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The purpose of this study was to determine if commercially produced art and aesthetic education packages are quality products and if art and aesthetic education packages meet selected goals for art education. This study was limited to packages developed for preschool, kindergarten, and elementary children.To initiate the study, various avenues were explored in order to discover sources of commercially produced art and aesthetic education packages. A list of 72 publishers and suppliers of art and aesthetic education packages was compiled. From this list, a sample of 14 packages was selected.The first portion of the study pertained to the individual analysis of each package. To assess the packages comprising the sample, "An Instrument for the Assessment of Instructional Materials," developed by Maurice Eash (1972) was selected as the evaluation instrument. This instrument is divided into five sections: (a) objectives, (b) organization of material, (c) methodology, (d) evaluation, and (e) overall assessment.The second portion of the study pertained to the relationship of the package to the goals for art education. Various art educators have listed goals for art education; moreover, the goals listed by the National Art Education Commission on Art Education (1977) were selected as the goals to be used in this study.A group of trained evaluators assessed the individual packages. The findings revealed that only two packages received mean and median scores of 5.0 or higher on a rating scale of 1 through 7. This included the assessment of all five areas included in the evaluation instrument. The other 12 packages received mean and median scores of 2.5 or less on a rating scale of 1 through 7.In comparing the.packages to the goals for art education, two packages met all of the goals for art education. These two packages were the same ones which received the highest ratings on the evaluation instrument. Two other packages met two of the goals for art education. All of the other packages met only one of the goals for art education. The majority of the packages met one of two goals, either "art education as a means of developing creative and flexible forms of thinking" or "art education as a means of helping students understand and appreciate art."

Visible models of assessment of senior secondary studio art in Britain and North America are analysed and compared. In Britain, The General Certificate in Secondary Education (GCSE), specifically, the London East Anglian Examining Board (LEAG) assessment model is examined, and in North America, Advanced Placement(AP), Arts PROPEL, and International Baccalaureate(IB). Assessment structures and criteria for assessment are examined in order to reveal art educational values inherent in assessment practices. The problem is threefold: The subjective nature of studio art has rendered assessment difficult; problems have been associated with methods adopted for assessing studio art, and with determining the purposes of art education. Findings are that similar structures characterize the qualitative studio art assessment strategies studied: Criteria are delineated; norm referencing through rank ordering occurs, and assessments depend on professional judgements by art educators. In all cases except for Arts PROPEL, judgements occur intersubjectively through moderation, enhancing reliability. With regard to values implicit in assessment criteria, all the strategies focus on understanding of form. LEAG and IB assessments are similar in their emphasis on linking art and design, form and function, historical, critical, and contextual understanding. LEAG, IB, and Arts PROPEL assessments focus on evidence of process as well as product. All the strategies are personally relevant to students in that they determine the thematic nature of their studio inquiries. The assessment approaches examined are adaptable to varied teaching contexts, and thus are suitable models for regional or national assessment. Because of its grassroots support nationally, and its sophisticated accommodation of contextual and multicultural understandings of art, LEAG emerges as a worthwhile model to emulate.

This thesis reports an action research project which was undertaken to study, understand, and improve a teacher/researcher's pedagogy of art criticism in a grade two class, through implementation of Johansen's art criticism model. Concurrently, Johansen's art criticism model was tested for its suitability in the context of primary teaching. Data for this study was collected within an operationa grade two class through eight art criticism lessons, three semi-structured interviews, students' journal writings, and entries in the teacher's field diary. Results from this study indicate that Johansen's art criticism model is suitable for guiding second graders through the art criticism process provided it is appropriately implemented. The study also found that, on the whole, the subjects are at the second stage of aestheti development as proposed by Parsons (1982). The study concludes with recommendations as to how Johansen's art criticism model can be effectively implemented within a primary class and what generalist teachers need in order to incorporate art criticism into their art program to bridge the gap between theory and practice.

This thesis is a comparative study which examines the formal art curriculum guides of Hong Kong and British Columbia. The rationale for this study lies, in part, with the documented demographic change that has taken place in British Columbia schools over the past decade, in particular, the significant numbers of Hong Kong immigrant students who have enrolled in four of British Columbia's five largest school districts. The study examines the Hong Kong and British Columbia education systems overall, places the art curriculum for each jurisdiction in respective context, and surveys the content of the guides themselves. The study then examines in comparative fashion the guides with regard to general content of the guides, conceptual frameworks for the curriculum, the presentation of expected learning outcomes, curricular content, and assessment and evaluation. The findings within these topics are summarized in terms of similarities and differences. The findings are also analyzed relative to traditional Chinese conceptions of education and the extent to which they reflect the histories and traditions of art education in Hong Kong. The curriculum guides are also analyzed according to the three conceptual orientations of curriculum posited by Miller and Seller: transmissional, transactional, and transformational. The thesis finds that while there are a number of similarities between the art curriculum guides of Hong Kong and British Columbia, the differences between the two sets of documents are significant in terms of 1) how art curriculum is conceptualized, 2) implied expectations with regard to teaching and learning styles, and 3) the specificity of curricular content. The thesis also suggests that the Hong Kong art curriculum guides reflect a transmissional orientation to curriculum, while the British Columbia guides reflect a transformational, if not transactional orientation. The thesis concludes by pointing to the need for comparative observation of art education in Hong Kong and British Columbia in order to more concretely identify the similarity or differences in the actual art educational experiences of students within each jurisdiction.

This thesis reports an action research project which was undertaken to study, understand, and improve a teacher/researcher's pedagogy of art criticism in a grade two class, through implementation of Johansen's art criticism model. Concurrently, Johansen's art criticism model was tested for its suitability in the context of primary teaching. Data for this study was collected within an operationa grade two class through eight art criticism lessons, three semi-structured interviews, students' journal writings, and entries in the teacher's field diary. Results from this study indicate that Johansen's art criticism model is suitable for guiding second graders through the art criticism process provided it is appropriately implemented. The study also found that, on the whole, the subjects are at the second stage of aestheti development as proposed by Parsons (1982). The study concludes with recommendations as to how Johansen's art criticism model can be effectively implemented within a primary class and what generalist teachers need in order to incorporate art criticism into their art program to bridge the gap between theory and practice. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate