Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4581. Adviser: Paul Duncum. Includes bibliographical references (leaves 310-332) Available on microfilm from Pro Quest Information and Learning.

Inaug.-Diss.--Munich. / Vita. Bibliography: p. 316-336.

Thesis (M.S.)--University of Wisconsin--Madison, 1983. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 81-86).

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4215. Adviser: Elizabeth M. Delacruz. Includes bibliographical references (leaves 282-307) Available on microfilm from Pro Quest Information and Learning.

Thesis (PH.D.)--Syracuse University, 2003. / "Publication number AAT 3099737."

Thesis (M.F.A.)--Boston University

Thesis (Ed.M.)--Boston University

Thesis (M.F.A.)--Boston University Bibliography: p. 86-90.

<p> In this dissertation study, the researcher explored how pedagogy affects the creative process of visual artists who are also higher education art teachers. In order to understand and conceptualize the relationship between pedagogy and art making through the artist-teacher lens, the method and the methodology of Portraiture (Lawrence-Lightfoot &amp; Davis, 1997) enabled the re-storying of the participants&rsquo; experiences into written portraits, putting an emphasis on the voice of the researcher as well. The experiences of seven artist-teachers were developed into portraits after interviewing, observing, and carefully reflecting on the context and voices of participants. The theoretical framework of Pedagogical Content Knowledge (PCK) by Shulman (1986), Community of Practice (CoP) by Wenger, McDermott, and Snyder, (2002), and Creativity by Feldman, Csikszentmihalyi, and Gardner (1994) allowed me to interpret and share the artist-teachers&rsquo; context as a hybridized and complex identity by incorporating one of the hallmarks of the Portraiture methodology: to portray success and find goodness in any lived experience. Findings indicate that teaching by intuition rather than teaching by design taps into a variety of creative sources when reflecting upon artist&rsquo;s practice and process in relationship to pedagogical practices.</p><p>

<p> This dissertation is a case&nbsp;study, written from my perspective as a new museum professional and museum educator. The work explores the museum as an institutional and community space and demonstrates how museum educators may understanding their role and the roles of their peers in a relational way with the aim of increased productivity.</p><p> Using a contemporary university art museum as the setting, I and 14 of my museum colleagues, at least one from each department at the museum,&nbsp;discuss our understandings of: co-creation, collaboration, physical mental and social space individually and as a group. The questions that guide this study are: </p><p> &bull; What do art museum staff members communicate about their understanding of their roles in co-creative and collaborative education programming and museum exhibition design in contexts of relational space in the museum? </p><p> &bull; What indicators of internal dialogue are revealed in this exploration? </p><p> &bull; &nbsp;What do these conversations uncover about staff understanding(s) of the spaces that they work in as relational? </p><p> &bull; What ideas arise regarding possible change for the museum&rsquo;s approach to collaborative and co-creative education programming and museum exhibition design?</p><p> I utilize two methodologies, case study and auto ethnography, to create a relational accounting of my experience and how my understandings and perspective changed during this process.</p><p> I also incorporate a theoretical frame grounded in theories of relational space from Martina L&ouml;w and Henri Lefebvre to guide my research. To highlight my methodological frame, I collected observations and reflections about the one-on-one interviews and two large focus groups I facilitated in my research journal. I captured photographs of my colleagues&rsquo; work spaces to serve as visual aids for the readers regarding my process and interest in space. </p><p> Themes include those guided by the methods that focused on understandings of: co-creation, collaboration, physical space, mental space and social space. Participants also discussed additional properties that shape their understanding of these terms. They include: age, untapped staff talent, the impact of hierarchy in the museums&rsquo; internal structure, staffs' varied understanding of the museum visitor and power in different spaces.</p><p> From my perspective, these findings represent opportunities for new museum professionals and educators to strategically approach their transition from in-classroom learning to the workforce. These findings also present opportunities for museum educators to reimagine the formal and informal learning opportunities museums can offer those interested in a career in the museum sector and museum education.</p><p>