Journal articles: 'Visual Arts education'

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Walling, Donovan R. "Rethinking Visual Arts Education." Phi Delta Kappan 82, no. 8 (April 2001): 626–31. http://dx.doi.org/10.1177/003172170108200813.

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Simpson, Alan, and Rod Taylor. "Visual Arts in Education." Journal of Aesthetic Education 29, no. 3 (1995): 111. http://dx.doi.org/10.2307/3333546.

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Pascoe, Robin, Judith Dinham, Neil C. M. Brown, Kath Grushka, Judith MacCallum, and Peter Wright. "Visual Education - Repositioning Visual Arts and Design." International Journal of Learning: Annual Review 12, no. 6 (2007): 77–86. http://dx.doi.org/10.18848/1447-9494/cgp/v14i06/45375.

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Gingell, John. "The visual arts and education." Impact 2006, no. 13 (December 2006): vi—38. http://dx.doi.org/10.1111/j.2048-416x.2006.tb00109.x.

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Chanda, Jacqueline. "Multicultural Education and the Visual Arts." Arts Education Policy Review 94, no. 1 (October 1992): 12–16. http://dx.doi.org/10.1080/10632913.1992.9940918.

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Borcoman, J. W. "Public Education in the Visual Arts." Curator: The Museum Journal 12, no. 1 (July 9, 2010): 39–44. http://dx.doi.org/10.1111/j.2151-6952.1969.tb01763.x.

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Funke, Mary Louise. "Mass Education and the Visual Arts." Curator: The Museum Journal 12, no. 1 (July 9, 2010): 60–65. http://dx.doi.org/10.1111/j.2151-6952.1969.tb01766.x.

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Lippi, Donatella, Raffaella Bianucci, and Simon Donell. "The visual arts and medical education." Knee Surgery, Sports Traumatology, Arthroscopy 27, no. 11 (October 12, 2019): 3397–99. http://dx.doi.org/10.1007/s00167-019-05744-4.

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Charon, Rita. "The visual arts and medical education." Social Science & Medicine 20, no. 3 (January 1985): 301. http://dx.doi.org/10.1016/0277-9536(85)90245-x.

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Helvacı, İsmail. "On Visual Arts Teachers’ Ideas about Positions of Visual Arts Education in Turkey." Procedia - Social and Behavioral Sciences 93 (October 2013): 628–30. http://dx.doi.org/10.1016/j.sbspro.2013.09.251.

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Tomljenović, Zlata, and Sanja Tatalović Vorkapić. "Constructivism in Visual Arts Classes." Center for Educational Policy Studies Journal 10, no. 4 (December 22, 2020): 13–32. http://dx.doi.org/10.26529/cepsj.913.

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One of the basic features of the modern educational system is manifested in the reversal of the transmissive (traditional) approach to learning and teaching to the transformational (modern) approach. The transmissive approach to learning and teaching is that one in which students adopt ready-made constructs of organised knowledge through passive acceptance of the facts mediated by the teacher. In contrast, in the transformational approach, the teacher encourages the student’s active participation through exploratory, problem-based learning, during which students gain much more of their potential than in traditionally conceived classes. Changing the obsolete pedagogical paradigm began with the development of contemporary (cognitivist and constructivist) pedagogical theories. According to the constructivist theories of learning, individuals develop their knowledge of the world based on their own experiences and reflection of these experiences. Learning is the result of cognitive constructs based on individual experience and (pre)knowledge gained during the social interaction determined by the culture in which individuals live. Interpretative activity in the constructing of understanding is particularly emphasised in visual arts education. In this paper, the main determinants of constructivism and constructivist theories in the context of the educational process are elaborated. The main principles of constructivist-based teaching of visual arts are interpreted related to other contemporary teaching strategies and approaches such as active learning, learning through problem-solving, and interactive approach to learning and teaching of visual arts. The teacher’s role is also discussed, whose approach, awareness of the student’s pre-knowledge, and capacity for meaningful communication with students, greatly influence the success of the students’ adoption, understanding and interpretation of visual arts contents. The present paper aims to highlight certain elements of the constructivist teaching theories because their understanding and application in the teaching process can help achieve better learning outcomes, specifically students’ better ability to use visual arts knowledge in everyday life.

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Puppe, Linda, Helen Jossberger, Isabell Stein, and Hans Gruber. "Professional Development in Visual Arts." Vocations and Learning 13, no. 3 (March 11, 2020): 389–417. http://dx.doi.org/10.1007/s12186-020-09246-0.

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Rowsell, Jennifer, and Peter Vietgen. "Embracing the unknown in community arts zone visual arts." Pedagogies: An International Journal 12, no. 1 (January 2, 2017): 90–107. http://dx.doi.org/10.1080/1554480x.2017.1283996.

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Swift, Jason. "Locating visual arts education in a post-liberal arts landscape." Visual Inquiry 8, no. 2 (June 1, 2019): 149–59. http://dx.doi.org/10.1386/vi_8.2.149_1.

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This article explores the current climate and location of visual arts at post-secondary institutions in a growing post-liberal arts climate in the United States. It discusses the future of visual and liberal arts education in a socio-political climate that appears to value career-ready degrees and profit over scholarship and the cerebral, emotive and visceral importance of education and the arts. The history of conservative efforts to remake post-secondary education and government efforts to defund it are discussed, providing context for the shift to a post-liberal arts landscape. A growing divide and class separation are investigated as an outcome of the efforts made to de-liberalize colleges and universities and defund educational assistance programmes, potentially placing it in the hands of the upper class and out of the hands of the middle and lower classes.

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Laird, Juliette. "Primary school visual arts education: Teachers’ perspectives." Curriculum Matters 8 (June 1, 2012): 48–68. http://dx.doi.org/10.18296/cm.0137.

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Lindström, Lars. "The Multiple Faces of Visual Arts Education." International Journal of Art & Design Education 30, no. 1 (February 2011): 7–17. http://dx.doi.org/10.1111/j.1476-8070.2011.01688.x.

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Coşkun, Necla. "Self-history project in visual arts education." International Journal of Education Through Art 13, no. 3 (September 1, 2017): 349–67. http://dx.doi.org/10.1386/eta.13.3.349_1.

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Baker, David W. "The Visual Arts in Early Childhood Education." Design For Arts in Education 91, no. 6 (August 1990): 21–25. http://dx.doi.org/10.1080/07320973.1990.9934834.

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Dorn, Charles M. "Ethics of Change in Visual Arts Education." Design For Arts in Education 93, no. 4 (April 1992): 16–24. http://dx.doi.org/10.1080/07320973.1992.9936682.

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Howard, Frances. "Inclusion and intersectionality in visual arts education." Curriculum Journal 30, no. 3 (July 3, 2019): 342–45. http://dx.doi.org/10.1080/09585176.2019.1620621.

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Ssegantebuka, Julius. "THE RELEVANCE OF THE VISUAL ARTS CURRICULUM IN THE PREPARATION OF PRE-SERVICE VISUAL ARTS TEACHERS IN UGANDA." Problems of Education in the 21st Century 75, no. 4 (August 20, 2017): 394–409. http://dx.doi.org/10.33225/pec/17.75.394.

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The research examined the relevance of the visual arts curriculum content with the view of assessing the extent to which it equips pre-service visual arts teachers with the knowledge and skills required for effective teaching. The study adopted a descriptive case study design. Data were collected from three purposively selected National Teacher Colleges (NTCs), six tutors and 90 final year pre-service visual arts teachers participated in this study. The research findings showed that teacher education institutions are inadequately preparing pre-service visual arts teachers because of the gaps in the Visual Arts Curriculum (VAC) used in NTCs. Some of these gaps are attributed to the structure of the visual arts curriculum tutors use in NTCs. The visual arts curriculum lacks explicit visual arts assessment strategies; it has wide and combined visual arts content to be covered within a short period of two years and the limited knowledge of the available art materials, tools and equipment. The research recommended the restructuring of the VAC to accommodate more practical; and the introduction of specialized knowledge in the visual arts education (VAE) to enable tutors decipher practical knowledge from the theory studied so as to adopt an integrated approach in VAE curriculum. Keywords: case study, pre-service teachers, relevant visual arts curriculum.

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SEYHAN, Gamze BILIR, and Sakire OCAK KARABAY. "Early Childhood Pre-service Teachers’ Views about Visual Arts Education and Aesthetics." Eurasian Journal of Educational Research 18 (March 1, 2018): 1–18. http://dx.doi.org/10.14689/ejer.2018.73.8.

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Lummis, Geoffrey William, Julia Elizabeth Morris, and Graeme Lock. "The Western Australian Art and Crafts Superintendents’ advocacy for years k-12 Visual Arts in education." History of Education Review 45, no. 1 (June 6, 2016): 115–30. http://dx.doi.org/10.1108/her-12-2014-0045.

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Purpose – The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development. Design/methodology/approach – A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period. Findings – This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987). Originality/value – The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.

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Kind, Sylvia. "Introduction: The Visual Arts in Early Childhood Education." Journal of Childhood Studies 41, no. 4 (February 21, 2017): 3. http://dx.doi.org/10.18357/jcs.v41i4.16714.

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DEMİR YILMAZ, Ece Nur, and Alev ÇAKMAKOĞLU KURU. "An Evaluation on Habitus in Visual Arts Education." Cukurova University Faculty of Education Journal 50, no. 2 (October 29, 2021): 677–97. http://dx.doi.org/10.14812/cuefd.947600.

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Jefferson, Marion F. "Essentials: Adult Education Programs in the Visual Arts." Art Education 40, no. 4 (July 1987): 33. http://dx.doi.org/10.2307/3193045.

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Sisson, Elaine. "Practising Theory? Visual Arts Education and Postmodern Pedagogy." Circa, no. 89 (1999): 20. http://dx.doi.org/10.2307/25563492.

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Hausman, Jerome J., Doug Boughton, Elliot W. Eisner, and Johan Ligtvoet. "Evaluating and Assessing the Visual Arts in Education." Journal of Aesthetic Education 31, no. 4 (1997): 113. http://dx.doi.org/10.2307/3333148.

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Duckrow, Edward L. "Guam: Visual and Performing Arts Education on Guam." G/C/T 8, no. 4 (July 1985): 58–59. http://dx.doi.org/10.1177/107621758500800427.

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Crouch, Christopher. "Negotiating Cross‐cultural Education in the Visual Arts." Journal of Art & Design Education 19, no. 3 (October 2000): 297–303. http://dx.doi.org/10.1111/1468-5949.00232.

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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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Mills, Kathy A., and Katherine Doyle. "Visual arts: a multimodal language for Indigenous education." Language and Education 33, no. 6 (July 12, 2019): 521–43. http://dx.doi.org/10.1080/09500782.2019.1635618.

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Ulger, Kani. "The creative training in the visual arts education." Thinking Skills and Creativity 19 (March 2016): 73–87. http://dx.doi.org/10.1016/j.tsc.2015.10.007.

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Quarshie, Benjamin, Akwasi Amponsah, and Doris Boakye-Ansah. "Blended pedagogies: The challenges of Visual Arts education." Journal of African History, Culture and Arts 2, no. 2 (April 27, 2022): 94–103. http://dx.doi.org/10.57040/jahca.v2i2.124.

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This paper exposes, through qualitative inquiry, the effects of blended learning on training and acquisition of hard and soft skills among Visual Arts students at Mampong Technical College of Education. Two weeks of unobtrusive observation of blended learning lessons were done. Three focus group interviews involving 15 level 300 Visual Arts students to assess the level of impact blended learning exerts on their training and skill acquisition. Findings reveal that the WhatsApp platform was the most used for the online component of the blended learning whereas traditional face-to-to lessons were coupled with OERs and YouTube videos. Students’ enthusiasm for personal learning through exploration using OERs has increased and able to produce end of semester group Visual Art project works despite the challenges due to the blended and learner-centred pedagogies implemented deployed by their tutors. There is a need for further studies to investigate the pedagogic competencies of the MTCE student-teachers in their teaching practices to ascertain their level of skills acquired through the blended learning since their success would impact the national agenda of raising critical and creative thinkers through the standard-based curriculum.

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Tomljenović, Zlata. "An Interactive Approach to Learning and Teaching in Visual Arts Education." Center for Educational Policy Studies Journal 5, no. 3 (September 30, 2015): 73–93. http://dx.doi.org/10.26529/cepsj.129.

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The present research focuses on modernising the approach to learning and teaching the visual arts in teaching practice, as well as examining the performance of an interactive approach to learning and teaching in visual arts classes with the use of a combination of general and specific (visual arts) teaching methods. The study uses quantitative analysis of data on the basis of results obtained from a pedagogical experiment. The subjects of the research were 285 second- and fourth-grade students from four primary schools in the city of Rijeka, Croatia. Paintings made by the students in the initial and final stage of the pedagogical experiment were evaluated. The research results confirmed the hypotheses about the positive effect of interactive approaches to learning and teaching on the following variables: (1) knowledge and understanding of visual arts terms, (2) abilities and skills in the use of art materials and techniques within the framework of planned painting tasks, and (3) creativity in solving visual arts problems. The research results can help shape an optimised model for the planning and performance of visual arts education, and provide guidelines for planning professional development and the further professional education of teachers, with the aim of establishing more efficient learning and teaching of the visual arts in primary school.

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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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Guler, Ebru. "Visual Culture As a Teaching Practice in Visual Arts Education in Turkey: Practitioner Inquiry." Australian Journal of Teacher Education 46, no. 7 (July 2021): 22–52. http://dx.doi.org/10.14221/ajte.2021v46n7.2.

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The present research investigates the experiences of pre-service visual arts teachers in the planning and application phase of a course focusing on visual culture in the special teaching methods course. This course in Turkey provides information about how and with what type of methodologies arts-related topics should be taught in visual arts education. During the first semester, the course was conducted theoretically, and in the second semester the researcher focused on the application of these theories. In this research, visual culture is discussed as one of the special teaching methods of visual arts education. A total of five visual arts pre-service teachers were selected as participants using criterion sampling. The research used practitioner inquiry as a method and conducted during the 2017–2018 spring and 2018–2019 fall semesters, lasting 8 weeks in total. During the application process, the pre-service teachers taught their samples of course plans on visual culture that they created during their pre-service practice to the primary and secondary school students in 2 weeks of classes. The research data were obtained through semi-structured interviews, document review, and reflective notes and analyzed with descriptive methods. As a result of this research, the visual arts pre-service teachers saw the students gain a critical perspective, become more aware of issues in their daily lives, express themselves in a better way, and improve their inquiring skills with the application of a visual culture course plan. With the visual culture course plan, the pre-service teachers also gained several professional experiences and skills.

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Graham, Gordon. "Value and the Visual Arts." Journal of Aesthetic Education 28, no. 4 (1994): 1. http://dx.doi.org/10.2307/3333358.

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Banevičiūtė, Birutė, and Jolita Kudinovienė. "Arts Teacher Education in Lithuanian University of Educational Sciences." Pedagogika 114, no. 2 (June 10, 2014): 141–53. http://dx.doi.org/10.15823/p.2014.012.

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The article analyses arts teacher education in Lithuanian University of Educational Sciences, the only university in Lithuania which prepares teachers of four arts subjects – dance, music, theater and visual arts both on bachelor and master’s level. Analyzing this phenomenon input of Arts Education Department of the university is revealed through scientific and pedagogical activities which are closely connected with arts teacher education programmes implemented by the department. Since 1993 when Arts Education Department was founded it went through various changes which led from general university study subject of Arts education towards six arts teacher preparation programmes: dance pedagogy bachelor, theater and film, pedagogy bachelor, dance education, theater education, visual arts education and music education master. Over 500 arts education teachers graduated from Arts Education Department study programmes in the period of 1997–2013.

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Häikiö, Tarja Karlsson. "Potentials and Problem Areas in Assessment in Visual Arts Education in Sweden." Educare - vetenskapliga skrifter, no. 2 (March 2, 2021): 68–112. http://dx.doi.org/10.24834/educare.2021.2.4.

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The focus of the study is teaching, and assessment in visual arts in Swedish compulsory school analysed and discussed in relation to the national evaluations (NU-92, NU-03, NÄU-13), assessment research and research in the subject field. The article aims at highlighting and problematising assessment and grading in visual arts education in relation to teachers’ assessment practices. The study is based on group discussions and seven interviews with visual arts teachers on assessment practice carried out in connection with the production of two National Assessment Guides in visual arts, and supplementary films on assessment on behalf of The Swedish National Agency for Education (Sw. Skolverket) in 2012 and 2014. The result of the study indicates an ambivalence among the visual arts teachers concerning assessment. The author points at problem areas affecting teaching, assessment and grading in visual arts education. However, the author also points out potential strengths concerning assessment in the subject field and presents arguments for the significance of the subject visual arts for school and general assessment research.

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Chang, Ni, and Susan Cress. "Conversations about Visual Arts: Facilitating Oral Language." Early Childhood Education Journal 42, no. 6 (October 26, 2013): 415–22. http://dx.doi.org/10.1007/s10643-013-0617-2.

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Gainer, Brenda. "Marketing Arts Education: Parental Attitudes toward Arts Education for Children." Journal of Arts Management, Law, and Society 26, no. 4 (January 1997): 253–68. http://dx.doi.org/10.1080/10632921.1997.9942965.

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Güler, Ebru, and S. Duygu Bedir Erişti. "Social Network-Based Visual Culture Instructional Activity in Visual Arts Education: Examining Hieronymus Bosch’s ‘The Garden of Earthly Delights’." Journal of Qualitative Research in Education 7, no. 2 (April 30, 2019): 1–30. http://dx.doi.org/10.14689/issn.2148-2624.1.7c.2s.12m.

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Anene, Ogboji, Bernadine, Onuoha, Chijioke, and Ibenegbu, Christopher. "Implementation of Visuals Arts (Fined and Applied Arts) as Vocational Programmes in Tertiary Institutions: Problems and Prospects." Review of European Studies 8, no. 4 (November 16, 2016): 131. http://dx.doi.org/10.5539/res.v8n4p131.

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<p>Over the years, Nigeria and indeed world leaders have been battling to combat the raging poverty and unemployment rates. Although vocational education has been identified as a panacea to these, significant studies reporting obstacles to the implementation of visuals arts as vocational education programs in tertiary institutions have remained grossly insufficient. This is the issues addressed in the study. Survey research design was adopted while 200 purposively selected art education and vocational education respondents from the University of Nigeria, Nsukka, provided participated in the study. Among others, that the respondents agreed that the problems facing the implementation of visual art in tertiary institutions as a vocational education program range from poor awareness to lack of parental support. Further studies examine from students’ perceptive, on how best to implement visuals arts as vocational education programs are recommended.</p>

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Joseph, AnnRené. "Arts Education in Jeopardy." International Dialogues on Education Journal 8, no. 1/2 (March 8, 2022): 51–83. http://dx.doi.org/10.53308/ide.v8i1/2.251.

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The COVID-19 pandemic shut down the world and arts education! Performing arts classes across the world were labeled as deadly activities and banned for in-person instruction and experiences in schools and communities for months. Strict mandates were enforced for masking students and social distancing. Restrictions for talking, singing, playing instruments, dancing, touching, ventilation, sharing equipment and resources in visual, performing, and media arts, and group activities associated with arts education were daunting. The arts have been described as a universal language that celebrates and honors culture, diversity, ethnicity, inclusion, and individual authenticity, as well as basic education in the United States. Consequently, the impact of pandemic mandates resulted in social, emotional, and psychological trauma for those affected, as people are born to dance, sing, act, create, make music, and play—individually and collectively. How have arts educators, students, and programs survived with resilience during this unprecedented time in history?

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Bachleda, Catherine L., and Asmae Bennani. "Personality and interest in the visual arts." Arts and the Market 6, no. 2 (October 3, 2016): 126–40. http://dx.doi.org/10.1108/aam-02-2014-0012.

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Purpose The purpose of this paper is to explore the relationship between personality and interest in the visual arts in a sample of Moroccan workers. Design/methodology/approach Data were gathered from 210 respondents to an online survey. Findings Results indicate that interest in the visual arts is associated with openness and sensation seeking, even after controlling for income and education. Practical implications This study suggests that to increase consumption of visual arts products or experiences, arts marketers should focus on the personality traits of openness and sensation seeking rather than the demographic variables of income and education. Originality/value Results extend conclusions about openness and interest in the visual arts to a non-student sample and extend the importance of sensation seeking to visual art interests as opposed to visual art preferences and art judgement. This study also represents the first empirical examination of interest in the arts in Morocco.

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Song, Young Imm Kang, Maureen Creegan-Quinquis, DongSun Min, and HuiKyeong Kang. "Tire Art: Environmental Education through Science, Visual and Language Arts." International Journal of Social Science Studies 5, no. 12 (November 8, 2017): 50. http://dx.doi.org/10.11114/ijsss.v5i12.2776.

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This international project examined the use of an arts-integrated approach to teaching and learning 8th grade science and language art. It involved two arts faculty collaborating with classroom teachers in the US and South Korea. In the context of the "Tire Art project”, students and teachers were guided through several 2D and 3D creative interactions emphasizing innovative uses for recycled car tires and bicycle wheels. In this paper, authors discuss the learning that happened through the arts, and the learning that happened (by teachers) of arts integration methods. It is to be noted that integration is not only about the arts. In fact, if teachers take advantage of this approach, they will discover more connections and bridges between various non-art subjects. When teachers are as affected by innovative approaches as the students, they often feel more confident and empowered in their professional competencies.

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Knif, Leena, and Seija Kairavuori. "Student Teachers Building a Sustainable Future Through Constructing Equality in Visual Arts Education." Discourse and Communication for Sustainable Education 11, no. 1 (June 1, 2020): 74–90. http://dx.doi.org/10.2478/dcse-2020-0008.

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AbstractThis article presents a discussion about primary school visual arts education from the point of view of social sustainability and in the context of teacher education in Finland. The study focuses on the student teachers’ understanding and pedagogic thinking of the equality construction in visual arts. In this case study the research data comprises the learning portfolios of student teachers (N=25) from the visual arts teaching course at the University of Helsinki in which they designed and carried out pedagogical workshops of visual arts to promote equality. The data were examined with the methods of qualitative content analysis. In this context, the student teachers found engaging elements in the aims and practices of visual arts to be the way to enhance equality. Visual arts education was found to offer a functional space for enhancing the agency, social skills and values needed in a sustainable future.

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Schoevers, Eveline M., Paul P. M. Leseman, and Evelyn H. Kroesbergen. "Enriching Mathematics Education with Visual Arts: Effects on Elementary School Students’ Ability in Geometry and Visual Arts." International Journal of Science and Mathematics Education 18, no. 8 (December 11, 2019): 1613–34. http://dx.doi.org/10.1007/s10763-019-10018-z.

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AbstractThis study evaluates the effects of the Mathematics, Arts, and Creativity in Education (MACE) program on students’ ability in geometry and visual arts in the upper grades of elementary school. The program consisted of a lesson series for fourth, fifth, and sixth grade students in which geometry and visual arts were integrated, alongside with a professional development program for teachers. A quasi-experimental study was conducted in which three groups of teachers and their classes were investigated. One group of teachers taught the lesson series and followed a professional development program (n = 36), one group of teachers only taught the lesson series (n = 36), and a comparison group taught a series of traditional geometry lessons from mathematical textbooks (n = 43). A geometrical ability, creativity, and vocabulary test and a visual arts assignment were used in a pre- and post-measurements to test the effects of the MACE program. Results showed that students who received the MACE lesson series improved more than students who received regular geometry lessons only in geometrical aspects perceived in a visual artwork. Regarding students’ understanding and explanation of geometrical phenomena and geometrical creative thinking, all students improved, but no differences between the groups were found, which implies that on these aspects the MACE program was as effective as the comparison group that received a more traditional form of geometry education.

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Vaughan, Kathleen. "Pieced Together: Collage as an Artist's Method for Interdisciplinary Research." International Journal of Qualitative Methods 4, no. 1 (March 2005): 27–52. http://dx.doi.org/10.1177/160940690500400103.

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As a visual artist undertaking doctoral studies in education, the author required a research method that integrated her studio practice into her research process, giving equal weight to the visual and the linguistic. Her process of finding such a method is outlined in this article, which touches on arts-based research and practice-led research, and her ultimate approach of choice, collage. Collage, a versatile art form that accommodates multiple texts and visuals in a single work, has been proposed as a model for a “borderlands epistemology”: one that values multiple distinctive understandings and that deliberately incorporates nondominant modes of knowing, such as visual arts. As such, collage is particularly suited to a feminist, postmodern, postcolonial inquiry. This article offers a preliminary theorizing of collage as a method and is illustrated with images from the author's research/visual practice.

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Journal articles on the topic 'Visual Arts education'

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