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Dissertations / Theses on the topic 'Teaching as an art form'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Stanley, Denise Y. "Teaching Is My Art Now." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/2653.

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This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.
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2

Stanley, Denise Y. "Teaching Is My Art Now." University of Sydney, 2008. http://hdl.handle.net/2123/2653.

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Doctor of Philosophy
This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.
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3

Treichel, Gillian. "Creating form : the presentation and perception of three-dimensional form." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/858.

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This Creative Arts Project is an investigation of form within the ceramic tradition -how three-dimensional forms are created, presented and perceived. It addresses this topic by focusing on how form can be implied without actually creating the form itself. The project consists of an exhibition of selected art-work produced during the investigative process and is supported by this exegesis which documents the investigation. It also explains the theoretical basis for the body of work and the conceptual development of it. Major landmarks in the creative process and the significance of these for teaching and learning in visual arts education are highlighted. The submission includes further documentation in the forms of visual diaries. notebooks, photographs_ and other material produced in the process of exploration. The significant questions that have been explored in the Creative Arts Project are related to the perception of form in three-dimensional art-works. “How are three dimensional forms represented by the artist and perceived by an audience and what are the Implications for art education?” Embedded in a ceramic tradition, the bottle is both the subject of investigation and the vehicle for exploring the influence of different contexts on the perception of form. Gestalt Theory, and in particular the work of Rudolph Amheim, provide the theoretical basis for this study. The making of art-works, the responses to the work and the provision for aesthetic experience enhances knowledge and understanding of the teaching and learning process. A described in the Curriculum Framework: "Artistic works can inform, teach, persuade and provoke thought. They can reproduce and reinforce existing ideas and values, challenge them, or offer new ways of thinking and feeling (1998, p.51). In particular, the teaching of ceramics to undergraduate student teachers and the way in which this may develop visual understandings is examined.
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4

Dafiotis, Panagiotis. "Art practice as a form of research in art education : towards a teaching artist practice." Thesis, Institute of Education (University of London), 2011. http://eprints.ioe.ac.uk/7362/.

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Although the borders between art practice and domains like philosophy have been questioned, education and its relation to art seems somehow to be overlooked in these exchanges. In my arts-led research I examine the ways the teaching artist may be able to cross the borders between art and education to produce a hybrid field in which hierarchical distinctions are questioned and the voices of students legitimised. Through my own practice as a teaching artist I am attempting to recognise, theorise, ground and develop a framework for this hybrid field. In my practice-led PhD I am trying to create space for an alternative, parallel possibility within art education. To do so, I draw on the work of Kester (2004) and Bourriaud (2002) who analyse dialogic artworks and relational aesthetics (respectively). I perceive art lessons as artistic events in the relational sense and the space where these exchanges take place, as an ever-evolving installation artwork. To this effect I have created a series of multimodal installations, which question the dichotomy of visual arts and pedagogy. These installations became increasingly participatory 'culminating' in a project, (The Benevolent Trap' May, 2010) which involved pertinent presentations and discussions with fellow students. Affect through the visual becomes the fulcrum for inciting dialogue on the relation between art and meaningmaking. On a theoretical level I draw on Deleuze and Guattari, and particularly on their notions of the 'rhizome' and 'smooth space'. In my practice-based research project I therefore explore art making as a meta-process in which making about making becomes a way of thinking about thinking. The quest though is to create a space where participants can revisit their own assumptions and reflect on them.
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Atkinson, D. "Form and action in art education : A reflection upon theory and practice in the teaching of art." Thesis, University of Southampton, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382177.

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6

Miklaszewska, Beata, and Malgorzata Gosia Sygdziak. "Art as a form of expression in the teaching of theoretical subjects in grades 1-5." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30773.

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Syftet med denna kvalitativa studie är att undersöka pedagogernas förhållningssätt till bild och användning av bild som en uttrycksform vid undervisningen av de teoretiska ämnena i skolår 1-5. I undersökningen vill vi även diskutera om pedagogernas intresse, erfarenheter eller kunskaper inom bildområdet kan styra eller påverka deras val av implementering av bilden i undervisningen. Undersökningen bygger på kvalitativa intervjuer med sex pedagoger bestående av fyra lärare och två fritidspedagoger alla verksamma inom skolår 1-5. Analysen tolkas med hjälp utav forskarna Skinner, Piaget och Vygotskijs olika teorier om barns utveckling, lärande och inlärning samt av andra teorier relevanta för ämnet och av skolans styrdokument. I undersökningen framgår att alla pedagogerna har en positiv inställning till bild som uttrycksform och att alla pedagogerna arbetar i någon utsträckning med bild i undervisningen. Trots det har vi kunnat urskilja att pedagogernas intresse, erfarenhet samt kunskap påverkar i en viss mån deras sätt att implementera bilden i undervisningen samt påverkar deras förhållningssätt till bild. Vår slutsats blir att det behövs ytterligare mer kunskap samt medvetenhet om hur bilden kan implementeras i olika undervisningsmoment och utgöra en naturlig del av undervisningen.
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7

Ammar, Khalifa Sharef Salem. "PROPOSED GUIDELINES FOR THE IMPROVEMENT OF THE ART AND ART TEACHER EDUCATION PROGRAMS AT AL-FATEH UNIVERSITY IN LIBYA." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/298784.

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Visual arts education provides the knowledge, skills and attitudes necessary for students to become more responsive and responsible citizens who are aware of the interaction among the visual, aesthetic, economic and social aspects of their culture. A well-prepared visual arts educator is an essential contribution to the quality of student learning in this area of education. The purpose of this study was to suggest a series of guidelines and recommendations for the improvement of the art and art teacher education at Al-Fateh University in Al-Jamahiriya (Libya). Development of these guidelines and recommendations was based on the following steps: (1) Review and examination of developments and trends in Al-Jamahiriya's formal education system. These included secondary education, teacher preparation, and visual art education. (2) Examination of the present art education program at Al-Fateh University and its role in preparing qualified visual art teachers for Al-Jamahiriya's secondary schools. (3) Comparative study of selected factors pertaining to art education teacher preparation at Al-Fateh University and four exemplary American universities. (4) Library research regarding current thought and practices in the areas of visual art education and teacher preparation. A questionnaire was also developed and sent to the art education department at Al-Fateh University to help obtain descriptive data concerning the teacher education program. A panel of experts at the University of Arizona had identified four exemplary American university art education programs. These programs were examined as part of this study. Recommendations are made regarding selected improvements in the art and art teacher preparation programs at Al-Fateh University.
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8

Disque, J. Graham, and D. Henderson. "Art and Music as a Process for Teaching Counseling Concepts." Digital Commons @ East Tennessee State University, 1996. https://dc.etsu.edu/etsu-works/2834.

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9

Chambers, Julia. "ACCOUNTING FOR ART: ANIMATION AS A TEACHING TOOL FOR ACCOUNTING PROCESSES." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1188.

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Despite technology's growing presence in society, accounting classrooms have lagged behind other disciplines in utilizing educational animations. This is primarily due to inconclusive research and institutional resistance. In this thesis, I cover existing research on the benefits of visualizations as well as the significance of educational animations. To supplement my arguments for how these studies are lacking, I have made two educational animations covering introductory concepts of financial statements and the time value of money.
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10

Lackey, Lara Marie. "Pedagogies of leisure : considering community recreation centres as contexts for art education and art experience." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25083.pdf.

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11

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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12

Agbeze, Richard. "TEACHING FOR SOCIAL JUSTICE: A CASE STUDY OF A SECONDARY ART EDUCATOR." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587743645964416.

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13

Rogers, Dorienne B. "A Model for the Integration of Art Criticism into the Secondary Art Classroom." UNF Digital Commons, 1990. http://digitalcommons.unf.edu/etd/313.

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This study identifies, explains, and develops a practical model of teaching art criticism within a traditional secondary art curriculum. The approach to teaching art criticism uses the discipline-based art education format described in the Getty publication of 1985, a composite art critical format including B. Bloom, E. Feldman, K. Hamblen, and E. Kaelin, is accomplished through a process model curriculum developed by L. Stenhouse, and uses K. Gentle's curriculum design as the basis of the Curriculum Model Diagram. The project provides lessons that are intended to help junior high school, and senior high school art students develop the necessary skills to make informed judgements about art in the production, historic, aesthetic, and critical areas of the existing art curriculum. The methodology is presented in a lesson plan design, includes a Biographical Sketch, and a Six-Part Questioning Strategy. Three experienced artist/teachers were asked to review the curriculum and, using the Artist/Educator Questionnaire, evaluate it. Feedback from the three reviewers suggested several ways the curriculum could be tailored to individual teacher and program needs.
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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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Hewett, Gloria Jean. "A QUESTIONING STRATEGY FOR AESTHETIC SCANNING." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275404.

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16

Winter, Regina Beth 1945. "An integrative model for a discipline based feminist history of art." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276708.

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This thesis establishes guidelines and develops art historical instructional materials that answer requirements of discipline-based and feminist art education. Recent literature on the theoretical bases and curricular applications of DBAE,and feminist writings in art education and art history serve as conceptual sources for developing an integrative art historical model. This study applies this model to develop a variety of high school level instruction materials based on the lives of 19th century American neoclassical women sculptors. These materials contain biographies, sources of reproductions, and an analysis of these artists' particular positions as women, and as artists, in nineteenth century America. The last chapter provides information and suggestions for teachers on how to use the materials in a discipline based context. This kind of integrative approach can serve to broaden our understandings and experiences of the visual arts so that they are more truly representative of all humankind.
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17

Brow, Jo-Ann. "Developing an art curriculum for elementary education." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1506.

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18

Tankel, Jesslyn Elise. "A Teaching Toy: Free Forms in an Abstract Landscape." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/45220.

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As a young student, I enjoyed a passion for the studio arts and an interest in art history. I ardently pursued these areas in college, continuing their exploration in graduate school in the field of Industrial Design. For the thesis project, my objective is to foster in children an appreciation for art and, possibly, to help them develop a critical and appreciative eye toward their environment. In my research, I find inspiration in child psychology and the toys of child's play, in 15th-century Islamic art and 20th-century Abstraction, and in naturally occurring events such as ivy twisting up a knotty tree trunk and soft ripples in a pond. The assimilation of these elements, together with the ideas that they generate, evolve into the foundation for my project. My intent is to design a toy which provides children ages six to twelve years with insight into both the world of nature and the realm of art. Further, the toy will heighten each child's visual vocabulary to acknowledge the organic, natural line that exists in nature and which is, perhaps, represented in abstract art. These goals are the guiding principles for my work.
Master of Science
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19

Driskell, Catherine A. "Critical Voices in Action: Teaching for Social Justice in Community-based Art Education." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/32.

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If community is defined as a group of teachers, learners, and others who collaborate to achieve common goals, art education that is based on the interests and needs of that community can be identified as community-based art education (CBAE). CBAE programs often have goals that are congruent with educational theory or pedagogy for social justice. In this study five CBAE programs were examined for purposes, goals, instructional methods, and curriculum in order to determine how pedagogy for social justice could be applied to art education in community-based settings. The five CBAE programs were evaluated with a rubric integrating social justice into community-based art education. That information was used to create a set of best instruction practices for teaching for social justice in CBAE, as well as curriculum recommendations.
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20

Brewin, Julie. "An exploration of the influence of the acculturation process on an artist's practice and the implications for education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1482.

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This Creative Arts Project investigates the relationship between expression in the visual arts and the process of acculturation. The focus of the study is my personal negotiation of this process. The descriptive study is about engagement with the organic world and its past and present dialogues within the ongoing process of acculturation. I have explored the connection between nature, culture and art using a phenomenological research method. The propositions that we do not see things as they are; we see things as we are (Talmud), and that as visual artists we are the 'architects of our own experience', (Eisner, 2001) are explored. The reflexive nature of visual arts activity is acknowledged and the impact of cultural influences and natural environment on the choice of subject matter is examined. My investigation of a new physical environment is facilitated through the medium of a third cultural aesthetic that makes reference to the art and design of Japan. The Project is divided into two parts. Part one is the thematic exhibition and part two is this exegesis that explains and supports the research. Documentation of the project also takes the form of visual diaries that record phenomena and explain design development through drawing and painting. The main research question is directed towards evidence of the reflexive nature of the acculturation process as manifested in the work of the researcher. It is: How is the process of acculturation manifested in the visual artworks of the individual who has entered a new physical and cultural environment? Whilst acknowledging that the acculturation process is unique to the individual I believe that phenomenon experienced in this way has value in classroom practice. Therefore the secondary question is: What implication does this have for the visual arts curriculum? The significance of this Creative Arts Project for the visual arts curriculum is seen in the interaction of culture, personal experience and environment as integral parts of the creative process. Through my own process I have found that there are connections between past and present life-worlds that influence expression in the visual arts. Heritage and experience of the natural environment are linked to this process. Exploration of these phenomena within the classroom may lead to a clearer understanding of the nuances of a new physical environment. This research has been influential in the development and production of curriculum material for a Western Australian educational institution. The materials are displayed as part of the thematic exhibition. It is hoped that the publicising of this research may be seen as having value for the development of a multicultural visual arts curriculum.
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Golinvaux, Mary Ann. "The selection of children's literature for teaching values and ethics through use of art forms." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/276.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Education
Elementary Education
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22

Betts, John David. "Art as mediation for learning: The Arts Integration Program." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186865.

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This study is based on the Arts Integration Program, a series of lesson outlines utilizing fine arts experiences (dance, music, theatre, and visual arts) to teach core curriculum subjects. The study took place over two years in six schools, combining qualitative and quantitative research methods to determine: if learning actually took place concurrently with the program's lessons; how the classroom learning environment was affected; and what teachers who use the Arts Integration Program lessons for the first time report about the experience? The study was continued into a second phase based on results of the first. In the development of an Arts Integration Program teacher-mentor model, two teachers from the first year of the study worked with new teachers in their schools who were beginning to use the program. This second phase of the study asked: What is involved in establishing a successful teacher-mentor model with the Arts Integration Program? And, How do the lessons effect the classroom learning environment? Lesson outlines and arts integration techniques are described and results from the Content Area Tests and the Perceived Self-efficacy, Attitude, and Linguistic Domain Questionnaire from both phases of the study are presented. The evolution of the Arts Integration Program Teacher-mentor Model is also described. The process of implementing the program in each school was documented through teacher journals, observations, interviews, and videotapes. The aesthetic reaction that Vygotsky (1971) wrote about seems to be present in these children. Their teachers each report having a more cohesive and supportive classroom environment as a result of the theatre lessons. They all noted improvement in the childrens' communication, expressive and receptive, skills. There is also evidence of transfer into other academic areas. The study showed the more successful Arts Integration Program Teacher-mentor model to be: (1) At least a one-year. (2) Concentrating on one, or two, arts areas. (3) With teacher observing teacher. (4) Regular meeting to plan and discuss. (5) Videotape and review for teachers and students. Plans for future implementation of the Arts Integration Program and ideas for further study are presented.
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Yoon, InJeong, and InJeong Yoon. "Confronting Systems of Oppression: Teaching and Learning Social Justice through Art with University Students." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625591.

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In this study I attempt to shed light on the experiences of the teacher researcher and university students who explored social justice issues in an art education course. The primary purpose of this study is to provide insights in teaching practice and students' learning processes when the course is designed to examine systems of oppression through class discussions and art-based assignments. The study delves into what challenges and rewards the teacher and students experience in an art class focusing on social injustice. I conducted this study in a semester-long art education course, where I taught as an instructor, with twelve university student participants. The questions that guided by study were: 1) How do I understand my experience of teaching social justice issues through art in an undergraduate art education course and what do I continue to learn from it?; 2) In what ways do undergraduate students navigate and learn about social justice issues through class discussions, writing and art-based assignments? I utilized two methodologies, autoethnography and case study, in order to provide in-depth descriptions of the participants' and my perspectives. The theoretical frame I used was critical race feminism, which highlights the intersectional experiences of females of color. For the autoethnographic study, I collected data from the artifacts I created during the study period including researcher’s journals, visual journals, and audio narratives. I also collected data from the participants, such as pre-course questionnaires, reading responses, reflection notes, personal narratives, peer interview responses, audio narratives, and final art projects. The findings of the study reflect different challenges and rewards that the student participants and I experienced in the university course on social justice art. Themes included student resistance, the teacher's self-doubt, the students' vague understanding of social justice, a difficulty to understand the concept of privilege, and the lack of hands-on activities. The participants also addressed significant learning moments including, learning about colorblindness, personal reflections about their own social identities in relation to systems of oppression, and various art-based assignments they created during the course. Both the participants and I found strong connections between the teacher and students, a sense of learning community, and student empowerment as the rewarding experiences. These findings suggest the need for teachers to reconsider the meaning of a safe space, student resistance, and the role of emotions when they teach social justice issues. Furthermore, the findings suggest that female teachers of color need to positively acknowledge our racial, sexual, cultural, and linguistic identities and envision our roles as border-crossers and agents of change.
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Rountree, Janet, and n/a. "A framework for virtual artifacts : digital images as teaching tools in Classical art." University of Otago. Department of Information Science, 2005. http://adt.otago.ac.nz./public/adt-NZDU20060809.112225.

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This thesis explores the problem of how to present digital images of ancient artifacts in a manner that supports the task of visual analysis. The real object presents the "truth": exact scale, colour, and fine details. An original work of art provides the viewer with the opportunity to react directly with the object, is closest to the impact intended by the artist, and provides a tangible physical link with the past. Digital images limit and alter the experience of a work of art (1) with regard to the amount of data available (resolution), and (2) through the interpretation of the object by the producers of the digital copy (mediation). A new framework is developed to improve the understanding and presentation of virtual artifacts. This Fidelity-Mediation framework provides a continuum for considering the effects of design strategies on media used in teaching Classical arch�ology. Two small-scale experiments and follow-up interviews were undertaken to assess the usefulness of the Fidelity-Mediation framework as a descriptive model. During the experiments, quantitative analysis could detect no statistical difference in the effectiveness of different types of presentation (real object, VR object, and still digital images). This is a surprising result as it might be expected that there is nothing like seeing the real thing. Digital images provide less visual integrity. However, the digitised artifacts make up for the loss of excitement and authenticity by providing the advantage of mediated focus. Digitised artifacts thus turn out to be useful, effective study tools in the analysis of Classical art. Findings from this research are expected to generalise only to learning situations which support task orientation--situations conducive to developing personal skills and mastery--in contrast to performance orientation where the goal is to display performance relative to others. The distinction between task orientation and performance orientation is discussed in Chapter Eight of this thesis.
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Willett, Leslie V. "The efficacy of art as a medium for teaching concepts to fifth graders." Diss., Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/54809.

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This quasi-experimental study investigated the hypothesis that specially designed art lessons can be used as a vehicle to enhance the learning of specific concepts. The concepts selected were ones traditionally taught in an elementary art program coinciding with those measured on standardized tests. The selected concepts were area, volume, perimeter, congruency, pattern, and sequence. Elementary school art lessons designed to teach specific concepts and taught by an art specialist to a treatment group of students were found, as a whole, to enhance the learning of concepts significantly over that of the comparison group of students taught in a traditional manner. All teachers provided a multimodal approach to teaching, but the treatment teacher was found to use more visual and kinesthetic modes of instruction than the comparison teachers. Students' dominant learning modalities appeared to have no influence on the amount of knowledge gained from the type of instruction received. Students who were taught by the treatment method learned more regardless of their dominant learning modalities. Students taught by the treatment teacher who exhibited a positive “feeling tone” in her classroom learned more than students taught by teachers who exhibited a negative or neutral feeling tone. As a whole, concepts transferred from the teaching situation to the testing context. The students in the treatment group were found to have scored significantly higher on the posttest than those students in the comparison group. No significant difference was found in creativity of the artwork produced by the two groups of students. In addition, no significant relationship was found between dominant learning modality and developed ability level, race, or gender. Race and gender had no significant relationship to the amount of knowledge gained.
Ed. D.
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26

Morrison, Pamela Jay Hudson. "An Evaluative Study of Three Units Developed for Multi-cultural and Art Historical Resource Curriculum for Kindergarten and First Grade Art." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc935573/.

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Two curricular needs exist for the elementary art classroom: multi-cultural lessons which are customized to address North Texas ethnicities, and art history materials for early grades, whether taught by art teachers or regular classroom teachers. This thesis addresses both of these concerns by developing lesson plans to meet the needs, and executing an evaluative study with North Texas art and regular classroom teachers of kindergarten and first grade. The teachers represent four districts, including rural, suburban, and urban demographic populations. Findings address time limitations for public school teachers, cultural exchange differences between demographic groups, and differences between presentation of the units by regular classroom teachers versus art teachers.
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Higgins-Linder, Melissa M. "Case Study of the Columbus Museum of Art's Teaching for Creativity Summer Institute." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499353441955593.

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28

Le, Kim. "Cultural hybridity and visual practice: Towards a transformative-repair multicultural pedagogy for visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/790.

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This research project examines how transitional multiculturalism, cultural hybridity and transformative-repair are practiced by a professional artist-researcher and novice artists. Transitional multiculturalism and cultural hybridity are examined through a series of artworks by a Vietnamese-born artist-researcher. This series of artwork, which reflects 35 years of creating art in both Vietnamese and Australia, demonstrate a personal engagement with issues of cultural diversity, upbringing, and related aesthetic studies. The intention of this exhibition is to chart the characteristics of the artist's expression, which is culturally hybridised. This part of the study aims to identify those artistic conventions associated with specific visual traditions that have been incorporated into the artist-researcher's paintings. The main influences identified originate from both Eastern arts traditions (Viet nam, Japan and China) and Western visual arts traditions. This study also aims to identify how to use artistic conventions associated with the expression of one's culture und ancestry, which may continue to improving one's knowledge in different traditions and history across diverse aesthetic systems of hybridity. Information and understandings gained from the first part of this research will provide insigns, which will have relevance to secondary school visual arts learning areas. The transformative-repair model of multiculturalism is examined through a visual arts project conducted by secondary school students. More specifically this part of the study aims to identify principles, approaches and content for transformative repair, experiences of two students of culturally diverse hack grounds (African and Vietnamese) who are currently engaged in this culturally diverse Australian society.
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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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SCHWARTZ, KATHERINE ANNE. "EDUCATORS' PERCEPTIONS OF AN INSTRUCTIONAL SUPERVISION SYSTEM FOR DISCIPLINE-BASED ART EDUCATION." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184036.

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This study investigated educators' perceptions of an instructional supervision system for implementing discipline-based art education (DBAE). The purpose was to determine whether teachers, principals, and supervisors who are in a position to use the system perceive its components as clear and useful. The survey research design on which this study was based was carried out at the 1985 Getty Summer Institute for Educators on the Visual Arts. The sample for the design included 47 educators defined by their institutional role and their knowledge of DBAE: Returning Principals, Elementary Classroom Teachers, Art Educators, Art Supervisors, and New Principals. The respondents rated 25 DBAE teaching behaviors on a Supervision Scale from 1 (No Help) to 5 (Very Helpful), and an Art Content Scale from 1 (Unclear) to 5 (Clear). Written comments were compiled and qualitative comparisons were made within and between groups. A Principal Components Factor Analysis was used to determine the underlying factors within the Supervision System. Analyses of variance techniques were used to determine whether there were statistically significant differences among the four educator groups for each of the teaching behaviors. Pearson product moment correlation was used to determine relationships between total ratings and the respondents' years teaching, years in educational administration, and years as art educator. The results of this study indicate that: (1) the teaching behaviors in the Supervision System measure three distinct constructs of DBAE instruction: Content, Curriculum, and Context; (2) the System was perceived as clear and useful by each of the educator groups included in this study; (3) the items were rated higher as their years in educational administration increased; and (4) the Content and Curriculum items were rated lower as years in art education increased, while the context items were rated higher. The DBAE approach to teaching art is in its development stages. The constructs included in the Supervision System should be reevaluated as DBAE evolves.
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Blackstone, Lucinda Lee. "Beyond skills to meaning: Artists as healers and implications for art educators." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1896.

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Art definitions and movements are changing just as the social paradigms they spring from. This exploration looked at paradigms in art of the past that have become the foundation for movements today. Currently the transformative powers art has to offer have been recognized. Colleges are beginning to train a major and a career. The literature review explored what role transformative art has played in artists' lives and looked at its uses in education. Conceptual art goes beyond the aesthetics of art and touches the mind and heart. I began to explore this kind of art in the nearby galleries. I found a theme I could be passionate about and began to develop it visually. For my project, I developed transformative art. Often students can master a media and create an image with it. But, unless they are told what to create, their craftsmanship skills lie mute. They need guidance to realize their visual voices. As I researched the subject matter of my show, I challenged my students in my high school art classes to look past technique and create some conceptual art of their own.
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Metcalfe, Jason Lauth. "Examining relationship building in a donor participation program for the arts in higher education: A case study of selected members of the Medici Circle and the College of Fine Arts at the University of Arizona." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278743.

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High quality relationships between philanthropic organizations and their donors are central to the success of development and fund raising practices. The purpose of this study was to examine what components in a philanthropic relationship influence "relationship building" between a philanthropic organization and its donor base. A philanthropic program supporting the fine arts in higher education was used as the basis for a case study. Theories relating to philanthropy and social psychology were used to guide the research. Eight donors were interviewed and qualitative research methods were employed to analyze the data. Results indicated that creatively communicating the results of a donor's involvement, building a social and/or advocacy reference group, and utilizing dynamic leaders in donor relations valuably contribute to building high quality philanthropic relationships.
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Savage, Shari L. "Teaching to learn: a self-reflective examination using narrative writing as a tool for exploration and inquiry." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392309320.

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Riggs, Coragene 1938. "DISCIPLINE-BASED ART EDUCATION GUIDELINES FOR OLDER ADULTS (GERONTOLOGY)." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/276362.

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Hartman, Jennifer D. "Exploring the Process of Developing a Glocally Focused Art Curriculum for Two Communities." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062845/.

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The world is becoming progressively interconnected through technology, politics, culture, economics, and education. As educators we strive to provide instruction that prepares students to become active members of both their local and global communities. This dissertation presents one possible avenue for engaging students with art and multifaceted ideas about culture, community, and politics as it explores the possibilities for creating a community-based, art education curriculum that seeks a merger of global and local, or "glocal" thinking. Through curriculum action research, I explored the process of writing site-specific curriculum that focuses on publicly available, local works of art and encourages a connection between global experiences and local application. I have completed this research for two communities, one in Ohio and one in Texas, and investigated the similarities and differences that exist in the process and resulting curriculum for each location. Through textual analysis, interviews, curriculum writing, and personal reflections, I identified five essential components of a community-based, glocal art education curriculum: flexibility, authenticity, connectedness, glocal understandings, and publicly available art. Additionally, I developed a template for writing glocally focused, community-based art education curriculum and produced completed curricular units for each of the communities. Finally, I have made suggestions for the future study and development of glocally focused, art education curriculum.
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Terreni, Lisa. "A case study : how young children and teachers use an interactive whiteboard in a New Zealand kindergarten setting for visual art learning experiences : a four paper thesis submitted to the Victoria University of Wellington College of Education in partial fulfilment of the requirements for the degree of Master of Education /." ResearchArchive@Victoria e-thesis, 2009. http://hdl.handle.net/10063/983.

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Wongpang, Prayoot. "Participative design for learning and teaching of art, media and design in Thai higher education." Thesis, University of the West of England, Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275350.

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

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Reavis, Lauren Jane. "Art Teacher Preparation for Teaching in an Inclusive Classroom: A Content Analysis of Pre-Service Programs and a Proposed Curriculum." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/48.

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Based on my experience and the available literature I believe that many art teachers perceive that they are unprepared to adequately teach special needs students in their art classrooms. The review of literature supports the visual arts for individuals with disabilities. The inclusion movement in schools increases the likelihood that a teacher will have students with disabilities in their art classroom. It is suggested that art educators would benefit from at least one course in their pre-service training that specifically addresses art education for students with special needs. This content analysis of pre-service art education programs reveals that 5 of 18 programs studied, (28%), require such a course, with no other option, to fulfill the special education requirement. Using the published literature, my own experience, and current practices a proposed curriculum was created for an undergraduate course in art education for special needs in the inclusive art classroom.
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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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Harrigan, Mary Elizabeth. "The art of self-discovery: Integrative opportunities for alternative settings." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2682.

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This study examines the literature on identifying alternative methods of coming to a deeper understanding of one's physical, mental, and spiritual self. It provides information on one particular alternative program, and presents lesson ideas and options that demonstrate how an art-based emphasis in elective coursework can allow for the next step in each student's journey of personal growth and development.
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許敬文 and King-man Hui. "A study of computer support for collaborative learning in secondary art education." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31256272.

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Meral, Lynda S. "Visual literacy for the 1990's." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/761.

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Riddoch, Jane V. "The effect of classical music on painting quality, attitude and behaviour for students with severe intellectual disabilities." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/95.

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The main purpose of this study was to investigate the effectiveness of a new Pictorial and Musical Visual Arts Program for students with severe intellectual disabilities. In particular, to learn whether the addition of classical music as background helped students improve the quality of their abstract paintings, attitudes and behaviour in class.
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Hiebert, Lynnea Patricia. "Art as a mediated structure for English language learners." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2813.

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The purpose of this project is to focus on how art enhances written language among English language learners in third grade. It develops and designs curriculum through the mediated structure of art to develop English language learners' writing in narrative and expository genres, as well as develop second language proficiency.
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Unrath, Kathleen. "Reflection, the National Board certification process, and its potential impact on National Board Certified art teachers and their practice /." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3052225.

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Reavis, Lauren J. "Art teacher preparation for teaching in an inclusive classroom a content analysis of pre-service programs and a proposed curriculum /." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-07072009-215223/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from file title page. Melody Milbrandt, committee chair; Melanie Davenport, Kevin Hsieh, committee members. Description based on contents viewed Feb. 22, 2010. Includes bibliographical references (p. 73-78).
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Lee, Sun-Young Won. "A metacriticaul analysis of contemporary ant critics' practices: Lawrence Alloway, Donald Kuspit and Robert Pincus-Witten for developing a unit for teaching art criticism." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281642549.

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

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