of prominent theoreticians, educators and scholars in the arts including Dewey, Piaget, Bruner, Gardner, and Eisner. To complete this case study, in-depth interviews were conducted with 10 non-art major, college level students (enrolled in online art appreciation during the 2015-16 academic year) and included discussion about a specific art work that each student made. The interview data was analyzed using open-coded thematic analysis. The overall findings indicated that: there is an emotional response to hands-on art making, appropriate faculty instruction is an important factor in actively engaged learning, and students gain knowledge through the active learning component of the online art appreciation class. Findings were used to design a 3-day professional development workshop. Implications for educators include advocating for variations in art coursework for online students.

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Kaufmann, Shayla. "Marginalized students accessing museum art education programs." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21185.

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Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
For many years as an art educator, this researcher, has observed, the positive impact an art education program can have on a variety of different student populations. All students deserve access to a meaningful art education. It has been shown that developing brain health and looking at art is beneficial for the human mind. Scientists in collaboration with artists have recently shown, through Computed Axial Tomography (CAT scans) something that we already knew (or suspected), from our own experiences; making and looking at art is positive for human cognition. According to Professor Semir Zeki, Chair of the Neurasthenics Department at University College London: (1999, p.187). Inner Vision: An exploration of art and the brain: "What we found is when you look at art – whether it is a landscape, a still life, an abstract or a portrait – there is strong activity in that part of the brain related to pleasure. We put people in a scanner and showed them a series of paintings every ten seconds. We then measured the change in blood flow in one part of the brain. The reaction was immediate. What we found was the increase in blood flow was in proportion to how much the painting was liked. The blood flow increased for a beautiful painting just as it increases when you look at somebody you love. It tells us art induces a feel-good sensation direct to the brain." This thesis will not be examining the positive impact art has on the brain; it is referred to in order to acknowledge the fact many artists and art appreciators already know: Looking at art is a valuable thing, and art education is important for developing minds. This thesis will examine the bridge between art museum programs and marginalized student populations. These are the students who have Individualized Education Programs (IEP’s), or those for whom English is a second language and who may live in low-income urban communities. It will also examine what museum-based art education programs can provide to this population of youth. In the Wall Street Journal, as cited by (Winner, Goldstein, and Vincent-Lancrin, 2013, p.18) the former chairman of the National Endowment for the Arts, Rocco Landesman offers pointed remarks when arts education comes up: "Some students don’t fit the No Child Left Behind regime and other subjects don’t inspire them. Talented but offbeat, they sulk through algebra, act up in the cafeteria, and drop out of school. The arts 'catch' them and pull them back, turning a sinking ego on the margins into a creative citizen with 'a place in society.'" Museums often provide a place for students to go and engage with art in a meaningful way that captures their imagination and engages them in learning. The emphasis of this research falls on the unusual student, the difficult learner, the student who has a learning style difference and who may never have encountered an original work of art. The purpose of this study is to report the ways in which students responded to art in a museum setting. Why art museums enjoy a reciprocal benefit from serving these students will also be examined. Art educators know that art is important for the development of creativity in students, and students’ benefit from engagement in studio art activities. Yet, most crucially, art programs are often marginalized in low-income urban communities. According to the Center on Budget and Policy Priorities, more than 95 percent of schoolaged children are attending schools that have cut art education since the recession. In low-income communities, many students have few studio art classes along their journeys through pre/K-12 public education. Those denied an art education often find themselves without the benefit of an education that includes studies about the value of culture, leaving those affected by poverty with little impetus to reach for higher educational goals. Art education programs at two museums are examined to show how their programs reach out to students from underserved communities. In particular, this study looks at the Cape Ann Museum in Gloucester and Peabody Essex Museum in Salem, both in, Massachusetts, to evaluate how to engage marginalized, urban students and retain these youth as enthusiastic lifetime museumgoers.
2031-01-01

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Edidaha, Edidaha John Ukpong 1939. "CURRICULUM FOR NIGERIAN TEACHERS EDUCATION STUDENTS (ART)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291944.

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This thesis defines and presents discipline-based art education curricula as defined by Greer 1983 for Nigerian Art Education Students. Current requirements in art education programs both in Nigeria and the United States are compared in order to more fully understand and develop this course of study. Attention is paid to the national goals and the inherent culture of Nigeria. An analysis of the curriculum of five colleges with discipline-based and education programs has been studied in order to determine a suitable outline of curricula for college teachers in Nigeria. It is concluded that Nigerian teachers, through this proposed program, will be exposed to the contemporary discipline-based approach to art education, and that Nigerian children taught by means of this approach will be able to gain a better understanding and appreciation of their artistically rich culture.

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Leonard, Melissa M. "Motivating Students for Success in Art Education." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1048.

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This study is intended to analyze the differences of elementary age students from two different public elementary schools and their motivation to learn about art. The analysis will compare and contrast the results of my efforts as an art educator to present the same curricular information to both groups of students. I have examined the demographics, the parent involvement, and the other areas affecting the students of the two schools in which I have taught during my seven years as an elementary art educator. My purpose in completing this study has been to better understand how to meet the needs of my current students who seem to struggle considerably in the art classroom when compared to the students I have previously taught. I wish to better understand what shapes the minds and attitudes of our students today whom we teach in art programs.students today that we teach in art programs.

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Llerandi, Lori. "Standards based art curriculum for sixth grade students." [Denver, Colo.] : Regis University, 2007. http://165.236.235.140/lib/LLlerandi2007.pdf.

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Keasorn, Thitacharee Rennels Max R. "A cross-cultural comparison of style of perceptual mode and creativity among subjects majoring in art from Thailand and the United States." Normal, Ill. Illinois State University, 1989. http://wwwlib.umi.com/cr/ilstu/fullcit?p9004087.

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Thesis (Ed. D.)--Illinois State University, 1989.
Title from title page screen, viewed October 21, 2005. Dissertation Committee: Max R. Rennels (chair), Normand W. Madore, Marilyn P. Newby, Thomas E. Malone. Includes bibliographical references (leaves 73-78) and abstract. Also available in print.

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Webb, Keith R. "A new approach to illustration curriculum design : using Bloom's taxonomy as the framework for cognitive and psychomotor illustration studio objectives /." Read thesis online, 2007. http://library.uco.edu/UCOthesis/WebbKR2007.pdf.

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Mitton, Christine Baker. "A Multilevel Analysis of Student, Community, and School Factors that Predict Students’ Achievement in Visual Art." Cleveland State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=csu1462701553.

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Hollopeter, Anissa A. Ms. "Art Therapy Program Development for Elementary School Students." Ursuline College / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=urs1210366744.

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Dwyer, Edward J., and R. Isbell. "The Lively Art of Reading Aloud to Students." Digital Commons @ East Tennessee State University, 1989. https://dc.etsu.edu/etsu-works/3372.

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Henson-Dacey, Jacqueline B. "High School Visual Art Students' Perceptions of Creativity." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1406.

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When high school art teachers do not understand how their students experience creativity, studio art programs are less effective in fostering student learning than they would otherwise be. Nevertheless, extant research does not reveal a consistent or comprehensive understanding of how adolescents experience creativity in art education. Drawing on Csikszentmihalyi's theory of creativity and flow, this study explored students' perceptions of creativity and its relationship to flow, or the state of consciousness associated with optimal pleasure. This phenomenological study investigated students' perceptions of creativity and flow by interviewing nine high school advanced placement students in a public high school in southwest Florida. Data were drawn from three structured interviews with each subject and a field journal kept by the researcher. The Think Aloud technique used for the second interview provided rich descriptions while participants were in the midst of doing art. Field journal entries were organized according to Bailey's guide to field note classification. Moustakas's interpretation and modifications of the Van Kaam method of analysis provided a systematic approach to transcript reduction. The results of the investigation revealed four themes in the ways students perceive their own creativity, namely, influences, mindset, self-efficacy, and emotions. As they reflected on their perceptions of creativity and flow, students gained a greater awareness of their experience while creating art. Among the study's implications for social change, as art educators elicit these understandings, they foster creativity and transform students' lives in school and potentially, the wider society.

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Hoben, Kelly Anne. "AUTHORSHIP, AGENCY, AND AUTHENTICITY IN THE STUDENT-CENTERED ART EXHIBITION: A PARTICIPATORY ACTION-RESEARCH CASE STUDY." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211980552.

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Preira, Jamie. "Indoor Nature-Based Art Activities| The themes students discuss while creating nature-based art." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10276991.

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When children can understand their surrounding environments (whether it be the natural environment or their built environment) it is said that they can connect more deeply and have a heightened awareness of their surroundings (Kelly, 2013). This connection and heightened awareness can open their eyes to prevalent environmental issues, increasing their sense of social responsibility. The research on this type of learning generally occurs in formal institutions (i.e., a school), non-formal centers (i.e., at an outdoor education center), or informal meeting places (i.e., at a park with a parent). I conducted a primarily qualitative study?utilizing arts-based research (ABR) methods and environmental art education theory?to better understand school-aged children?s (5-10 years of age) engagement with nature during indoor nature-based art classes. I observed children within a small, mountain-town school (Kindergarten ? 5th grade) while they engaged in various artistic activities such as drawing, finger painting, and watercolor. My purpose was to gauge whether indoor nature-based art activities compelled elementary aged children to engage in meaningful conversation about nature. I assessed meaningfulness by the structure of their sentences and topics of their discussions that ensued. This assessment included looking for changes over time in students? reaction to the art they were creating and the subsequent connections they were making. Results demonstrate that students are deeply engaged in their artwork and talk mostly about memories related to nature and what aspects of nature their artwork inspires. Given that these activities provoked students to be thinking about nature, schools may want to consider conducting similar activities if they are unable to provide quality time outdoors for their students but want to help their students maintain a nature connection.

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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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Paar, Donna L. "Chronological time development of primary students through art historical inquiry." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1991.
Source: Masters Abstracts International, Volume: 45-06, page: 2772. Abstract precedes thesis as [1] preliminary leaf. Typescript. Includes bibliographical references (leaves [41-46]).

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Reynolds, James Michael. "Secondary science students' responses to two SAMPLE, art projects." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0008/MQ30021.pdf.

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Su, Fei-Ya. "How Can Students Use Art to Learn Problem Solving?" BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8136.

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This study explores how art instruction can be used to help students engage with important problems that matter to them and thereby adding personal value within a holistic education experience. Through a two-week-long curriculum composed of eight two-hour classes, the researcher deeply examined the journeys of growth that three students underwent as they were exposed to new art-making techniques and ideas, with an emphasis on the meaning behind individual art creation. The researcher found that all three students showed growth that extended beyond art-making itself to help them develop as independent problem solvers. As an action research study, this study also allowed the researcher to reflect on her own journey as an art teacher and examine how she could improve her teaching methods to facilitate the practical application of art learning into problem solving.

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Paquette, Andrew John. "The development of proficiency among undergraduate digital art students." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/the-development-of-proficiency-among-undergraduate-digital-art-students(1eecb985-b369-4207-aaa0-80383188c0aa).html.

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Teaching digital artists has received ongoing criticism from industry sources, who feel that graduates are rarely well-prepared for employment. This is a problem for students when they seek employment, for employers who must hire qualified digital artists, and for the reputation of educational institutions that provide instruction in this domain. Students from the Netherlands’ International Game Architecture and Design (IGAD) visual arts programme participated in research designed to investigate how proficiency develops in the technical and creative discipline of digital art. This study used an exploratory mixed methods design that triangulated archival data on the 625 digital art students who have attended IGAD with qualitative data collected from 20 current students, five digital art supervisors and five employed IGAD graduates. A mixed methods design was chosen so that historical performance could be compared with data collected directly from student participants, particularly on the subject of how prior experience influenced later development. Student participants provided information relevant to their learning process, industry supervisors evaluated student work against professional standards, and employed graduates provided perspective on the transition from student to industry practice. Data collected for the quantitative study was in the form of archival records regarding prior experience and later performance. The qualitative study utilised learning logs, progress reports, project files and interviews with all participants. Correlation and analysis of variance (ANOVA) tests were used in the quantitative phase of the study. Case study analysis was used for the qualitative phases of the study.

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Riddoch, Jane. "Creating non-representational art by students who are severely intellectually disabled through a pictorial and musical program." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1050.

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The main purpose of this research study was to investigate the worth of a recently developed Pictorial and Musical art program for severely intellectually disabled students, and to compare the non-representational art work produced by lower primary students in a special education school to similar art work being produced by lower primary students in a regular school, when taught in the same program. A subsidiary purpose of the study was to investigate teacher reactions in the art classroom of each participating school, and to observe the extent of the Pictorial and Musical program interventions on the students' attitudes and production of their art work. Twelve participants were chosen from each school to take part in the experimental art program. This involved the use of pictorial and musical interventions to test the outcomes, and by utilising a quantitative methodology to determine the relationship between variables. Each group of students in the study was subjected to three different art experiences within the Pictorial and Musical program, that is, Pictorial only, Pictorial with Rock music and Pictorial with classical music. All the participants supplied the researcher with an original non-representational painting from each segment of the program. The non-representational paintings were then marked by three independent teacher markers, and the marks of the 72 paintings produced by the students were analysed in a 2 way ANOVA, to ascertain if there was any comparable difference in the non- representional artwork of children with special needs and regular primary students. The descriptive statistics showed that the regular students scored higher marks for art quality than the special students, when the Pictorial only method was used, and there was more variation in the regular students marks than in the special students marks. There was no significant difference between the scores of the regular and the special students when the Pictorial and Rock music method was used, but the regular students scored higher than the special students for the Pictorial and Classical program, although variation was about the same for both. The observed attitude to the musical additions were similar for both the regular and the special students. There were marked changes in the students' attitudes during the Pictorial and Rock music method. Both groups became agitated and overexcited during this segment and initially refused to keep on task, preferring to sing and keep time with the music than to go on with their painting. The Pictorial and classical music program had the opposite effect on the students, helping to create a calming atmosphere in which they were willing to return to their task, and appeared more stimulated and creative, completing better quality non-representional paintings than before. It is anticipated that the outcome of this study may provide significant evidence of the importance of pictorial and musical interventions in art programs, and may lead to further study on this subject. The introduction of the Pictorial and Classical music program to students with severe intellectual difficulties may become an additional aid in the production of their artwork.

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Sprengelmeyer, Robert J. Hobbs Jack A. "Students' written art criticism as measured by a content analysis instrument." Normal, Ill. : Illinois State University, 1989. http://www.mlb.ilstu.edu/articles/dissertations/8918624.PDF.

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Thesis (Ed. D.)--Illinois State University, 19893.
Title from title page screen, viewed Oct. 13, 2004. Dissertation Committee: Jack A. Hobbs (chair), Marilyn P. Newby, Robert M. Steinman, Patricia H. Klass. Includes bibliographical references (leaves 72-73) and abstract. Also available in print.

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Drew, Deborah Lynn. "Arts-based research, heuristic inquiry and art education self-study secondary studio motivation for African American students as a generalizable model /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1157591056.

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Hatcher, Lynn Anne. "Exhibition in the Curriculum: Preparing Students to Complete the Artistic Cycle." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/49.

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This curriculum exposes students in Visual Arts classes to the art of exhibition and prepares them to complete the artistic cycle by exhibiting their own work and others. The curriculum is presented in the form of a guide book in which the main body of lessons are geared towards high school Intro to Art classes with quick tips and activities that are adapted toward all grade levels. By learning about all aspects of exhibiting art, theme development, installation design, accessioning and preparing art, and publicity, students are given another tool with which to create a connection with artistic mediums and history. The final goal is to infuse exhibition skills into every aspect of the curriculum as a natural part of learning and talking about art.

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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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Morgan, Ruth C. "Factors of Resilience that Support University Art and Design Students." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2074.

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Graduation rates in bachelor's degrees in the United States continue to be lower than stakeholders expect, despite the many advantages of college completion. This phenomenological study investigated the interplay between resilience, coping strategies, and college completion for undergraduate art and design students in an effort to improve graduation rates. The purpose of this study was to address gaps in the literature regarding art and design students' resilience and academic success. Findings were interpreted using 3 conceptual frameworks: resilience theory, Bronfenbrenner's ecology of human development, and Dweck's theory of mindsets and self-beliefs. Research questions guiding this study addressed the external and internal factors that support resilience, the most stressful situations students faced while attending the university, and the coping strategies students used to manage stress, regain resilience and graduate. Data collection included individual semi-structured interviews with 11 graduating seniors and an alum from a single public university in the eastern United States. Data were supplemented by individual semi-structured interviews with 1 faculty member and 2 campus counselors from the same university who had extensive interactions with art and design undergraduates. Key results from the data analysis found that supportive relationships with peers, access to financial aid, stress-free living environments, motivation, tenacity, and self-efficacy were important factors for academic success. The most stressful situations students reported were studio critiques, a lack of compatibility with roommates, and health issues. This study promotes positive social change by providing information for stakeholder's use in bolstering students' resilience in order to manage stress and improve college completion rates.

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Erwin, Douglas. "Fine Arts Coursework and Student Achievement Among African-American Students in a Midwest Setting." Thesis, Lindenwood University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10244375.

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The researcher designed this study to investigate a possible correlation between the number of years of fine arts coursework and achievement on the American College Test (ACT). The district studied was predominantly African American; therefore, similar schools may use the results to plan strategies to reduce the achievement gap. Results included a mild positive correlation between student ACT achievement and coursework in visual arts, and a moderate correlation between ACT achievement and performing arts. The more fine arts coursework a student received, the higher his or her ACT score. The researcher conducted a z-test for difference in means to compare the ACT scores of students with two or more years of fine arts to the district population?s average ACT score. The researcher found significant statistical difference in ACT scores. Finally, the researcher conducted a z-test for difference in means to see if number of years of fine arts coursework correlated to student achievement on each of the ACT sub tests: English, Math, Reading, and Science. The researcher found students with two or more years of arts coursework scored higher on each sub test than students who only took one required year of fine arts. The researcher noted this study could be important to curricular programming and increased student achievement in the future.

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Banas, Patricia Marie. "Class participation of secondary students and daily art history test scores improved when students used write-on response cards." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392108242.

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Gruber, Donald D. Hobbs Jack A. "A survey of assessment procedures, uses and perceptions among Illinois K-12 art teachers." Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9835904.

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Thesis (Ed. D.)--Illinois State University, 1998.
Title from title page screen, viewed July 3, 2006. Dissertation Committee: Jack Hobbs (chair), Marilyn P. Newby, Robert L. Fisher, Linda M. Willis Fisher, Richard A. Salome. Includes bibliographical references (leaves 132-136) and abstract. Also available in print.

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Basak, Rasim. "Perfectionist tendencies in artistically talented students and educational strategies for teaching these students in the art classroom." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3354910.

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Thesis (Ph.D.)--Indiana University, Dept. of Curriculum and Instruction in the School of Education, 2009.
Title from PDF t.p. (viewed on Feb. 4, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1139. Adviser: Enid Zimmerman.

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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

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Hobbs, Joshua T. "A Theory of Presence: Bringing Students and Art Closer Together." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5717.

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In seeking to create a richer learning environment in a junior high art classroom, the author develops a theory of presence. Closely connected to object-centered learning, a theory of presence in the art classroom places value on students being in the presence of, interacting with, and responding to artworks, artists, and other individuals and objects from the visual arts community. The author then describes how curricular plans are influenced by this theory of presence. Using an action research methodology, the author engages in the spiral process of planning, acting, observing, and reflecting on curriculum that explores the possibilities of connecting students with objects, artifacts, and people that privilege physical interaction and presence. Guest artist visits, utilizing a local art museum, and other methods are explored as possibilities for this to be achieved.

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Davis, Deitra R. "A survey of articulation and transfer issues in Mississippi's community college art programs." Diss., Mississippi State : Mississippi State University, 2009. http://library.msstate.edu/etd/show.asp?etd=etd-04052009-201413.

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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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Niccoli, Anthony C. "Substitute teaching in art education as perceived by teachers, substitutes and students from secondary visual art classes." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292082.

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The purpose of this study was to examine perceptions of substitute teaching in art education held by art teachers, substitute teachers, and students in visual art classes. The study focused on the practice of substitute teaching in visual art classes at one public school district in Arizona. Six secondary schools at this district were included. Samples were comprised of art teachers, substitute teachers, and students. Participants were surveyed and interviewed to gather and identify perceptions. Results from data analysis indicate the following perceptions among study subjects: (1) The majority of art instruction is student-directed. (2) Substitutes frequently conduct studio art activities. (3) Substitute teaching does not frequently break the continuity of art lessons. (4) There is a decrease in student academic performance with substitutes. (5) Substitutes have a low level of art knowledge, which regularly affects lesson planning.

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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.

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Cason, Nancy F. (Nancy Foster). "The Effect of Interactive Multimedia on the Critical Writings of Art History Survey Students." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332664/.

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In response to ideological issues that have emerged the last two decades from feminism, multiculturalism and postmodernism, the introductory art history survey is undergoing major revisions not only in structure and content, but also in instructional methodology. Art history professionals and art educators alike are questioning whether pedagogical methods traditionally employed in the survey are adequate for meeting the goals of visual literacy and development of critical and analytical skills. The purpose of this study was to investigate the effectiveness of supplemental study resources for art history survey students, specifically an interactive multimedia (IM) computer program designed to help students acquire and retain a deeper understanding of works of art. Two research questions were asked: Is IM a more effective instructional format than traditional slide study on achievement measures? Will use of IM impact students' levels of understanding and strengthen and direct their choice of search strategies?

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Church, Elizabeth Ann. "An autoenthnographic study of the effectiveness of teaching art appreciation through pinhole photography to home schooled students." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-08012007-234936/.

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Thesis (M.A.E.)--Georgia State University, 2007.
Title from file title page. Paula Eubanks, committee chair; Akela Reason, Melody Milbrandt, committee members. Electronic text (153 p. : ill.) : digital, PDF file. Description based on contents viewed Oct. 31, 2007. Includes bibliographical references (p. 151-153).

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Jackson, Caroline Dover. "Collaboration between Art Teachers and School Counselors of the Johnson City Elementary Schools to Assist At-Risk Students: An Art Experiences Model." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0328103-181729/unrestricted/JacksonC041403a.pdf.

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Thesis (Ed. D.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-0328103-181729. Includes bibliographical references. Also available via Internet at the UMI web site.

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Vicig, Fiona Joy Ballantyne. "Accounts of the visual art classroom : catering for artistically talented students." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/30129/1/Fiona_Vicig_Thesis.pdf.

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Inclusive education practices call for the diverse and individual needs of all students to be met satisfactorily. The needs and experiences of artistically talented students in Australian visual art classrooms are currently unknown. This study addresses this gap in research through an inquiry into the experiences of artistically talented students and their teachers in visual art classrooms, by examining the accounts of a group of students and teachers at one high school in South East Queensland. This study is significant as it provides teachers, parents and others involved in the education of artistically talented students with additional means to plan and cater for the educational needs of artistically talented students. Teacher and student accounts of the visual art classroom in this study indicated that identification processes for artistically talented students are unclear and contradictory. Furthermore, teacher and student accounts of their experiences presented a wide variety of conceptions of the visual art classroom and point towards an individualised approach to learning for artistically talented students. This study also discovered a mismatch between assessment practices in the subject visual art and assessment of art in the ‘real world’. Specifically, this study proposes a renewal of programs for artistically talented students, and recommends a revision of current procedures for the identification of artistically talented students in visual art classrooms.

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Vicig, Fiona Joy Ballantyne. "Accounts of the visual art classroom : catering for artistically talented students." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30129/.

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Inclusive education practices call for the diverse and individual needs of all students to be met satisfactorily. The needs and experiences of artistically talented students in Australian visual art classrooms are currently unknown. This study addresses this gap in research through an inquiry into the experiences of artistically talented students and their teachers in visual art classrooms, by examining the accounts of a group of students and teachers at one high school in South East Queensland. This study is significant as it provides teachers, parents and others involved in the education of artistically talented students with additional means to plan and cater for the educational needs of artistically talented students. Teacher and student accounts of the visual art classroom in this study indicated that identification processes for artistically talented students are unclear and contradictory. Furthermore, teacher and student accounts of their experiences presented a wide variety of conceptions of the visual art classroom and point towards an individualised approach to learning for artistically talented students. This study also discovered a mismatch between assessment practices in the subject visual art and assessment of art in the ‘real world’. Specifically, this study proposes a renewal of programs for artistically talented students, and recommends a revision of current procedures for the identification of artistically talented students in visual art classrooms.

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Cho, Mika Mikyung Rennels Max R. "A survey of articulation and transfer issues in Illinois community college art programs." Normal, Ill. Illinois State University, 1992. http://wwwlib.umi.com/cr/ilstu/fullcit?p9227162.

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Thesis (Ed. D.)--Illinois State University, 1992.
Title from title page screen, viewed January 10, 2006. Dissertation Committee: Max R. Rennels (chair), John R. McCarthy, Marilyn P. Newby, E. Robert Stefl. Includes bibliographical references (leaves 65-71) and abstract. Also available in print.

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Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).

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Wilson, Gillian. "Is academic writing the most appropriate complement to art students' practice?" Thesis, Open University, 2012. http://oro.open.ac.uk/54523/.

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This thesis examines the relationship between art students' academic work and arts practice focusing on: the function of academic writing; the space for the author's identity; and, whether dichotomies in the production of academic text and development of creative visual work preclude academic writing from being the most effective complementary mode of communication alongside visual arts practice. Using semi-structured interviews as a primary data source, I explored the perspectives of nine undergraduate student volunteers. I used data from the interviews and multiple data sources emerging from them, such as examples of written and visual arts work, informal and email exchanges, to build qualitative case studies addressing three research questions: What is the function of academic writing in a higher education art and design context?; In what kinds of ways does the students' prior educational experience impact on their ability to engage with academic writing in their course?; and, Does academic writing enable art and design students to link theory and practice? During the study another question emerged: Are other means of evidencing art students' engagement with theory more appropriate and effective than academic writing? Here I looked at alternative models of assessment currently offered at five UK art and design institutions/faculties to find evidence of their efficacy in the context of my research questions. Findings suggest academic writing is often ineffective in engaging students with contextual studies and theory. They tend not to link this to creative practice and resent the time spent away from the art studio. Tensions in the power relations between students and tutors often force students to write what is expected, compromising their identities within, and ownership of, the work. Non-traditional students (those defined as: the first generation of their family to participate in higher education; living in areas of social deprivation, or belonging to lower socio-economic groups) sometimes lack the cultural capital and prior experience to engage fully in academic writing. They feel there is no place for their identity in academic discourse. This is fundamentally opposed to art and design practice, where identity is often central to the development of creative work. Different forms of writing may be more appropriate complementary modes of communication within art and design than traditional academic writing, and in particular those which enable the writer to explore, celebrate and situate their identities in relation to wider historical and contextual influences in art and design. In addition to this, the potential and significance of multi modality should be considered in the 21 st century, where images, film, typography and sensory information can enrich the communication of ideas and concepts, as well as being a familiar part of our everyday lives. These offer opportunities for alternative modes of assessment, which are more creative and equitable, particularly in art and design, but potentially in other disciplines.

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Duvall, Allison G. "Art - A Tool For Teaching English To ESL Level I Students." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1470.

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Today's classrooms are filled with an ethnically and linguistically diverse population of students. In order for Limited English Proficient (LEP) high school students to be academically successful and meet the goals of No Child Left Behind 2001, they must learn academic English. As an art teacher, I understand the importance of art in a student's general education. However, could a high school art class, also, act as a tool for teaching LEP students the English language? My goal, through the use of action research, is to find an effective way to set up an English as a Second Language (ESL) Level 1 art class, thus, giving students the benefits of art while furthering their English language development.

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HappelChristian, Kristi. "Collaborating to Create Art Curriculum that is Relevant to Students' Lives." Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193256.

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Collaboration is explored as a means for making relevant connections between the curriculum and students' lives outside of school. High school students participate in several preliminary activities in order to gather data about their interests and concerns. Some of the methods used to collect this information are an initial questionnaire, a visual art project which centers on bookbinding, and student journaling. This data serves as a reference for students while collaboratively working with their teacher to determine the outline for a lesson plan that is then implemented. Additional information is gathered at the end of the project in the form of a final questionnaire which asks students to elaborate on their experiences as collaborators. Teacher reflection through action research is also used to interpret this collaborative experience analyzing the teacher's role in the process and ultimately the impact of collaboration on students' motivation and empowerment in learning.

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Schramel, Lori Ann. "Art criticism through multisensory instruction for visually impaired and blind students." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278739.

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This study was designed to compare the effects of a multisensory art criticism approach with a traditional (visual) art criticism approach in interpreting a work of art. Parade (1960) by Jacob Lawrence was the artwork chosen for the study. Two groups of visually impaired and blind high school participated in this study. Group 1 received the multisensory instruction, which included music, and tactile stimuli, and then the traditional instruction. Group 2 received the same exercises but in the opposite order. All students (N = 18) completed two assessments on their knowledge and interpretation of the work on Likert-type affective scales. Assessment 1 came after the first treatment for each group and assessment 2 came after the second treatment for each group. Results implied that there was an interaction between scores based on which method was presented first. The scores indicated that multisensory instruction is more effective after traditional instruction is presented.

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Hauser, Andrea M. "A Grounded Theory Study of the Self-Authorship Development of Art and Design Students." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1626879883767632.

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