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

Thesis (M.Ed.)--University of Hong Kong, 1990. / Includes bibliographical references (leaf 194-200). Also available in print.

The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.

This arts-based thesis will explore ethnic identity and narrative in symbolic self-portraiture as themes for a body of work. This paper will discuss how identity and narrative play an important role in the empowerment of the artist and viewer. It will also show how this can be incorporated into an art classroom engaged in multicultural learning and the study of visual culture to empower students and give them opportunities to narrate their life stories.

ABSTRACT CULTURE, CONTEXT AND CURRICULUM: AN EXPLORATION OF THE ATTITUDES OF BLACK MIDDLE SCHOOL MALES TOWARDS ART EDUCATION by Rita Baker The level of participation and interest in visual arts education demonstrated by Black male students falls consistently lower than that of their White counterparts which manifests itself in under performance and disruptive behaviors. Previous research has explored how views within the Black community towards art education and art related careers have impacted high school and college students. However, those explanations may not be pertinent to middle school, and the scarcity of literature dedicated to how the valuation of art within this racial group influences middle school males suggests the need for inquiry in this area. Based on a constructivist and constructionist epistemological framework grounded in social learning theories, this case study was conducted at a predominantly Black middle school outside of a major southern city. The participants in the study were six eighth grade Black male students between the ages of 13-16 enrolled in a nine-week art class. Initial data collection procedures involved observations in the neighborhood, school, and classroom, a focus group session, individual interviews, member checking, art analyses and a follow up discussion with the teacher. The data analysis was conducted utilizing content analysis, open coding, and axial coding. The findings revealed that opinions were equally divided between students who enjoyed art class throughout the term, and those who expressed boredom. The findings suggest that students’ opinions were shaped by a myriad of factors within the culture, learning context and curriculum. Further, the data implies that goal setting and student interest were connected to students’ participation in art class, while interest in art making diminished between the elementary and middle school years. Perceptions of art class, parental preferences, and the curricular focus of the class proved to be factors which influenced student attitudes towards art instruction. The data advances areas for future scholarship, and recommendations for art educators.

<p> This study documents an experience in which a small group of cognitively and developmentally disabled adults expressed their personal goals and views related to art museum visits. A review of literature related to disability studies, museum access and inclusive programs, art therapy, and person-centered thinking provide background and context. Case study and qualitative interviews are used as methodologies to support an investigation of the use of person-centered thinking in the implementation of art museum programming for the study participants. Person-centered thinking is considered and assessed as an approach to structuring meaningful collaborations between visitors with disabilities and art museums. Data collected in the forms of visual and written response, observation, and documentation of interviews inform the findings, discussion, and analysis of the study&rsquo;s research goals. The resulting case study may be used by museums to structure visits with similar groups. This study contributes to a growing body of knowledge pertaining to how museums can best collaborate with disabled populations to create inclusive programs.</p>

<p> This study is an overview of how museums utilize informal learning as a primary source of engagement to improve overall visitor experience while building community interest. For this study, it was important to look at the history and purpose of museums origin and the evolution of their function from an art institution to an educational institution. The top 3 Los Angeles based museums; the Los Angeles County Museum of Art, the J. Paul Getty and the Museum of Contemporary Art were all put under the various scopes to deduce if they are utilizing their education department to be the best of their ability to create meaningful experiences for their visitors. They were evaluated based on their use of technology, use of dialogue and the overall experience within the museum. Lastly, this study stresses the importance of public art to incorporate all three areas of informal learning.</p>

This study is an historical exploration of interviews of eight renowned artists of the 20th century conducted by Peppino Mangravite (1896-1978) in the summer of 1955. The artists interviewed include Graham Sutherland, Henry Moore, Georges Braque, Georges Rouault, Marc Chagall, Giorgio de Chirico, and Giorgio Morandi. Mangravite asked these artists their thoughts on art, life, and education. With the mission to gather advice from leading European artists and university professors on the establishment of a new arts center at Columbia University as well as to interview the artists to be preserved for posterity at the Smithsonian Archives of American Art, Mangravite collected fascinating perspectives from these artists. An analysis of the types of questions Mangravite asked and the responses they elicited revealed insight into the following three topics: the artists' perspectives on art education of the time, a deeper understanding of what is an artist-educator, and most importantly, the analysis substantiated the hypothesis that Mangravite was successful in his contacts and conversation with the eight artists because he himself was an artist-educator, thus giving support to the importance of having the dual identity. / text

With technology's prevalence and the Internet's evolution from a didactic presentation of information to an interactive venue for participation, assumed relationships of authority and trust for a variety of institutions, especially museums, is being challenged. As a self-labeled trustworthy source of resources and information (MacArthur 2007), the expansion of opportunities for visitors to contribute and participate online may make some cultural institutions of nervous. In a quickly changing online environment, what voices should be heard and who should be trusted? This qualitative narrative study focuses on how visitors to art museum websites describe their experiences to these sites. I collected stories from online users in order to gain a more rich and full understanding of the journey of online exploration. The addition of multiple voices and personal accounts compliments previous evaluations of museum websites, some of which primarily focused on numerical and statistical data while others blended the two types of results (Bowen, 1999; Chadwick & Boverie, 1999; Garzotto et al., 1998; Harms & Schweibenz, 2001; Haynes & Zambonini, 2007; Johnson, 2009; Kravchyna & Hastings, 2002; Marty & Twidale, 2004; Ockuly, 2003; Peacock & Brownbill, 2007; Streten, 2000; Sumption, 2006). I wanted to gain a more personal account, one told by the various users of websites in order to learn more about the process rather than the outcome (Webster & Mertova, 2007). Even with multiple voices, similar experiences emerged with varied stories connecting and supporting one another. These shared stories detailed users' clear expectations and goals when visiting a museum's website along with the emotions felt during the experience. From the various stories told, themes emerged identifying the study's key findings, which led to recommendations for developing user-centered museum websites. / text