Rozprawy doktorskie: „Visual art”

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Lovar, Anette. "Experiencing visual art". Thesis, Högskolan i Skövde, Institutionen för biovetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19430.

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Visual art is important for humans. Most people have an interest in visiting art museums, and they spend both time and money on artworks. Appreciating visual art can have an effect on several psychological states, such as pleasure, emotions of wonder, awe, and the sublime. However, the question of what constitutes an aesthetic experience and what mechanisms that are involved in experiencing visual art, are still not fully understood. The discipline neuroaesthetics, which is a subfield of cognitive neuroscience, investigates the biology behind aesthetic experience and aesthetic appreciation. The aim of this thesis is to give an overview of the neural processes involved in experiencing visual art, and to explore how it could be related to components of emotional well-being. As such, neuroimaging studies addressing aesthetic experience and emotional processing are reviewed and discussed. This thesis found a relationship between the neural processes that operate behind a broad range of positive valanced emotions and aesthetic experience. The findings show that experiencing visual art that are aesthetically appreciated by the viewer, induces feelings of hedonic niceness or pleasant well-being and is associated with increased activity in the reward circuit. How aesthetic appreciation affects our emotional and cognitive states respectively and enhances our physiological and psychological well-being remains to be investigated. Understanding the underlying neurobiological processes involved when experiencing visual art is important due to its implications on positive health and well-being.

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

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

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3

Kelly, Shelly. "Not so/visual art". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35925/8/Shelly%20Kelly%20Thesis.pdf.

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Vision and language provide closure to a work and no reinstatement for the artwork's future. Vision and language make the investigative process seem replete; therefore other possibilities are not pursued. Subsequently, there is a need to investigate the perceptual and interpretative process as currently this is dominated by the visual and communicated through language. An examination of this, will show that a gap exists between our perception and our interpretation of an artwork. This gap is dependent on spatial and temporal conditions as the determining factors in our interpretative relationship with artwork. Examining and altering these conditions will lead to a fresh approach in our relationship with art. The qualities of these conditions are inseparable from the way we constitute space, in other words, what we know is inseparable from what we do. Therefore to change our directness in our application of perceiving will inevitably change what we know of an accepted process. Looking at ways of extending this gap between perception and interpretation will empower the space in this gap, and enable meaning to be dislocated and dispersed. This will be achieved by embracing a more experiential approach and allowing the artwork to sustain a more heterogeneous field. The aim of this thesis is to demonstrate alternative possibilities in approaching and interpreting a work of art by shifting conditional limitations.

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Ozturk, Turker Anthony. "Ezra Pound and visual art". Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253814.

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Hawes, Robin J. "Art and visual perception : what value do contemporary theories of visual perception have for art practice?" Thesis, Cardiff Metropolitan University, 2014. http://hdl.handle.net/10369/6524.

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Muirheid, Amanda J. "Visual Culture within Comprehensive Art Education and Elementary Art Curriculum". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/80.

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This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas.

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Betz, Jennifer. "ASSESSMENT PRACTICES INELEMENTARY VISUAL ART CLASSROOMS". Doctoral diss., University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2625.

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The purpose of this research study was to investigate the attitudes and usages of assessment methods by elementary visual art teachers in two southeastern school districts. Data consisted of responses to a mailed survey instrument that included relevant demographic information pertaining to respondent’s educational preparation experiences, tabulation of classroom activities, assessment usage, and a construct set of questions which addressed an attitudinal scale about the effectiveness of evaluation and measurement within their visual art classrooms. The primary focus of attitudinal orientation toward assessment centered upon the types of role models respondents encountered regarding assessment during initial teacher preparation and the resulting paradigm of belief concerning measurement art teachers experienced in varied educational settings. Results indicate that study respondents had a strong positive response to the construct attitudinal statements about accepting evaluation as a normative practice in their classrooms. The survey item "multiple choice tests are appropriate to use in visual art classrooms" had a strong relationship to the total reliability and had the greatest impact on the factor analysis. Further relationships were identified in the use of newly adopted textbook curricula to the acceptance of the statement "learning could be measured in visual art," suggesting that if art teachers embraced a textbook curriculum (developed through an outside, expert entity) they were more likely to accept the possibility that learning in elementary visual art classrooms was possible to be measured. The relationship between the statements regarding the acceptance of multiple choice tests as a valid method of assessment and the recentness of either graduation from teacher preparation coursework or specific in-service professional development about assessment also suggests that pedagogy at the university and district level after The No Child Left Behind Act of 2001 was more likely to include instruction or role models in the practical use of assessment techniques for respondents.
Ed.D.
Department of Educational Studies
Education
Curriculum and Instruction EdD

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8

Trainer, Janette. "Art and ecology : a visual exploration". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/852.

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Within the broad theme of art and ecology, local ecological issues were explored through studio practice involving digital imagery, print making, and mixed media. The frame of reference for the creative project included a discussion of the representations of natural, social and cultural environments' by visual artists. As an art educator interested in developing "best practice" including interdisciplinary approaches across the curriculum with an emphasis on visual arts education, the researcher explored the connections between art and ecological concerns. The Curriculum Framework for Kindergarten to Year 12 Education in Western Australia (1998) provided a sound basis for action. In particular, the Values Outcome, Environmental Responsibility and the Present and Future Condition, Global Environmental Issues have significance for this project. Further, The Arts Outcome, Communicating Arts Ideas is a reminder to visual arts educators that ideas, thoughts and feelings may be transformed into art works. In the primary school setting, engagement with ecological issues has the potential to involve students in both group and individual projects. As an art maker, the creative arts project draws on an area of personal significance. The property, Toodyay Gums, at Lot 11 on the Northam/Toodyay Road, in the Avon Valley, north east of Perth became the site for investigation, research and the generation of artworks. The roles of art educator and art maker are brought together in a research question that forms the 'focus of the Creative Arts Project; To what' extent does visual arts practice give rise to a fuller understanding of ecological issues and new insights into a specific site? Documentation for the creative project takes the form of an exegesis, journal entries, visual diaries, and art works. The techniques of print making, digital imagery and mixed media provided the means of representing concepts and layers of experience. The art works produced during the course of the Creative Arts Project were exhibited at The Churchlands Studios, Edith Cowan University, 12•19 December 2002.

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Fullerton, Jeanay. "VISUAL STAMP". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4017.

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I create images in a painterly manner illustrating a visual dialog, which suggests simultaneous moments, yet are actually a separated collision of moments and time. I have stretched these ideas from a slowed manipulation of time, to a calculated capture of segmented moments. My work undermines the importance of the decisive moment theory. This theory was the catalyst for my new series, VISUAL STAMP. "The decisive moment, it is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression." - Henri Cartier-Bresson I am conveying space and time on a single plane in a similar way to how we perceive, process, and retain information visually. The discarded moments in our perception are what I am interested in capturing. We do not view life in a frozen millisecond. Contemporary modes of perception involve the sensorial experience of viewing thousands of movements in small bursts of time that are often left behind, and forgotten. By layering images I am illustrating gaps from one moment to the next. My interest in using the insignificant event to create an aesthetic has become a personal visual stamp. This series embraces the discarded aspects of our visual interpretation of the objects and places we see in everyday life.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

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10

Black, Edward A. "Verve for the visual Reformed and Presbyterian churches and visual display art /". Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Dobrorodnia, A. O., i A. M. Tkalenko. "Concept art". Thesis, ГО "Інститут інноваційної освіти", 2021. https://er.knutd.edu.ua/handle/123456789/18990.

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Marini, Ludovica Orsola Adriana. "Perception and representation in the visual brain and in visual art". Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428716.

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Shaw, Peter. "The conceptions of art practice held by tertiary visual art students". Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.

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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.

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

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Lutz, Constance A. "Visual Art Teachers’ Ranges of Understanding and Classroom Practices of Assessment for Student Learning In Visual Art Education". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397567104.

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Dubinsky, Lon. "Canadian visual art magazines as cultural formations". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39279.

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This study explores the relationships between four exemplary Canadian art magazines and the art world they inform and in which they are situated. The principal claim is that the visual art world has become a textual community by virtue of the premium placed on the printed word and the ties that have developed among individuals, such as artists and curators, and organizations, such as the magazines, funding agencies and the academy.
For theoretical direction the multidisciplinary study draws on communication theory, art history, the sociology of organizations and culture as well as management studies. Of principal importance are the media theories of Innis (1972, 1973) and the organizational formulations of DiMaggio (1985). Three types of investigation support the claims: (a) an historical account of the four magazines, which includes tracking the strategies the editors undertook, (b) a consideration of each periodical's rhetorical features and (c) a description of several networks in the art world which involve individuals and organizations.
The study then considers the deliberate and unintended consequences of the visual art world becoming a textual community, some of which are liberating while others are disabling. The study concludes by suggesting how the research undertaken contributes to current debates about the analysis of communications and culture.

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Arslan, Dogan. "Visual surreal languages in western poster art". Thesis, University of East London, 2006. http://roar.uel.ac.uk/1238/.

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In this thesis, I investigate the main characteristics and techniques of the visual language of Dada and Surrealism and how they have survived and evolved in the realm of graphic design, especially in contemporary poster art. I also analyzed how Dada and Surrealist irrational humor has been transformed and activated into today's poster art, to support my claim that there are unique parallels and similar visual relationships. In my thesis methodology, I used one-on-one interviews with some of the poster artists whose work I analyzed. I also compared the work of specific artists with aspects of the visual language of Dada and Surrealist art. In my first section, I explored Dada's anarchistic and destructive juxtaposed photomontages, which created certain visual forms like hybridization, metamorphosis, and the contrast between large and small and high and low. I analyze how these visual languages and techniques like photomontage have been transformed and used in contemporary poster art. In my second section, I discuss paintings of Magritte in relation to mystery, the absurd and the irrational, some of the basic feature of Surrealism. Magritte's artwork also used similar visual languages and approaches to Dadaists like Heartfield in his photomontages. I also found that contemporary poster artists like Olbinski and Glaser interpreted Magritte's visual approaches and methods in their poster designs. 11 In the last section, I argue that the absurdness, irrationality and subversive humor found in Dada and surrealism, and formed by juxtaposed type of images and created by means of the collage principles, had parallel in contemporary poster art. I believe that my findings, outcomes and identifications based on comparisons, analysis and investigations will help design students, practitioners, scholars, and art enthusiasts in understanding and conceiving certain visual languages, methods, and approaches that I found to exist among Dada, Surrealism and the modem poster.

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Ganani-Tomares, Dafna. "Mimesis : Judith Butler, visual practice, tragic art". Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/178/.

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The project grounds the use of mimesis in my video art practice. In the written element I query equivalence between mimesis and performativity in Judith Butler's conception; I consider the tragic and hyperbolic faculties of these, as ways of promoting expansion of context in received convention. My video clips have performance in them and mime destructive regimes in mainstream conventions of visual culture, of sexual identity and of political position, to challange these. They mobilize convention and deviation from it, through ineptitude of performance or my ambiguous relation to the convention that I use. Butler conceives the generative possibility in regulation (prohibition and/or "law). This is my source for prioritizing failure, and conceiving mimesis a practice of power in modification. Philippe Lacoue-Labarthe is an additional source in my writing, and Luce Irigaray a hovering presence. They are deployed to support my conviction that speculative theory mimes tragic art; Hegelian dialectical philosophy and Freudian psychoanalytic discourse founded in tragic art endow a mutual system of logic and belief that mobilizes rejection of 'difference'. In these tragic discourses mimesis links death and desire. As a force in hyperbole and the constitutive site of all discursive and artistic conventions or tropes, mimesis may suspend as much as confirm the very truths it promotes. Mimesis may turn or exceed anything that can be mimed - I propose. Throughout the project (art practice and written element) I ask - 'how is it possible to re-conceive the terms of the representational conventions to which I object without sharing in the mechanisms that demote those terms?'

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Crowley, Elliott Joseph. "Visual recognition in art using machine learning". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:d917f38e-64cb-4b09-9ccf-b081fe68b187.

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This thesis is concerned with the problem of visual recognition in art - such as finding the objects (e.g. cars, cows and cathedrals) present in a painting, or identifying the subject of an oil portrait. Solving this problem is extremely beneficial to art historians, who are often interested in determining when an object first appeared in a painting or how the portrayal of an object has evolved over time. It allows them to avoid the unenviable task of finding paintings for study manually. However, visual recognition of art is a challenging problem, in part due to the lack of annotation in art. A solution is to train recognition models on natural, photographic images. These models have to overcome a domain shift when applied to art. Firstly, a thorough evaluation of the domain shift problem is conducted for the task of image classification in paintings; the performance of natural image-trained and painting- trained classifiers on a fixed set of paintings are compared for both shallow (Fisher Vec- tors) and deep image representations (Convolutional Neural Networks - CNNs) to exam- ine the performance gap across domains. Then, we show that this performance gap can be ameliorated by classifying regions using detectors. We next consider the problem of annotating gods and animals on classical Greek vases, starting from a large dataset of images of vases with associated brief text descriptions. To solve this, we develop a weakly supervised learning approach to solve the correspondence problem between the descriptions and unknown image regions. Then, we study the problem of matching photos of a person to paintings of that person, in order to retrieve similar paintings given a query photo. We show that performance at this task can be improved substantially by learning with a combination of photos and paintings - either by learning a linear projection matrix common across facial identities, or by fine-tuning a CNN. Finally, we present several applications of this research. These include a system that learns object classifiers on-the-fly from images crawled off the web, and uses these to find a variety of objects in very large datasets of art. We show that this research has resulted in the discovery of over 250,000 new object annotations across 93,000 paintings on the public Art UK website.

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Viljoen, Vida Alexandra. "Socio-spatialities of visual art in Stellenbosch". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96804.

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Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: The social and spatial dimensions of any settlement are widely recognised in the international literature as having been shaped notably by art in some of the so-called cities of art or culture, such as Florence, Venice and other, smaller cultural nodes around the world. Arts resources have an impact on the socio-spatial dimension of a locale in a multitude of ways, and an understanding thereof can be hugely beneficial to a town‟s development and success. When developed, utilised and protected correctly, the full positive effects of such resources can be achieved to stimulate an inclusive and diverse art town setting. The Western Cape town of Stellenbosch is reputed for its rich arts and cultural heritage, yet there has not been extensive academic research concerning the incidence and effects thereof. Hence, Stellenbosch provides a platform from which to study the socio-spatial influence that visual art brings about in the interplay between art, people and space. Enhanced planning and decision making can then be undertaken for the current and future protection and management of art resources, equipping Stellenbosch to be part of a world that is both a competitive global market and diverse sphere of social constructs and discourses. The exploration of notions such as commoditisation, the places and spaces of art, formal and informal public art, artwork defacement, and the sense of place brought about by the art in Stellenbosch to obtain an overarching impression of the nature and extent of the influences of art on the socio-spatial dimension was the primary aim of this study. A descriptive overview of the socio-spatialities brought about by art in the so-called art town of Stellenbosch is provided by utilising in-depth interviews in combination with a minor GIS component. This enables an overall view of the public perception of art in Stellenbosch, as well as a visual overview of the distribution of the available art resources, hence providing new attribute and spatial data that can inform future initiatives in the town.
AFRIKAANSE OPSOMMING: In die internasionale literatuur word die sosiale en ruimtelike dimensies van ‟n nedersetting wyd erken as deur kuns gevorm te wees in sommige sogenaamde stede van kuns of kultuur, soos Florence of Venesië, en ander, kleiner kulturele nodes regoor die wêreld. Kunsbronne het op ‟n magdom van maniere ‟n impak op die sosio-ruimtelike dimensie van ‟n land, en ‟n begrip daarvan is uiters voordelig vir ‟n dorp se ontwikkeling en sukses. Wanneer dié bronne toepaslik ontwikkel, benut en beskerm word, kan die volle positiewe uitwerking daarvan bereik word om ‟n inklusiewe en diverse kunsdorpomgewing te stimuleer. Die Wes-Kaapse dorp Stellenbosch is bekend vir sy ryk kuns- en kulturele erfenis, maar uitgebreide akademiese navorsing oor die voorkoms en gevolge daarvan is nog nie onderneem nie. Stellenbosch bied dus ‟n platform waarop die sosio-ruimtelike invloed van visuele kuns in die wisselwerking tussen kuns, mense en die ruimte bestudeer kan word. Verbeterde beplanning en besluitneming kan dan gedoen word vir die huidige en toekomstige beskerming en bestuur van kunsbronne, wat Stellenbosch sal toerus vir ‟n wêreld wat beide ‟n kompeterende globale mark en diverse terrein van sosiale konstrukte en diskoerse is. Die ondersoek van begrippe soos kommodifikasie, die plekke en ruimtes van kuns, formele en informele openbare kuns, kunswerkskending, en sin van plek wat deur die kuns in Stellenbosch teweeg gebring word, verskaf ‟n oorkoepelende indruk van die aard en omvang van die invloede van kuns op die sosio-ruimtelike dimensie, wat die primêre doel van hierdie studie was. ‟n Beskrywende oorsig van die sosio-ruimtelikheid wat deur kuns in die sogenaamde kunsdorp Stellenbosch teweeg gebring word, is verskaf deur gebruik te maak van in-diepte onderhoude in kombinasie met ‟n kleiner GIS-komponent. Dit lewer ‟n geheelbeeld van die openbare persepsie van kuns op Stellenbosch, sowel as ‟n visuele oorsig van die verspreiding van die kunsbronne wat beskikbaar is, wat dus nuwe attribuut- en ruimtelike data verskaf wat toekomstige inisiatiewe op die dorp kan inlig.

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MacKarrell, Peter M. "Implications of visual disturbance for art education". Thesis, University College London (University of London), 1985. http://discovery.ucl.ac.uk/10019568/.

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Kahn, Jillien Anne. "Visual Sexuality: Integrating Art and Sex Therapies". Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/29.

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The goal of this research was to understand the potential challenges and benefits of an integration between art and sex therapies. Three interviews were performed: two with certified art therapists, one with a certified sex therapist, in order to understand how each of these professionals has chosen to approach issues of sexuality and creative expression within his or her practice. The data from the interviews was critically compared within and between each interviewee, producing three overarching themes that provide a framework for understanding the potential benefits and challenges of this integration. These three themes are defined as: 1) The importance of theoretical training and scope of practice in unlocking sexuality; 2) Opening the door to sex and sexuality in clinical work using creative expression; and 3) Concerns and challenges for the clinician using artistic expression with sexuality. Through discussion of these themes, it was found that there is great potential for an integration of the two therapies, provided clinicians have access to appropriate training, as well as a deeper understanding of individual attitudes toward sexuality as provided by cultural experience.

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Betz, Jennifer W. "Assessment practices in elementary visual art classrooms". Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002738.

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Barr, Matthew. "Michel Foucault and visual art, 1954-84". Thesis, Courtauld Institute of Art (University of London), 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.704752.

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Bradshaw, R. Darden. "Visual Culture Art Integration: Fostering Student Voice". Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301706.

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Art integration research has received much attention of late, yet the focus generally examines ways integration practice and pedagogy support or enhance outcomes of high stakes testing. Serving as a counterpoint, this qualitative action research study, grounded in my experiences as a middle school arts integration specialist, addresses the value of visual culture art integration as a site of youth empowerment. Working collaboratively over a period of four months with three non-art educators to create and teach a series of social justice art integration units with sixth graders, I examined ways an integrated art and visual culture curriculum fostered safe spaces for students to take risks by deconstructing and reconstructing their identities, beliefs and understandings of others and their world through artmaking. In chapter one, I recount early teaching experiences that prompted the research questions in which an examination of which arts integration pedagogies best stimulate students to examine visual culture, articulate voice, and question power relationships that perpetuate social inequities. I address the theoretical lens of social justice art education as it frames the study and examine and discuss the current literature surrounding visual culture and art integration in chapter two. Chapter three delineates methodologies employed in the action research study including data collection measures of visual journaling, artmaking and photography. In chapters four, five, and six, I recount the process in which students engaged with, responded to, and created artwork through three curricular units--in social studies examining the intersections of culture and visual culture as evidenced through advertising, in language arts class collaboratively exploring persuasion through environmental and ecological art installations, and in math class integrating Fibonacci's theories through art making. Findings, discussed in chapter seven, indicated that visual culture art integration, used by teachers is often mislabeled out of insecurity and is a viable methodology for increasing student engagement. When students work collaboratively a space is created for them to regain power in the classroom and increase empathy awareness for themselves and others. Furthermore, art making, within a non-art classroom, can be a particularly successful arena through which middle school students articulate and clarify their voices.

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Kirby, Lynne M. "Puppetry in the Visual Arts Classroom". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268103635.

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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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Muller, Lize. "The recurrence of 'pop' in contemporary visual art". Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09232008-151520.

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Camara, Del. "Visual arts: Teaching creativity from within". Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3628.

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In the ever-changing world of visual arts education, there is a gap in the literature about the incorporation of creativity, risk-taking, and play in the curriculum. The purpose of this study was to understand how high school visual arts educators teach visual arts and creativity in the age of digital media, including the practices art teachers use to engage their students in their development of art-making and ways teachers encourage students to take risks in art-making practices. Utilizing an arts-based research method focusing on four case studies in the Central Valley of California, this inquiry examined the way visual arts educators teach the arts at the high school level. Further, this study used data sources of classroom observations, surveys, and one-on-one interviews. Data analysis utilized the theoretical lens of multiple intelligences to examine the different ways each visual arts teacher teaches visual arts. Findings indicated that there is a need for a common definition of creativity, student-teacher relationships are critical for improving students’ efforts in the arts, learning about the visual arts develops skills that students can use throughout their lifetime, and students from lower socioeconomic backgrounds tend to be more willing to take risks in their artwork. Recommendations for further research and policy for school leaders conclude this study.

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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.

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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.

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Al-Sowaidi, Faraj. "Visual analysis of the decay of pears". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724953.

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This creative project explored the visual characteristics of the transitions found in the decay of the pear. The project consisted of oil paintings, watercolors and prints. I found that what is normally viewed as ugly can be visually stimulating or actually beautiful. These images were produced to communicate the visual changes which occure with the characteristics of the fruit through the passage of time.
Department of Art

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Underhill, Helen P. V. "Art school, art world, art circuit : an ethnography of contemporary visual art education and production in two Palestinian locations". Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30303/.

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WONG, Kei Shun Samson. "Defining community art : theoretical and practical reconstruction". Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/vs_etd/10.

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This research investigates the area of practice commonly known as community art, defined to be where a gathering of people participates in facilitated collaborative art making aimed to be increasing their autonomy in generating artistic and social satisfaction and enrichment. This definition is a result of integrating existing research, literature, interviews with practitioners and analyses of their work. It is an interdisciplinary research conducted through a grounded methodology where data from practitioners and literature mutually inform to yield insights into a seemingly unstructured practice. Seven interviewees were chosen to represent a coherent and recognized body of practice. They are practicing visual and performing artists who specialize in facilitating people of communities in collaborative art process. Each having over 15 years of experience in committed engagement with communities, they are also trainers, educators and professionals in various tertiary, cultural and public institutions. They are either based or are/were committed to the development of community art in Hong Kong, and are all experienced overseas1. Their mix of art disciplines and effectiveness across countries indicate a fundamental connection in their view of art and people that is beyond artistic media and cultural context. Thus, a Hong Kong perspective is provided that may contribute to other metropolitan settings in Asia and worldwide. Guided by the data, this research sought theoretical support for the community artists’ operational concepts of art, people, community and participation. The literature drawn include the ethology of art (Dissanayake, Davies), the nature of the experience of art (Dewey), theories of education (Freire, Dewey), theories of community and individuals (Putnam, McKnight & Block), psychological theories on experience and motivation (Csikszentmihalyi, Ryan & Deci), and theories of social psychology on identity and social belonging (Baumeister & Leary, Aron & McLaughlin-Volpe). This interdisciplinary perspective builds a framework that explains how the artistic and social dimensions in community art, instead of being in compromise, can be synergetic. Of special interest are the untapped aspects of Freire and Dewey’s theories often overlooked by scholars of artistic engagement with communities. Requiring expertise beyond a single scholar, this research proposes only one effective integration of the above disciplines. This research conceptualizes the development of community art to be an interplay of artistic movements, to progressively seek social relevance from object, place, then to people, and at the same time to return art into the hands of the people. It is a practice distinct but in relation to the overlapping categories of the socially engaged arts, dialogical art, community cultural development, community-based art education and public art (Bishop, Cartiere, Goldbard, Kester, Thompson). The shifting definitions have nurtured a blossoming of artist engagement in the society, but has also resulted in miscommunication of what exactly academics, artists and institutions are planning, funding, doing, evaluating and researching. In contrast to an embracive attitude that has unfortunately led to confusion, this research proposes certain defining characteristics for community art, with implications that seek to further the discourse of artistic engagement with communities.

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Glazek, Kuba. "VISUAL WORKING MEMORY AND MOTOR PROCESSING CHANGES ASSOCIATED WITH EXPERTISE IN VISUAL ART". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/204607.

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Psychology
Ph.D.
The concept of novelty has important implications for theories of cognition, as familiar objects are categorically distinct from novel ones; accessing a stored representation of a known stimulus influences perception in a way that is precluded for a novel stimulus. The experiments that constitute this dissertation shed light on the perception-action cycle, as it is a persistent feature of human life; we see things and we act upon them. When those things are novel, how does cognitive processing change? Specifically, how do people who deliberately practice seeing things act upon them, and are there observable differences between trained and "casual" perceivers' perceptual processing? Some argue that any processing advantages possessed by experts are limited to objects or relations among objects within an expert's particular domain of expertise. However, a central point of contention revolves around what exactly constitutes a domain in the first place. Expertise may boil down to a long-term memory advantage for deliberately-practiced categories of stimuli, or to a heuristic that is only applicable to one trained goal or category of goals, or to a heuristic independent of task that can be applied to any novel situation. The present set of experiments examined visual cognition with the perceptual goal of fine-motor output (i.e., accurate sketching) as a candidate for a domain of expertise that confers advantages in visual perception in general. The extent to which visual processing is altered in expert visual artists was examined; whether they are more efficient only at sketching images of familiar stimuli, or whether their advantage extends to other visual cognition tasks. Familiarity and complexity of stimuli were manipulated, as were the goals of perception, including sketching and recognition. Finally, retention durations were manipulated before responses or sketches were made in order to examine the limits on experts' advantage on tasks that are known to tax the perceptual system. Results suggest that expertise in visual art confers a robust visual cognition advantage that generalizes beyond a narrowly-defined domain of expertise.
Temple University--Theses

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Buchannan, Sophie Christina Rose. "The art of violence in Roman visual culture". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608069.

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Johnston, Jerre Lynn. "ART CRITICISM: A "READING" OF THE VISUAL ARTS". Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.

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Walsh, Andrea Naomi. "Contemporary aboriginal art texts, intersections of visual culture". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0012/NQ59158.pdf.

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Shank, Jennifer Sue. "THE EFFECT OF VISUAL ART ON MUSIC LISTENING". UKnowledge, 2003. http://uknowledge.uky.edu/gradschool_diss/397.

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The purpose of this study was to examine the effect of visual stimuli on music listening skills in pre-service elementary teachers. Visual Stimuli in this study refers to the presentation of arts elements in selected visually projected images of paintings. Music listening skills are defined as those skills needed to identify and interpret musical excerpts. A Pretest-Posttest Control-group Design was used in this study. Subjects were pre-service elementary general educators enrolled in a large southern university (N=93). Students from intact classes were randomly placed into either the experimental group or the control group. The treatment consisted of six music listening lessons over a two-week period with each group receiving the identical teaching protocol with the exception of the use of paintings with the experimental group. Listening instruction emphasized the identification of melodic contour, instrumentation, texture, rhythm and expressive elements of the compositions. The Teacher Music Listening Skills Test (TMLST) was constructed by the investigator and administered before and after the treatment. The TMLST was designed to assess music listening skills in adult non-musicians. Results indicate that the group receiving visual stimuli in the form of paintings scored significantly higher on listening skills (pandlt;.01) than the control group which received no visual stimuli in the form of visually projected images of paintings. There was an instruction effect on both preference and familiarity of the musical pieces for both the control group and the experimental group.

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Rutter, Mark. "Visual art and the book in modern poetry". Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438695.

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Worley, Taylor. "Theology and contemporary visual art : making dialogue possible". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.

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Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.

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Stone, Lynden. "Doubting Conventional Reality: Visual Art and Quantum Mechanics". Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367239.

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Quantum mechanics give significant cause to doubt conventional reality. This exegesis answers the question of how visual art, in engaging with quantum concepts, can enable a viewer to doubt conventional reality. I argue that visual art can do this by an artwork’s capacity to provoke unconventional thinking in the viewer and by the artist’s prudent considerations of materials and metaphor. I discuss my own artworks and those of others to assess the capacity of such works to cause ruptures of expected reality and so enable a viewer to doubt conventional reality. In particular, I argue that my three ‘mind works’ projects (the Metaphase Typewriter revival project, the Mind Lamp project and the Mind dispenser) are successful (even just on a metaphoric level) in enabling a viewer to doubt conventional reality. Specifically, this is because they provide the viewer opportunities to interact with events of quantum superposition, using only consciousness, to arguably affect or even create material reality.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Henson-Dacey, Jacqueline B. "High School Visual Art Students' Perceptions of Creativity". ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1406.

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

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Woods, Carrie L. "Visual Culture: A Case Study". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1193266191.

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Balkir, Nur. "Visual Culture in the Context of Turkey: Perceptions of Visual Culture in Turkish Pre-Service Art Teacher Preparation". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9935/.

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This study explored the state of art education in Turkey as revealed by pre-service art education university instructors, and the potential of incorporating visual culture studies in pre-service art education in Turkey. The instructors' ideas about visual culture, and popular culture, the impact it might have, the content (objects), and the practices within the context of Turkey were examined. Visual culture was examined from an art education perspective that focuses on a pedagogical approach that emphasizes the perception and critique of popular culture and everyday cultural experiences, and the analysis of media including television programs, computer games, Internet sites, and advertisements. A phenomenological human science approach was employed in order to develop a description of the perception of visual culture in pre-service art education in Turkey as lived by the participants. In-person interviews were used to collect the data from a purposive sample of 8 faculty members who offered undergraduate and graduate art education pedagogy, art history, and studio courses within four-year public universities. This empirical approach sought to obtain comprehensive descriptions of an experience through semi-structural interviews. These interviews employed open-ended questions to gather information about the following: their educational and professional background; their definitions of art education and art teacher education and what it means for them to teach pre-service art education; critical reflections on the educational system of Turkey; perceptions of visual and popular culture; and finally individual approaches to teaching art education. This study was conducted for the purpose of benefiting pre-service art teacher education in general and specifically in Turkey. It provided the rationale, the nature, and pedagogy of visual culture as well as the why and how of visual culture art education in the context of Turkey. Furthermore, it provided insights into the potential contribution of the concept of visual culture to the understanding of art and improvement of art teacher training in the context of Turkey.

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Field, Rhian. "Public engagement with climate change through visual art : an experiential with Art-Science". Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/e909d884-dd1d-49b6-9567-96e2e1cd983e.

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Art has a potentially influential part to play in science communication, assisting in the process of making information more accessible and more effective. It supports education, serves as a universal language and can help us imagine and hypothesize. However, beyond the practical application of art as visual illustrator, there is something more mysterious and the possibility of a potential yet un-tapped. Art has a reputation for influencing human emotions and behaviour, although the exact mechanics of this process is presently unknown. An effective collaboration between artists and scientists might depend upon a more prescriptive approach and a meeting of minds towards clear objectives. Artists might be inclined to take up such a challenge but to what degree would scientists share their conviction? This research explores whether art and science can collaborate effectively to influence behaviour in the environment towards climate change adaptation and how this might be approached. As part of an empirical mixed method approach to field research, an experimental test-kit was developed by science-trained practicing artist Rhian Field. Experiments were set up in a selection of locations in Wales during 2014 and 2015, to explore the opportunities for the role of visual art in the face of climate change impacts and the need for adaptation. This field research, underpinned by knowledge from a broad range of disciplines, examines the factors that potentially influence public engagement with visual art within a context of climate change, and considers the opportunity for art-science within climate change adaptation.

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Miers, John William. "Visual metaphor and drawn narratives". Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13457/.

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This thesis explores the ways in which the production and comprehension of drawn narratives are structured by metaphorical conceptualisation. The argument develops from the observation that metaphor theory does not account for the perceptual character of depiction. I begin by focusing on an overlooked distinction between "pictures that are metaphors" and "pictures that have metaphors as their textual content" made by Richard Wollheim. This leads into the elaboration of a theoretical model of depiction-as-metaphor, which contributes to analytic philosophy as well as metaphor studies. In the fourth and fifth chapters, I argue that common nonpictorial drawing devices including speech balloons and motion lines operate as reifications of cognitive construal operations. Applications of metaphor theory to comics have generally focused on identifying the operation of metaphorical structures previously proposed through research using linguistic corpora. This strategy is frequently employed in the thesis, but I extend it by bringing to bear a wider range of cognitive processes that highlight the role of visual perception in cognition. My theoretical framework synchronises the accounts of unconscious cognitive processes developed by, in particular, George Lakoff and Lawrence Barsalou, with philosophical accounts of depictive seeing as a self-conscious imaginative use of one’s own perception, amongst which the work of Kendall Walton is highlighted. The formal study of comics is replete with theoretical frameworks derived from linguistic models of signification, but much less attention has been paid to developing models that approach the artform as a species of drawing rather than writing or literature. My thesis contributes to redressing that imbalance. My synthesis of depiction and metaphor extends the application of metaphor theory to drawn multimodal texts. The challenges it proposes to the Lakoffian model of metaphorical cognition are in keeping with contemporary scholarship, and contribute to the ongoing work in understanding metaphor’s central role in cognition.

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Lim, Kyungeun. "An Inquiry of How Art Education Policies are Reflected in Art Teacher Preparation| Examining the Standards for Visual Arts and Art Teacher Certification". Thesis, Indiana University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10635268.

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Policy changes influence various aspects of art education such as K-12 art education curricula, state licensure systems, and contexts of art teacher preparation. Despite strong relationships between art education policy and practical fields, few studies have attempted to understand art education from the perspective of policy analysis. This study explores the connections between art education policy and the field of art education through a focus on art teacher preparation in Indiana. Additional attention was paid to perceptions of the appropriateness of alternative licensure routes in relation to policies of academic and quality standards and the extent to which visual art teachers’ sense of identity as teachers and artists is affected by appropriation of these standards.

The theoretical framework of this study is the need to understand policy appropriation of standards (including visual art and art teacher preparation standards) as an on-going process, that is continually influenced and changed by internal (human level) and external (institutional level) factors. The appropriation process is effectively expressed through practices, narratives, and texts of practitioners.

To understand the status and factors of the art education policy appropriation in art teacher preparation, I collected data as printed or digital documents, and as interviews with faculty members and pre-service art teachers in two traditional visual art teacher preparation programs in Indiana. I analyzed external (institutional level) and internal (human level) factors to adopt and work with state and national standards. While national standards for visual art education (were adopted by many states and presented as voluntary policy, in Indiana the national standards were built into the Indiana’s Academic Standards for Visual Art Standards for K-12 students. Visual art teachers were required to complete a traditional teacher preparation program and pass examinations to become licensed to teach art.

Findings reveal that faculty of higher art teacher education programs in Indiana paid attention to the national and state standards in K-12 visual art and the standards for teacher education when preparing students to become licensed K-12 art educators. External motivations were accreditations system for teacher preparation requested by Indiana Department of Education related to NCATE. Schools and districts could be external motivations that pre-service art teachers adopt the standards in order to succeed in a job market. Internal factors were respects of roles and leaders of art education associations, desires to train/be qualified teachers and attain balanced knowledge between art studio and art education. Alternative routes to licensure were viewed as economically advantageous but not supportive of high-quality education. Policy had little impact on issues of identity. I concluded with recommendations for improvement in art teacher preparation that were needs of supportive policies for pre-service teachers’ teaching and teaching licensure including traditional and alternative licensures.

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Gates, Jillian Marie. "Aesthetics for Visual Arts in Hospitals". Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/7354.

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The impetus for Aesthetics for Art in Hospitals emerged from my first waiting experiences in hospitals whilst being well, from my first pregnancy check ups ten years ago, accompanying my children to our doctor’s surgery, and later, sitting with my mother in palliative care; I was acutely aware of the lack of thought and organisation behind the display of visual imagery and signage in hospital waiting rooms. As an artist, I wondered who decides what images will be displayed in waiting areas of health clinics and hospitals. This idea gradually developed from 2005 when I attended the Arts Health and Humanities Conference in Newcastle, and realised that patient’s perspectives regarding aesthetics appeared to be overlooked. It was from this point that this inquiry became a research project that led me to the University of Sydney and in particular to The Sydney College of the Arts and the Medical Humanities Unit. This thesis is the outcome of this original inquiry and examines the questions, how can visual arts be received in hospitals? and how does western society represent illness and death? These questions explores how patients, their family members, and carers respond to art in hospitals, while acknowledging their discomfort experienced in hospital settings. This inquiry took the form of a comparative case study between Balmain and Wyong Hospitals, NSW, Australia. The aim of the study was to produce a reflective and empathetic response to elderly patients in waiting rooms as a mode to investigate the potential of evidence based art for hospitals. The intention was to produce a series of digital photographs that reflected the art preference of elderly patients. The outcomes of the study uncovered the patients waiting experience and recorded their levels of discomfort. It established the potential and significance of landscape photography in hospital waiting rooms to create a less threatening environment. The participants selected landscapes as their preferred subject matter for visual arts in hospitals. The study contributes to Australian arts health research by comparing Australian arts health projects to international examples. These comparisons indicate that further research is required to comprehensively understand the hospital waiting experience of Australian patients, and their family members in order to create visual arts that they can appreciate and respond to.

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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.

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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.

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Leaman, Bethany Marie. "Visual purple: A context for cultural understanding through the visual arts". Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278419.

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Visual Purple is based on the author's experience with the Old Pasqua Youth Artists (OPYA) which is a biweekly, after-school program for Yaqui youth ranging from five to fifteen years of age. The paper seeks to relate the primary experiences of seeing and drawing linking them to cultural concepts, socialization patterns, and community setting. The Yaqui children's perceptual understanding acquired through learning and development co-varies with their cultural environment and upbringing. Through a content analysis of the OPYA artwork with special attention paid to the children's interactions, she contends that this understanding manifests as a set of aesthetic principles, the knowledge of core cultural symbols, and shared interpersonal behaviors based on cooperation, watching, and learning. The data suggests that the rich symbolism of Yaqui culture aesthetically socializes the children giving them an eye for detail and the ability to pick up and readily relay visual concepts.

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Rozprawy doktorskie na temat „Visual art”

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