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Dissertations / Theses on the topic 'Art teachers'

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Published: 4 June 2021

Last updated: 30 July 2024

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1

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

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

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2

Allison, Amanda Bain Christina Bittel. "Critical theory and preservice art education one art teacher educator's journey of equipping art teachers for inclusion /." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-6139.

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3

Allison, Amanda. "Critical Theory and Preservice Art Education: One Art Teacher Educator's Journey of Equipping Art Teachers for Inclusion." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6139/.

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This qualitative action research study examines how critical theory defined and guided my practice as an art teacher educator while I provided inclusion training for seven preservice art teachers during their student teaching. Sources of data included a personal journal, the inclusion curriculum I created for the preservice teachers and questionnaires and interviews. Primary findings indicated that critical theory had a substantive impact on the evolving development of my teaching philosophy, in particular my attention to issues of power redistribution in the classroom and my developing notion of teaching as form of artistry. The findings of this study also indicate that the primary impact of critical theory upon the preservice teachers was the articulation of their personal narratives and its relation to the development of their teaching identities. Further, mentoring these preservice art teachers in critical theory increased their competence in solving educational dilemmas. A primary finding of this study was how significant of a role the supervising or mentor teacher plays in developing preservice teachers' identity. As this is acknowledged, valued and utilized, more collaborative relationships among these stakeholders in the education of the preservice art teacher can be forged. The study provides implications for art teacher educators as they provide inclusion training to preservice teachers. These include honoring narratives, articulating a broader notion of inclusion, and using context-specific instructional tools while preservice teachers are completing fieldwork with students with disabilities. One suggestion for future research is to conduct longitudinal studies which explore and validate the impact of critical theory upon art teacher educators and preservice art teachers during the student teaching semester and several years beyond.

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4

Willis-Fisher, Linda Salome Richard A. "A survey of the inclusion of aesthetics, art criticism, art history, and art production in art teacher preparation programs." Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203045.

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Thesis (Ed. D.)--Illinois State University, 1991.
Title from title page screen, viewed December 21, 2005. Dissertation Committee: Richard A. Salome (chair), Jack Hobbs, Noreen Michael, Marilyn P. Newby, Fred A. Taylor. Includes bibliographical references (leaves 112-115) and abstract. Also available in print.

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5

Morgan, Leah H. "Computer art methodologies for teachers how two art teachers learned to use technology and disseminate that knowledge to other teachers /." [Bloomington, Ind.] : Indiana University, 2006. 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:3273563.

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Thesis (Ed.D.)--Indiana University, Art Dept. of Curriculum and Instruction, 2006.
Title from PDF t.p. (viewed Nov. 21, 2008). Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2767. Adviser: Enid Zimmerman.

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6

Princic, Linda. "Art teachers' values in the classroom." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26594.

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Art teachers, like other members of society, hold certain values and these values are probably exhibited while teaching art. Using participant observation, the study sought to uncover the values and the curriculum orientations demonstrated by three art teachers in their classrooms. Data were collected by means of field notes, made while classes were conducted in each of three schools. These notes were supplemented by observations supplied by each of the three teachers in interviews conducted on the school premises and in the teachers' homes. Associations between instrumental values, style of teaching and curriculum orientation were examined to discover consistencies or inconsistencies. It was found that two teachers expressed values which reflected their curriculum orientation as well as their objectives for teaching art and one teacher expressed values which chiefly reflected his curriculum orientation. Conclusions from the research support the fact that effective curriculum development should continue to provide flexibility in order to account for teachers' values. Implications for the public school system indicate that students attending particular schools may complete art programs with different ideas about the purposes of art and the methods by which it is characteristically taught.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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7

Bamford, Anne Kathleen. "The qualities of primary art teachers /." Electronic version, 2002. http://adt.lib.uts.edu.au/public/adt-NTSM20041011.182559/index.html.

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8

Bennet, C. "Art teachers' careers and career perceptions." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381777.

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9

Andiliou, Andrea. "Elementary art teachers' beliefs about creativity." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371727511.

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10

Venet, Cheryl. "Art teachers' opinions of assessment criteria /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974694.

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11

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

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

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12

Chang, Ya-Ping. "Motivation and Resilience in Art Education: Insight and Inspiration From the Lives and Careers of Two Taiwanese College Art Teachers." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149570/.

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This narrative study explores how two Taiwanese college art teachers’ lives and teaching experiences illustrate the ways they cultivate resilience and motivation to sustain professional commitments amidst challenges in their teaching careers. I use the life story interview as my methodology and a three-dimensional space approach to code and analyze my data to retell their stories about how resilience and motivation have guided them as they negotiated dilemmas in teaching. The participants’ stories demonstrate that in order to be motivated, teachers must satisfy their basic needs, which, in the language of Maslow’s need theory, include secure income, safety, love and belonging, respect, and personal accomplishment. To be resilient, art teachers need to facilitate self-efficacy as an essential belief to face challenges, and they also must gain support from family members, students, school administrators, and fellow members of professional organizations as external support resources. This study also illuminates the significance of international educational exchanges, the teaching knowledge constructed through layers of life and professional experience, and the importance of creating dialogue to address teachers’ challenges. Recommendations for future study include exploring further the relationship between motivation and resilience, specifying how gender difference affects the ways participants tell their stories, investigating how teachers in diverse cultural and geographical settings develop motivation and resilience, considering how teachers construct career-affirming memories from both positive and negative life experiences, and exploring uses of social media to engage a broader audience, sharing participants’ stories without the limitations of time and space.

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13

Li, Tam Soi-cheng Mary. "A case study of expert art teachers in Hong Kong." Click to view the E-thesis via HKUTO, 1990. http://sunzi.lib.hku.hk/HKUTO/record/B38626858.

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14

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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15

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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16

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

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

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17

Silverstein, Tanya. "Host art teachers and their feedback to student teachers during student teaching practicum." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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18

Wong, Kit-mei. "Preschool teachers' conceptions and pratices of art education." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20057842.

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19

Kessler, Evelyn Amster Susan Frederica. "Personality characteristics of college art instructors in seven midwestern states." Normal, Ill. Illinois State University, 1988. http://wwwlib.umi.com/cr/ilstu/fullcit?p8901466.

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Thesis (Ed. D.)--Illinois State University, 1988.
Title from title page screen, viewed September 16, 2005. Dissertation Committee: Susan Amster (chair), Richard A. Salome, Elizabeth L. Harris, John R. McCarthy. Includes bibliographical references (leaves 87-91) and abstract. Also available in print.

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20

Balkir, Nur Chanda Jacqueline. "Visual culture in the context of Turkey perceptions of visual culture in Turkish pre-service art teacher preparation /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9935.

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21

Knight, Wanda Bridges. "Preparing Preservice Teachers to Work with Diverse Student Populations: Implications for Visual Art Teacher Education." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392812767.

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22

Filani, Tolulope O. "Classroom teachers' beliefs about curriculum paradigms in art education /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3115544.

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23

Lampela, Laurel. "The use of the art textbook by selected elementary classroom teachers and selected elementary, middle and high school art teachers /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683049376866.

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24

Wong, Kit-mei, and 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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25

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.

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26

Myers, Sally Ann 1948. "DISCIPLINE-BASED ART EDUCATION FOR PRESERVICE ELEMENTARY TEACHERS." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275293.

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27

Schmitt, Mary Donatelli. "Ohio Quilt Artists as Teachers." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1124400161.

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28

Pavlou, Victoria. "Sixth grade pupils' attitudes to art and the influence of their teachers' art specialisation." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/10020431/.

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29

Ozturk, Elif. "Preschool Teachers." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609233/index.pdf.

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The aim of this study is to investigate preschool teachers&rsquo
beliefs about integration of visual art with other activities in early childhood settings. More specifically, the present study examined the effects of teachers&rsquo
year of experiences, their educational background and whether they take a course which is related to visual art or not on teachers&rsquo
beliefs about integrated curriculum and integration of visual art with other activities. Preschool teachers were asked to complete &ldquo
teachers&rsquo
beliefs about integration of visual art&rdquo
questionnaire which was developed by the researcher. It includes four parts: demographic information, teachers&rsquo
beliefs about integration, teachers&rsquo
beliefs about integration of visual art with other activities, and the status of the integrated curriculum in early childhood education. The participants of this study consisted of 255 preschool teachers working with children between the ages of 5 to 6. 118 participants were public pre-school teachers whereas 137 of them were private pre-school teachers in Ankara. The results revealed that there were significant relationship between teachers&rsquo
year of experience and their beliefs about integration of activities and teachers&rsquo
perceived role of the integrated curriculum in early childhood education. In addition, a significant relationship was identified between teachers&rsquo
educational background and their beliefs related to integration of visual art with other activities, usage about integration of visual art, and their perceived role or &lsquo
place&rsquo
of the integrated curriculum in early childhood education. Finally, a significant relationship was reported between the last variable, whether the teacher had taken a course related to visual art or not, and with beliefs about integration of visual art with other activities and usage about integration of visual art.

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30

Brown, Diana J. "Teachers' implicit theories of expression in visual arts education: A study of Western Australian teachers." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/52.

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This study examines the differences in the beliefs of primary (elementary) class teachers about the role of expression in visual arts education. The focus is on the relationship between primary teachers implicit theories, and expression in their visual arts lessons. Expression here, refers to the manifestation of an individual students interests or views through visual images. Students' expression of their personal responses through visual images, is a central intended outcome of the visual arts curriculum in Western Australia (Curriculum Council, 1998).

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Garnons-Williams, Victoria. "Art teacher pre-service education : a survey of the attitudes of Queensland secondary, and tertiary art educators." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26115.

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This study compares the views of three groups of art educators - secondary, tertiary pre-service lecturers, and scholars - about the content and structure considered important in art teacher pre-service education. Items of program content and structure, as well as issues in art-teacher preparation were gleaned from the writings of selected scholars and incorporated into a survey questionnaire. The survey was distributed to secondary art educators throughout Queensland and to art pre-service lecturers throughout Australia. An analysis of the results identifies areas and degrees of agreement and difference on items both within and between groups. The study can assist the development of art teacher pre-service programmes that reflect the values of both theoreticians and practitioners of art education.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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32

Halvorson, Bonnie J. "Commonalities in the daily routine of the elementary art educator." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000halvorsonb.pdf.

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Byres, Jan. "Positioning, constructing and assessing visual art : primary teachers' perspectives." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2006. http://hdl.handle.net/10092/2701.

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This dissertation explores the positioning, construction and assessment of visual art and the influences on these. The perspectives of nine primary teachers were investigated through informal interviews. The fields of visual art, visual art education, assessment and curriculum were analysed to provide the background and context for the study. This analysis was ongoing and informed the research questions and the research processes. All these fields are complex with underlying tensions. Major changes in educational administration, assessment and central curricula in New Zealand since 1990 were relevant to the study. The research question was 'How is primary visual art positioned, constructed and assessed at the operational level and what are some of the influences on these?' A qualitative design was selected in order to find out teachers' views. A grounded theory approach was used in which key themes emerged from the data. Nine teachers from nine different primary schools were selected through purposive sampling for a range of characteristics including teaching experience, age of class, school characteristics and particularly interest in visual art. Content analysis was also used to investigate The Arts in the New Zealand Curriculum. Processes of analysis and interpretation were ongoing with critical reflection, discussion and reading ofthe literature throughout. The final dissertation is a 'bricolage' of the participants' stories, voices from the literature and my story. Social constructionism was selected as the overarching theory that gave the study coherence. The initial finding that influenced the direction and framing of the study was that these teachers and schools actively constructed curricula. They did not passively receive and deliver a given central curriculum. Woven through the findings chapters were key themes of complexity and context. Differences and similarities between the schools and the teachers illuminated the significance of context. Constructed visual art curricula were a complex interaction of influences and some significant tensions emerged including the tension between summative and formative assessment. The relationship between assessment and curricula was complex. The operational visual arts curricula of the teachers in this study were constructed as making and doing artworks using a range of media and skills, mostly in isolation from social, cultural or historical contexts. These teachers' visual art was non-controversial and predominantly PakehalEurocentric. The positioning of visual art within wider operational curricula varied between the teachers and the schools. In some of the schools visual art was positioned at the margins of the operational curricula. In all of the schools literacy and numeracy were prioritised. This was hegemonic and questions were not asked about their construction or what their priority meant for other subjects. The increasingly overcrowded curricula of separate subjects, requirements for summative assessment, constant time pressures and teachers' workload were very significant issues .. Breadth of curriculum coverage was occurring at the expense of depth. The Arts in the New Zealand Curriculum was only one influence on the construction of operational visual arts curricula. The teachers used it selectively if at all. Teachers' personal experiences were also relevant. An unexpected finding was the significant role and power of the schools through long-term overviews and curriculum programmes, assessment requirements, timetables and organisational structures. In this study there was almost no evidence of political and ideological influences in teachers' discourses despite the dominance ofthese in the New Zealand literature. Assessment was dominated by discourses and practices of summative assessment, which is consistent with the literature. All of the teachers told of collecting much more assessment data than was needed for reporting to school managers or parents and caregivers. Assumptions were made about the meaningfulness of the information collected and assessment of creativity and processes in visual art was problematic. The teachers considered much of the assessment they had to do had no purpose, added to their workloads and did not benefit children. Despite the importance placed on formative assessment in the literature and the stated commitment to developing formative assessment in the Ministry of Education's assessment strategy, it was often not understood or valued. I asked why summative assessment continued to be so dominant. Some possibilities included the hegemonies of accepted discourses and practices, the underlying but often unstated importance of the accountability function supported by the Education Review Office (ERO), the Ministry of Education and the political ideology of the New Right, and school managers and leaders who imposed the requirements but did not understand assessment. The dissertation concludes by considering the implications of the findings for visual art as a subject, for school managers and for teacher agency in primary schools. The future of visual art as a subject seems uncertain in an overcrowded curriculum of separate subjects in which literacy and numeracy are prioritised. Its positioning within operational curricula, whether at the margins or not, depended on a complex interaction of influences. Principals and other school managers need to understand the purpose, rationale and impacts of their decisions on teachers and operational curricula. Teacher agency is important for teacher efficacy, morale and interest, and in order to interrogate change. Operational visual art curricula assessment and teacher agency were contextual and very complex. Complexities and tensions were evident at all levels. This study contributes to understandings about primary visual art education, primary teachers' issues and experiences, and the construction of operational curricula in primary schools.

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34

Walton, Beverly Jean Newby Marilyn Provart. "A survey of multicultural art experiences and teachers' attitudes regarding multicultural art experiences in Illinois middle level schools." Normal, Ill. Illinois State University, 1999. http://wwwlib.umi.com/cr/ilstu/fullcit?p9960428.

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Thesis (D.A.)--Illinois State University, 1999.
Title from title page screen, viewed July 31, 2006. Dissertation Committee: Marilyn Provart Newby (chair), Susan F. Amster, Linda M. Willis Fisher, Edward R. Hines. Includes bibliographical references (leaves 94-99) and abstract. Also available in print.

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35

Knight, Wanda Bridges. "Preparing preservice teachers to work with diverse student populations : implcations for visual art teacher education /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195633519372.

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36

Smith, Jennifer Renee. "VIRGINIA TEACHERS' UTILIZATION OF VMFA RESOURCES: A SURVEY." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/62.

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The focus of this thesis was to gather data by survey on the utilization of VMFA resources by Virginia, K-12 public and private school teachers. Currently there is a lack of research on how teachers utilize art museum resources. I sent a Web-based survey to 800 teachers in the state of Virginia. One hundred seventy six teachers responded and the data was analyzed to determine their backgrounds and utilization of VMFA resources. All data was entered into tables in both numerical form and percentages. My analysis of the data showed that teachers utilize resources most frequently for art history discussion and studio project motivation. In their classrooms, teachers most frequently use poster kits and video/DVD from VMFA.

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37

Lima, Geraldo Orthof Pereira. "On becoming an artist : considerations for an advanced program in the visual arts /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130179x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Hndassah Sahr. Includes bibliographical references (leaves 166-180).

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Hemmerla, Paul S. "Factors related to the level of instructional use of computer based technology by Missouri secondary art teachers /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999297.

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Vivoni-Alcaraz, Paul Hobbs Jack A. "Teaching goals among art faculty in Puerto Rico." Normal, Ill. Illinois State University, 1985. http://wwwlib.umi.com/cr/ilstu/fullcit?p8514786.

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Thesis (Ed. D.)--Illinois State University, 1985.
Title from title page screen, viewed June 21, 2005. Dissertation Committee: Jack Hobbs (chair), William Tolone, Fred Mills, Richard Stivers, Max Rennels. Includes bibliographical references (leaves 71-74) and abstract. Also available in print.

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Czerniak, Mary Lou. "How art teachers' Internet integration training and confidence levels effect the teachers' perceptions of resulting student performance." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000czerniakm.pdf.

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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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Wade, Bussey Sahirah Fatin. "Pre-Service Art Teachers and the Use of Feminist Curriculum and Pedagogy in the Art Classroom." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/18.

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The purpose of this study was to determine answers to several research questions: 1.) What do pre-service teachers know about feminist pedagogy or teaching in ways that are culturally responsive? 2.) In what ways are pre-service teachers prepared to use feminist pedagogy? 3.) How is a lesson constructed utilizing a feminist curriculum? All participating pre-service Art Education students completed a Survey of Art History, a questionnaire of their background in Art History, a questionnaire on their ideas of feminist pedagogy, and completed a group brainstorming of lesson plans. Data was analyzed from student responses. Results support the need for teaching more feminist content and pedagogy. Recommendations are made for further research.

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Alshehri, Abdullah D. Ali. "An evaluation of art teacher preparatory programme in Saudi Arabia for the teachers at school level." Thesis, University of Nottingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298956.

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Whelan, Leslie Michael. "Elementary teachers, art education, and arts networking : a comparative study." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26625.

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Art education is part of the curriculum of elementary schools in Queensland, Vancouver, and Seattle and teachers in all three systems have problems, priorities and emphases within their art education programs. Arts networking as a means of mutual aid and assistance has been tried in two of the systems and this study attempts to ascertain whether, in the perception of the teachers involved, it is a viable method of dissemination of ideas and solutions to problems. Information on the problems, priorities, and emphases of the teachers in the three systems was sought through a questionnaire and principals were interviewed for perceptions on arts networking. This comparative study shows that elementary teachers in the three systems share many problems, have slightly differing emphases and priorities and those involved perceive networking to be a viable means of art education support provided continued funding and administrative encouragement are available.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Li, Tam Soi-cheng Mary, and 譚瑞菁. "A case study of expert art teachers in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B38626858.

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Wilhelm, Christina M. "A Case Study of Three Cooperating Teachers in Art Education." Kent State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=kent1184209357.

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Wickham, Allison. "Culturally Responsive Art Educators: Proactive Training for Pre-Service Teachers." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1393332892.

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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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Hsu, Karen Ching-yi. "Teaching and learning on-line in in-service art teacher education the Ohio State University experience /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101769716.

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Dominice-Baker, Carla. "A case study: Examining the methods of two elementary art teachers." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291648.

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Studies involving the observation of elementary art teachers within the classroom are scarce, if existent at all. This work presents data from a case study which examined two well respected elementary art teachers who teach in the same school district. The data from this study revealed that, although personality type tends to play an important role in the making of a teacher's presentation, and interactions, three other themes emerged as important in an outstanding teacher. Four themes were found to be conducive to outstanding teaching. Those themes are; (1) personality type, (2) educational background, (3) teaching of curriculum, and (4) enthusiasm. Findings indicated that although these two teachers approach students in different ways, they have both become successful within their techniques. Different personal approaches to teaching can prove to be successful and can provide students with a variety of tools for problem solving and knowledge.

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