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Journal articles on the topic 'Visual art education'

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Published: 4 June 2021
Last updated: 25 January 2023

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1

HUGHES, PHILIP. "Visual Education and Art Education." Journal of Art & Design Education 8, no. 1 (March 1989): 37–44. http://dx.doi.org/10.1111/j.1476-8070.1989.tb00740.x.

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2

Kindler, Anna M. "Visual Culture, Visual Brain, and (Art) Education." Studies in Art Education 44, no. 3 (April 2003): 290–96. http://dx.doi.org/10.1080/00393541.2003.11651745.

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3

Duncum, Paul. "Clarifying Visual Culture Art Education." Art Education 55, no. 3 (May 2002): 6. http://dx.doi.org/10.2307/3193995.

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4

Park, Jeong-Ae. "Mapping Visual Culture Education in Art Education Discuourse." Journal of Research in Art Education 8, no. 2 (July 2007): 15–30. http://dx.doi.org/10.20977/kkosea.2007.8.2.15.

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5

Smith, Peter J. "Visual Culture Studies versus Art Education." Arts Education Policy Review 104, no. 4 (March 2003): 3–8. http://dx.doi.org/10.1080/10632910309600049.

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6

Adams, Jeff. "Editorial: Visual Art‐Based Education Research." International Journal of Art & Design Education 38, no. 3 (August 2019): 558–61. http://dx.doi.org/10.1111/jade.12253.

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7

Lee, Alan. "Art Education and the National Review of Visual Education." Australian Journal of Education 53, no. 3 (November 2009): 217–29. http://dx.doi.org/10.1177/000494410905300302.

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The recently completed review of visual education, First we see, makes recommendations that contrast sharply with most traditional forms of art teaching in Australian schools. Although the review implicitly stands against a narrow conception of a visual education founded on artistic and aesthetic concerns, I argue that the concept of ‘visuacy’ that the review offers as a complement to literacy and numeracy is misconceived as an educational objective. Theories of art education today derive from a history of ideas about creativity and self-expression, while classroom practice is dominated by the uncritical imitation of the contemporary adult art world. The confusion of values shows most acutely in the way visual arts education culminates at Year 12 level with students being recruited into a large-scale art competition that lacks an educational justification even though it wins wide public approval.
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8

Hausman, Jerome, John Ploof, James Duignan, W. Keith Brown, and Nicholas Hostert. "The Condition of Art Education: Critical Visual Art Education [CVAE] Club, Winter 2010." Studies in Art Education 51, no. 4 (July 2010): 368–74. http://dx.doi.org/10.1080/00393541.2010.11518814.

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9

Trafí-Prats, Laura. "Art Historical Appropriation in a Visual Culture-Based Art Education." Studies in Art Education 50, no. 2 (January 2009): 152–66. http://dx.doi.org/10.1080/00393541.2009.11518763.

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10

Lee, Na-Rye, and Kyung-Chul Jeong. "Visual Culture Art Education Utilizing Neon Color." Journal of the Korea Contents Association 11, no. 2 (February 28, 2011): 303–11. http://dx.doi.org/10.5392/jkca.2011.11.2.303.

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11

Culpan, Arda. "Information Communication Technogy in Visual Art Education." International Journal of the Humanities: Annual Review 4, no. 4 (2007): 193–200. http://dx.doi.org/10.18848/1447-9508/cgp/v05i04/42090.

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12

Rhoades, Mindi, and Vittoria S. Daiello. "Introducing dramatic inquiry as visual art education." Journal of Curriculum and Pedagogy 13, no. 3 (September 2016): 206–26. http://dx.doi.org/10.1080/15505170.2016.1219890.

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13

Duncum, Paul. "Visual Culture in Art Education, Circa 2009." Visual Arts Research 35, no. 1 (July 1, 2009): 64–75. http://dx.doi.org/10.2307/20715488.

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Abstract The article offers a personal view of the current status of visual culture in art education. The author argues that all the activity suggests that visual culture is now an art educational paradigm, though the great divergence of practice and understanding suggests it is a name only. Evidence suggesting the current paradigmatic nature of visual culture includes the number of publications and conference presentations on visual culture; reports of classroom activity; robust debate among proponents; outside criticism; and a sense that for many it has become naturalized as part of their accepted practice. At the same time the great divergence among this activity includes employing the term as though it continued primarily to mean traditional art forms and practices; only superficially related to popular culture; idea development without any specific content; a dialogic and critical inquiry pedagogy; an exclusive focus on deconstruction; deconstruction of one media and response in another media; and, finally, practices that emulate media education. The author concludes by claiming that visual culture in art education remains a work in progress.
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14

Hawthorn, Elwyn W. "Art and Visual Philosophy." Journal of Aesthetic Education 29, no. 1 (1995): 95. http://dx.doi.org/10.2307/3333521.

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15

Omar, Nurul Nisa. "Art Education for Sustainable Development." SHS Web of Conferences 124 (2021): 10003. http://dx.doi.org/10.1051/shsconf/202112410003.

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Through the process of visual analysis of an artwork called ‘Hidden’, this research article explores the relevance of art and design projects for the development of AESD - Art Education for Sustainable Development. ‘Hidden’ is the name of one of the paintings produced in an art project by the Faculty of Communication, Arts and Media at the International University of Malaya-Wales, Malaysia. The concept of the project is for lecturers and students to produce artwork that revolves around the message of sustainability and 90% of the artwork must use recycled waste materials. The visual analysis of ‘Hidden’ covers five aspects of visual elements which are composition, focal point, colour, form, and symbolic value. It was found that there are multiple deepening sustainability messages within the artwork through the analysis of the actual meaning of the image, the estimate changes in meaning over time, and the student's reflection and reaction. The main questions addressed by this article are: What are the complex ‘pool’ of sustainability messages generated through a single image? How producing art can stimulate students’ consciousness on the importance of sustainable living? In conclusion, this article proposes that AESD is a positive and useful approach for students to embrace the sustainability culture.
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16

Yenawine, Philip. "Visual Art and Student‐Centered Discussions." Theory Into Practice 37, no. 4 (September 1998): 314–21. http://dx.doi.org/10.1080/00405849809543821.

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17

Wang, Tingting Windy. "Open art education: Analysis of visual art teaching and learning websites." Visual Inquiry 6, no. 3 (December 1, 2017): 321–33. http://dx.doi.org/10.1386/vi.6.3.321_1.

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18

Shin, Ryan. "Three approaches in art education." Visual Inquiry 10, no. 2 (August 1, 2021): 219–22. http://dx.doi.org/10.1386/vi_00048_1.

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From your perspective, what is the place of social justice education (and politics) in the art classroom? Are these topics a distraction from the disciplinary content of visual arts education, as you understand it? From your perspective, what is the disciplinary content of art education?
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19

Shin, Hyun-Kyoung. "Art as Visual Literacy Ⅱ : Connectedness of “Process-Centered Visual Education”." Journal of Research in Art Education 21, no. 1 (January 31, 2020): 85–108. http://dx.doi.org/10.20977/kkosea.2020.21.1.85.

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20

Vuk, Sonja, and Maja Bosnar. "PROCESS IN CONTEMPORARY VISUAL ART AS A PARADIGM SHIFT IN THE VISUAL ART EDUCATION: PERSPECTIVE OF CREATIVITY." Creativity Studies 14, no. 1 (March 25, 2021): 99–111. http://dx.doi.org/10.3846/cs.2021.12632.

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The authors discuss contemporary visual art, its creation processes and their implementation in art education in primary and secondary/grammar school. Changing the paradigm of studying from “fine to visual arts” within art education is a process itself. Visual art, which involves a participatory and new media art, is also concerned with processes that establish unique relationships between subjects and their effect on the real life of the participants or audience. It is no longer enough to deal with aesthetic concepts, but it is necessary to use art forms to create everyday life, and deal with ethical concepts. Transferring these processes into education connects students’ creative activities and their everyday life context, so that they can learn how to create social and personal relationships by using images. Experimental research in grammar school affirms the importance of teaching topics as are socially and politically engaged art or artistic activism, mediated by new media. Action research in elementary school affirms proposed style of art education as an acceptable way of transferring the way of thinking from visual art, especially a participatory and new media art, to the process of education as a discovering problems in society and offering solutions represented by visual forms.
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21

Kim, Yealim. "Analysis of Current Textbook Content on the Visual Culture Art Education." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 20 (October 31, 2022): 827–44. http://dx.doi.org/10.22251/jlcci.2022.22.20.827.

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Objectives This study aimed to analyze the curriculum and art textbooks based on the content elements of discourse on visual culture art education to inform the development of new art textbooks. Methods a literature review was conducted to explore the research trends in visual culture art education studies and to analyze the curriculum and the contents of relevant textbook units by restructuring the goals and content of visual culture education. In the literature, a researcher have used qualitative content analysis methods to conduct studies. Results The literature search showed that most of the sections of art textbooks related to visual culture mainly featured content that sought to understand the mode of transmission of visual images, the media characteristics of visual culture, the meaning of visual images in a social context. However, content on the exchange between artwork and the visual culture of the narrow meaning and the experience of visual images that can foster visual enjoyment were lacking. Conclusions When developing a new art textbook that applies the 2022 curriculum, the textbook should reflect recent academic trends related to visual culture art education so that more elements of content that are not covered in the art textbooks based on the 2015 curriculum can be included.
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22

Chung, Sheng Kuan. "Media/Visual Literacy Art Education: Cigarette Ad Deconstruction." Art Education 58, no. 3 (May 2005): 19–24. http://dx.doi.org/10.1080/00043125.2005.11651539.

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23

Duncum, Paul. "Visual Culture Art Education: Why, What and How." International Journal of Art & Design Education 21, no. 1 (February 2002): 14–23. http://dx.doi.org/10.1111/1468-5949.00292.

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24

Brennan, Geraldine. "Art Education and the Visual Arts in Botswana." International Journal of Art & Design Education 25, no. 3 (October 2006): 318–28. http://dx.doi.org/10.1111/j.1476-8070.2006.00498.x.

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25

Eisenhauer, Jennifer F. "Beyond Bombardment: Subjectivity, Visual Culture, and Art Education." Studies in Art Education 47, no. 2 (January 2006): 155–69. http://dx.doi.org/10.1080/00393541.2006.11650491.

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26

Turkmenoglu, Dilek. "Visual Perception and Drawing Relationship in Art Education." Procedia - Social and Behavioral Sciences 51 (2012): 849–52. http://dx.doi.org/10.1016/j.sbspro.2012.08.251.

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27

Benoit, Gerald. "Interactive 3D visual retrieval for art history education." Proceedings of the American Society for Information Science and Technology 45, no. 1 (June 4, 2009): 1–13. http://dx.doi.org/10.1002/meet.2008.1450450240.

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28

Cannatella, Howard. "Art education and Bildung." Journal of Visual Art Practice 3, no. 1 (March 2004): 61–74. http://dx.doi.org/10.1386/jvap.3.1.61/0.

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29

Wye, Pamela. "Rethinking Studio Art Education." Art Journal 58, no. 1 (March 1999): 3. http://dx.doi.org/10.1080/00043249.1999.10791910.

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30

Musneckienė, Edita. "Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture." Pedagogika 114, no. 2 (June 10, 2014): 167–79. http://dx.doi.org/10.15823/p.2014.014.

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This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.
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31

Taspınar, Seyda Eraslan. "Reading image and thinking image in a new visual age." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 417–26. http://dx.doi.org/10.18844/prosoc.v2i1.326.

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We are living in the age in which visually is prevailing intensely and mass communication is based upon image rather than expression. It is a significant skill for our age to comprehend the language of images in this new visual age. Art and visual world are not independent concepts. Visual literacy, a branch of multiple literacies emerged with the development of information and its transfer style, is a visual language utilized to work out issues of this new visual age.  In this study, the relation of visual literacy concept to art and art education is investigated based on the literature in the light of technological advancements.  Improvability of visual literacy skills through art education is discussed by compiling the results and comments of other studies and investigating the interrelation of art and visual literacy. At the end of the research with the scanning method, evaluations on the relations of visual literacy concept to art education and their interactive sides were carried out, and conclusions and recommendations were stated relevant to raise productive individuals that have visual literacy skills through an effective art education.Keywords: visual literacy, visual thinking, visual arts, visual arts education
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32

Stabler, Albert. "A Sentimental Art Education." Studies in Art Education 62, no. 1 (January 2, 2021): 63–81. http://dx.doi.org/10.1080/00393541.2020.1859273.

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33

정옥희. "Theoretical Approaches for Shift from Art Education toward Visual Culture Education." Journal of Research in Art Education 9, no. 2 (July 2008): 55–73. http://dx.doi.org/10.20977/kkosea.2008.9.2.55.

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Lee, Eunjeok. "Analysis of Visual Culture Art Education Contents in Art Curriculum and Textbook." Korean Association For Learner-Centered Curriculum And Instruction 17, no. 2 (January 20, 2017): 471–90. http://dx.doi.org/10.22251/jlcci.2017.17.2.471.

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35

BARCHANA-LORAND, DORIT, and EFRAT GALNOOR. "Philosophy of Art Education in the Visual Culture: Aesthetics for Art Teachers." Journal of Philosophy of Education 43, no. 1 (February 2009): 133–48. http://dx.doi.org/10.1111/j.1467-9752.2009.00661.x.

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36

Hyungsook, Kim. "Socially engaged art practice and character education: Understanding others through visual art." International Journal of Education Through Art 10, no. 1 (March 1, 2014): 55–69. http://dx.doi.org/10.1386/eta.10.1.55_1.

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37

Dziwa, Dairai Darlington, Louise Postma, and Louisemarié Combrink. "Transcending gender dichotomy through art teacher education in Zimbabwe." International Journal of Education Through Art 18, no. 1 (March 1, 2022): 33–49. http://dx.doi.org/10.1386/eta_00081_1.

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Zimbabwe is a patriarchal society characterized by gender dichotomy and male domination that permeates through social, educational and domestic spheres resulting in numerous challenges for art teacher education students. Expanding critical consciousness within art teacher education programmes is an imperative step towards developing art teachers who are self-aware and reflexive concerning the intersections of gender, art and education. This study investigated how engagement with visual art can provoke a heightened critical awareness about gender bias, stereotyping and equity among Zimbabwean art teacher education students. Sixteen selected art teacher education students (eight males and females) at the Great Zimbabwe University participated in the study. Participants were guided by researcher-constructed prompts for purposes of image making, interpretation and dialogue. Visual discourse analysis of the students’ visual narratives and discourse analysis of focus group transcriptions revealed several themes as well as evidence of critical reflection and expanded critical awareness related to gender issues. Visual and dialogic methods offer promise for critical engagement and reconciliation of tensions surrounding issues of gender amongst art teacher education candidates.
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Dalia, Yoseph, Emily C. Milam, and Evan A. Rieder. "Art in Medical Education: A Review." Journal of Graduate Medical Education 12, no. 6 (December 1, 2020): 686–95. http://dx.doi.org/10.4300/jgme-d-20-00093.1.

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ABSTRACT Background The use of fine art in medical education has a long history. Numerous studies have investigated the potential benefits of incorporating art in medical education; however, there are gaps in knowledge regarding the efficacy, methodology, and clinical significance of these studies. Objective This scoping review of the literature aims to describe the available literature on the incorporation of art education in medical school and residency. Methods PubMed, Google Scholar, and MedEDPortal were queried from their inception dates through December 2019. English-language studies providing a detailed methodology and detailed analysis were included. A total of 37 studies were identified. Upon further screening of the studies' methodologies and results, 16 studies describing art education implemented with medical students and 12 studies describing art education implemented with residents were included for final review. Results Various methods of art education exist, including Visual Thinking Strategies (VTS), rigorous curricula, and unstructured roundtable discussions with art curators or artistically minded clinicians. Studies range in duration, art media, and type of analysis. Conclusions There has been an increasing effort to incorporate fine art education into medical training, primarily to enhance visual perception skills and empathy. Although there is limited research on its efficacy, and wide variations in study methodologies exist, results consistently indicate that participants find the incorporation of art into curricula beneficial. Further research analyzing which methodologies are most likely to yield statistically and clinically significant improvements in visual perception and empathy may lead to increased utilization of this teaching method.
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Mao, Wenli, and Bingyu Zhang. "The Use of Digital Image Art under Visual Sensing Technology for Art Education." Journal of Sensors 2021 (November 11, 2021): 1–9. http://dx.doi.org/10.1155/2021/4513577.

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The traditional art education model often cannot achieve good teaching results due to the development of digital technology. Art is integrated with technology based on three-dimensional (3D) panoramic vision sensing technology, so as to study the application of the combination of visual sensing technology and digital image art in the field of art education. With the application of projection virtual game “Whac-A-Mole” as an example, the integration of panoramic color volume structured light generation technology with single emission point and omnidirectional visual imaging technology with single view is proposed; the mathematical model of the active vision system is established, and the camera model, projector model, object surface illumination model, and their relationship are studied. On this basis, the mathematical relationship between the color of the projected light source and the color of the corresponding imaging point is proposed; a light source color correction algorithm based on the two-color reflection model is proposed. The object surface color is corrected by three-channel reflectance after the light source color correction algorithm is used for correction. The results suggest that the 3D panoramic vision sensing technology makes the current active stereo vision develop from the visual perception of surface structure to the visual perception of volume structure and reduces the error rate of recognition from 44% to 11%. Moreover, the algorithm does not need to know the coding method of the projected light source and the surface material of the object in advance. The scene teaching combined with technology overcomes the limitations of the teaching site and brings students into a completely realistic teaching situation. The presentation of digital image art using visual sensing technology can inspire children’s imagination, combine education and games, and perform edutainment. Thereby, the application research of digital image art based on 3D panoramic visual sensing technology has an irreplaceable development prospect in the field of art education.
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40

Rahozina, V. V. "National education theory journal “Art and Education”: 20th anniversary." Musical art in the educological discourse, no. 2 (2017): 51–53. http://dx.doi.org/10.28925/2518-766x.20172.5153.

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We present the national education theory journal “Art and Education”. The journal publishes materials on problems of the theory and history of art education, of the theory and methodology of education, and on methods of instruction in music, fine art and visual culture. We emphasize the uniqueness of this artisticpedagogical record, the only Ukrainian journal on art education, artistic and aesthetic development, one in which Ukrainian and foreign scientists and practical educators provide insight into the achievements of the pedagogy of art and the experience of art education in Ukraine and other countries of the world. We trace the stages of the journal’s development since its establishment and articulate its achievements over its 20-year existence.
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41

van Camp, Julie, Maurice Brown, and Diana Korzenik. "Art Making and Education." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 323. http://dx.doi.org/10.2307/431361.

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42

Addiss, Stephen, and Mary Erickson. "Art History and Education." Journal of Aesthetics and Art Criticism 52, no. 4 (1994): 486. http://dx.doi.org/10.2307/432044.

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43

Kozhagulov, Aidyn, Bauyrzhan Zhankushkov, Miyat Dzhanaev, Maria Derbissova, Tolkun Zhumasheva, and Sultan Bodan. "Competence development through art technology." World Journal on Educational Technology: Current Issues 14, no. 6 (November 28, 2022): 1795–806. http://dx.doi.org/10.18844/wjet.v14i6.8339.

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The purpose of this research; is to evaluate the competence development process through art technology through the eyes of students studying in the visual arts and drawing department. The study group of the research consists of 40 visual arts and drawing department students studying at various universities in Kazakhstan. Research data were collected by semi-structured interview technique. The descriptive analysis technique was used in the analysis of the interviews with the students who constitute the sample group of the research. As a result of the research; it has been determined that the majority of visual arts and drawing students have moderate technological competencies. The majority of visual arts and painting students stated that they found the education opportunities related to art technology at a moderate level in the education they received at the university. The majority of the students participating in the research stated that technology integration into art education is very necessary. The vast majority of visual arts and drawing students stated that it is possible to gain competence through art technology. Keywords: Art technology, competence development, student opinions;
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Tineva-Gyurkovska, Katya, and Ani Zlateva. "BUILDING BASIC VISUAL PERCEPTIONS OF STUDENTS OF PEDAGOGY UNPREPARED FOR COMMUNICATING WITH VISUAL ARTS." Годишник на Педагогически факултет, Тракийски университет 15 (2018): 75–88. http://dx.doi.org/10.15547/ybfe.2018.06.

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This research contains certain pedagogical problems concerning the basic visual perceptions of the students from the pre-school and primary school education specialty at the Faculty of Education in Trakya University, reviewed on theoretical and analytical level. People studying to become primary school teachers are expected to teach the subject Art in their future pedagogical carrier, but they are often unprepared for communicating with the visual arts. They don't have former knowledge in this area. That is why the aims of this article are connected to presenting the real "picture" of their level of perception when in touch with pieces of art in a museum environment. The stages of understanding, perceiving and free usage of the Art terminology are being tracked. Two aspects are concerned in theoretical plan: Ideas of some of the greatest Art theoreticians concerning the stages of development of the visual perceptions, viewed from artistic, psychological and pedagogical point of view. How students can assimilate and apply them in direct communication with visual arts. The article marks the meaning, role and place of Art galleries and museums in the pedagogical process of future and current teachers and art pedagogues. On empirical level this article systematizes the problems connected with the methodology of Fine Arts education, and more specifically with this part, related to the application of their knowledge of theory, art history and interpretation of pieces of art. Based on this pedagogical analysis the article makes some important conclusions for the level of competence and abilities to assimilate objects connected to the visual arts.
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Tineva-Gyurkovska, Katya, and Ani Zlateva. "Building basic visual perceptions of students of pedagogy unprepared for communicating with visual arts." Годишник на Педагогически факултет, Тракийски университет 15 (2018): 75–88. http://dx.doi.org/10.15547/10.15547/ybfe.2018.06.

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This research contains certain pedagogical problems concerning the basic visual perceptions of the students from the pre-school and primary school education specialty at the Faculty of Education in Trakya University, reviewed on theoretical and analytical level. People studying to become primary school teachers are expected to teach the subject Art in their future pedagogical carrier, but they are often unprepared for communicating with the visual arts. They don't have former knowledge in this area. That is why the aims of this article are connected to presenting the real "picture" of their level of perception when in touch with pieces of art in a museum environment. The stages of understanding, perceiving and free usage of the Art terminology are being tracked. Two aspects are concerned in theoretical plan: Ideas of some of the greatest Art theoreticians concerning the stages of development of the visual perceptions, viewed from artistic, psychological and pedagogical point of view. How students can assimilate and apply them in direct communication with visual arts. The article marks the meaning, role and place of Art galleries and museums in the pedagogical process of future and current teachers and art pedagogues. On empirical level this article systematizes the problems connected with the methodology of Fine Arts education, and more specifically with this part, related to the application of their knowledge of theory, art history and interpretation of pieces of art. Based on this pedagogical analysis the article makes some important conclusions for the level of competence and abilities to assimilate objects connected to the visual arts.
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46

McNeil, Sara E., and Jack Zibluk. "Visual Communication: Integrating Media, Art, and Science." Visual Communication Quarterly 15, no. 3 (August 2008): 210–12. http://dx.doi.org/10.1080/15551390802235602.

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47

Gray, Vic, and Donald Brook. "Art and Education." Leonardo 20, no. 2 (1987): 196. http://dx.doi.org/10.2307/1578342.

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48

Garoian, Charles R. "Performance Art as Critical Pedagogy in Studio Art Education." Art Journal 58, no. 1 (1999): 57. http://dx.doi.org/10.2307/777882.

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49

Garoian, Charles R. "Performance Art as Critical Pedagogy in Studio Art Education." Art Journal 58, no. 1 (March 1999): 57–62. http://dx.doi.org/10.1080/00043249.1999.10791920.

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50

Ismail, Hazhari, Mohamad Albaree Abdul, and Iylia Mohamad. "The effect of Islamic visual art education on social development of preschool children." Jurnal Pendidikan Awal Kanak-Kanak Kebangsaan 8 (December 23, 2019): 1–7. http://dx.doi.org/10.37134/jpak.vol8.1.2019.

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Abstract:
The art education is seen as important in children’s early childhood education and it is extensively acknowledged. This study emphasizes the value of Islamic visual art among preschool children and explores the methods of teaching art in preschools as well as on the approaches used to support the children’s learning, particularly on the development of social skills. The method was intended to consider the implications of Islamic visual art education in a qualitative view. Classroom structured observations were conducted mainly on the Islamic visual art painting and drawing activities among children participating in Islamic visual art activities to gauge the social skills development in the children according to their age level by referring four main attributes in social skills; communication, group, support and conflict resolution. The identified emerging findings include the importance of Islamic visual art education in order to develop social skills for children and in considering the positive relationship between children and teachers to support children’s development in their early childhood settings. Hence, Islamic visual art activities could be considered an essential tool of the pedagogy in addressing problems regarding children’s development and learning in early childhood, where the revision of art curriculum is required across the subject and holistic development of children.
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