The purpose of this study was to determine whether British Columbia teachers were achieving the goal of teaching an integrated art program. The component of the curriculum which is specifically studied is reasoned criticism, traditionally a neglected component in art education. Through a survey of art teachers in selected B.C. high schools, information was gathered to assess the impact of the new B.C. Secondary. Art Curriculum grade 8-12 upon teaching practice in criticism. The results of the study show that the new curriculum has had little impact on the teaching of reasoned criticism. The results indicate that art production remains the focus of- art programs while reasoned criticism occurs most frequently as a process of informal discussion between the student and teacher while attention is focused on the student's work. A summary of the findings is provided and implications of the study for classroom practice are discussed. / Education, Faculty of / Graduate

Formulation of a Visual Stimuli Kit designed as an aid to developing Visual Awareness for Grade 3, 4, and 5 school children by the elementary classroom teacher. In the elementary school, perception is important in many areas of the curriculum. Contemporary art education theorists have become more concerned with the development of children's visual perception as an integral part of the art program. Although there are adequate books and periodicals for teachers about art education theory and method, there is a lack of useful, easily understood, simple to use visual aids. This researcher's aim was to provide the means for teachers to develop perception with the help of visual aids. This kit was designed in such a way as to be easily used by the generalist classroom teacher without specialist training in art, or art education. After reviewing literature in the general area of visual perception and when selecting images for the kit, the researcher believed that two considerations were of paramount importances the relation of the image to the child's own environment; and the relation of the image to the interests of children. Consideration was given not only to the image but to the relationship between two views of the same object. The views of two independent evaluators were sought for clarification of and assessment of the potential kit. The potential kit was composed of black and white, 11" x 14" prints made after taking photographs of environmental areas and articles considered generally interesting to children and adults. An examination revealed that many prints were unsuitable for various reasons. The researcher also found that many needed modification because of insufficient content for detailed analysis. Additional enlarged photographs were made and included in each set. Questions were compiled and photographs were mounted in preparation for pilot testing. Pilot testing was undertaken with a grade 4 and a grade 5 class from two public schools in Vancouver. Visuals were shown and questions were asked about each. Responses were recorded and analysed. It was concluded that the Visual Stimuli Kit would be suitable for further use with only one visual omitted. Previous testing had suggested reportable differences in overall thinking and perception between grade k and grade 5. Large differences were revealed in degree of perception and children's critical thinking. Further testing was carried out with grade 3, 4 and 5 children with responses tabulated and analysed. Grade 4 children with previous perceptual training showed differences in quality of responses. Results from classroom testing gave positive indications of the suitability of the Visual Stimuli Kit for classroom use. / Education, Faculty of / Graduate

No description available.

Visual aesthetics -- Whole-brain thinking -- Pictorial imaging -- Art and science, mathematics, social studies, and language arts.

Art definitions and movements are changing just as the social paradigms they spring from. This exploration looked at paradigms in art of the past that have become the foundation for movements today. Currently the transformative powers art has to offer have been recognized. Colleges are beginning to train a major and a career. The literature review explored what role transformative art has played in artists' lives and looked at its uses in education. Conceptual art goes beyond the aesthetics of art and touches the mind and heart. I began to explore this kind of art in the nearby galleries. I found a theme I could be passionate about and began to develop it visually. For my project, I developed transformative art. Often students can master a media and create an image with it. But, unless they are told what to create, their craftsmanship skills lie mute. They need guidance to realize their visual voices. As I researched the subject matter of my show, I challenged my students in my high school art classes to look past technique and create some conceptual art of their own.

Internships have become a vital part of museum training, the premier way to gain field experience, and a service often required of perspective museum professionals (Danilov, 1994). One of the museum field's top organizations AAM (1978) wrote a collection of minimum standards for internship training programs; however a study conducted by Spanard (1983) established those minimum standards were not yet being met. In a field where internships are being used extensively for museum training we do not know what these programs consist of other than through our own individual experiences or anecdotal passages. The components, intent, and practices of internship coordinators in AAM-accredited academic art museums were collected through a national survey to develop evidence-based literature on the curriculum of internship programs using Van den Akker's Spiderweb Model (2003) and AAM's (1978) internship minimum standards as a model. The majority of museums are not meeting the AAM minimum standards but many are meeting or exceeding curriculum components. This study encourages the museum community to consider its own practices and re-evaluate the current minimum standards set forth by AAM. Examining current practices in the field has revealed the need for self-evaluation and further development of socialization methods through formalization of internship program curriculum. Including evaluation methods will also provide the museum with evidence they can showcase to their host university and thereby reach their cited purpose: to increase their value, visibility, and perceived worth to the university while also expanding insight into their primary audience (students). / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2015. / April 30, 2015. / curriculum design, experiential learning, internship, museum training / Includes bibliographical references. / Pat Villeneuve, Professor Directing Dissertation; Lisa Waxman, University Representative; Tom Anderson, Committee Member; Antonio Cuyler, Committee Member.

Orientador: João Cardoso Palma Filho / Banca: rejane Galvão Coutinho / Banca: Kathya Maria Ayres de Godoy / Banca: Maria Christina de Souza Lima Rizzi / Banca: Rosa Yavelberg / Resumo: O tema desta tese diz respeito às dificuldades enfrentadas pelo ensino de arte, na educação básica da escola pública estadual do Brasil no decorrer do Século XX. Tais dificuldades geraram consequências que contribuíram para a manutenção da desigualdade educacional e social, apesar das lutas dos educadores. O recorte temporal que localiza e oficializa o currículo, enquanto documento que sistematiza a educação e o ensino de arte no Brasil, no século XX, como o conhecemos atualmente, pode ser delimitado entre 1961 e 1996, subordinado, inicialmente, à teoria tradicional. Entretanto, a teoria crítica, motivou mudanças que ocorreram na década de 1990. Com o objetivo de entender as políticas públicas para o ensino de Arte, fizemos análises acerca do lugar ocupado pelo ensino de arte, nas Leis de Diretrizes e Bases da Educação Nacional (LDBEN) e das concepções de currículo, educação, poder, ideologia e hegemonia. Como caminho, optamos pelo levantamento e análise de um conjunto de fontes primárias, formado por obras bibliográficas, documentos, teses, dissertações e artigos tanto do campo da educação e teoria de currículo quanto da sociologia da educação. Para além do século XX, focamos a intenção político/pedagógica da Base Nacional Comum Curricular (BNCC) e a reforma do Ensino Médio de 2017, por serem elementos contemporâneos que corroboram para a manutenção da desigualdade social e para o desfecho da tese. / Abstract: This thesis focuses on the challenges Art teachers from public schools face to teach for basic education students.in Brazil during the twentieth century. Such difficulties lead to real consequences concerning the maintenance of educational and social inequality, despite the struggles of educators. The period from 1961 to 1996 gave birth to the official curriculum as we know it nowadays, that means, a document which turns education and art teaching in Brazil into a system based in the traditional theory at the beginning. However, during the decade of 1990, the movement called Critical Theory has led it to some changes. To understand the public education policies, I have studied the new Brazilian Law on Guidelines and Basis for National Education (LDBEN), especially the room for art teaching, the conceptions of curriculum, education, power, ideology and hegemony. In order to do so, I decided to map and analyze a number of sources in the fields of: education; curriculum theory; and sociology of education. Among them, I have found bibliographic works, documents, thesis, dissertations and articles. Beyond the twentieth century, I have also studied the political/pedagogical intention that lies underneath the Common National Curricular Base (BNCC) and the High School reform that took place in 2017. The analysis of these contemporary policies finalize this thesis revealing they have contributed to the social inequality in the country. / Resumen: El tema de esta tesis se refiere a las dificultades planteadas en la enseñanza del arte en la educación básica de la escuela pública estatal en Brasil, en el transcurso del siglo XX. Tales dificultades generaron consecuencias que contribuyeron al mantenimiento de la desigualdad educativa y social, a pesar de las luchas de los educadores. El recorte temporal que sitúa y formaliza el currículo como un documento que sistematiza la educación y la enseñanza del arte en Brasil en el siglo XX, como lo conocemos actualmente, puede delimitarse entre 1961 y 1996, enlazado inicialmente a la teoría tradicional. Sin embargo, la teoría crítica motivó los cambios que ocurrieron en la década de 1990. Con el objetivo de comprender las políticas públicas para la enseñanza del Arte, he hecho análisis sobre el lugar que ocupa la enseñanza del arte, en las Leis de Diretrizes e Bases da Educação Nacional (LDBEN) y de las concepciones de currículo, educación, poder, ideología y hegemonía. Opté por el levantamiento y análisis de un conjunto de fuentes primarias formado por obras bibliográficas, documentos, tesis, disertaciones y artículos tanto del campo de la educación y la teoría del currículo como de la sociología de la educación. Mas allá del siglo XX enfaticé la intención político-pedagógica de la Base Nacional Comum Curricular (BNCC) y de la reforma de la enseñanza media, porque son elementos contemporáneos que corroboran con el mantenimiento de la desigualdad social y con el desenlace de la t... (Resumen completo clicar acceso eletrônico abajo) / Doutor

The Book of Arithmetic Problems of Johannes Whisler (1814-1815), a mathematics exercise book in the collection of the American Folk Art Museum in New York City, is the central object of this study. This handwritten and illuminated book, created by a young Pennsylvania German man in the early 19th century, prompts a reevaluation of handwriting and doodling, with implications for the present era. The author documents the biographical and sociocultural circumstances surrounding the creation of Whisler’s cyphering book through primary and secondary historical research and applies Glăveanu’s theory of distributed creativity to describe the book as a creative process that emerged among people and objects, and across time. As direct indices of immediate actions, handwriting and doodling emerge in moment-to-moment action, even as these actions are embedded in longer periods of developmental and historical change; the author documents Whisler’s handwriting flourishes and doodles and describes the particular qualities of these mark making activities with reference to the sociocultural context in which they appear, Werner’s theories regarding the physiognomic perception of symbols, and Stern’s theory of vitality forms. The dissertation concludes with educational implications of the research, which include considerations of the use of handwriting as a component of art education and the future of handwriting as an affective and cross-modal medium.

Using an ecological systems approach, this qualitative study examined how continuously evolving, personal living experiences and the ideologies and attitudes of their material, folk, and school culture come to be (re) presented in the construction of images and meaning in children’s artwork. The research was conducted with three groups of fifth-grade students facilitated by the art teacher at their schools in three different countries: United States, Greece, and Ghana. Data in the form of a set of autobiographical drawings from observation, memory, and imagination with written commentary were created by each participant and supported with responses to questionnaires and correspondences from teachers and parents. The sets of drawings were analyzed in terms of how the drawings reflect the children’s (a) artistic expression as mediated by their interaction with local and media influences and (b) sense of self, agency, or purpose. The findings strongly suggest that style, details, content, and media use assumed a dominant role within the drawings. Furthermore, these results were reflected differently in the drawings of the cohort from each country. Having considered the set of drawings each child made as a network of enterprise emphasizes the active role the children played in the production of the artwork, involving their choices of theme and content, the media images incorporated, and the means by which a task was adapted to suit their interests. However, the results also show that the specific skills—drawing from observation, memory, and imagination—required by the four drawing tasks had a tempering effect on their creative output, leading to the conclusion that the children’s limited drawing experience constrained their ability to express themselves in pictorial representation with fluency. In view of these findings, lesson suggestions are designed to develop drawing skills across drawing modes in a rhizomatic manner of thinking. Suggestions for future research address exploring the evolution of children’s identity and sense of agency in the world through artistic expression; the role of the environment in which children draw as an embodied and embedded experience in a physical and sociocultural world; and further research into how and why children use images to communicate.

The Sustained Investigation is a student-directed body of work completed as a requirement of the AP Studio Art (APSA) course. This work involves three audiences: students themselves, their teachers, and AP readers who evaluate their portfolios. Students must consider not only the personal meaning and relevance of their work, but the extent to which that significance can or should be communicated to these outside viewers. Teachers are faced with a related challenge: to guide students through work that is essentially self-defined. The purpose of this research was to document teacher, student, and reader descriptions of the pursuit of worthwhile ideas as they relate to the perceived goals and purposes of the Sustained Investigation. This research was undertaken as a collective case study involving interviews of APSA teachers and students across four school sites, as well as a selection of readers. Findings indicate that the term idea might describe a range of approaches to organizing a body of work, including themes, concepts, political stances, feelings, and other sources or motivations. Furthermore, this work often reflects multiple concurrent ideas, involving primary and secondary goals for one’s work. The development of ideas was often linked to a nonlinearity of practice; ideas were clarified through the process of making rather than beforehand. Respondents indicated that ideas should be meaningful to the creator, largely relating meaning to personal relevance. Meaning might be pursued by selecting topics of personal significance, developing individual creative processes, or reflecting on this experience as an opportunity to fully embody the role of artist. Meaningful ideas were differentiated from successful ones. Notions of success were defined in terms of the degree of internally and externally imposed challenge involved in this endeavor. Participants agreed that students should be considered the primary audience for their own work. For some students, awareness of readers motivated them to take on challenging work, but this awareness did not influence their choice of central ideas. The findings of this study, particularly the nuance in distinctions between idea, meaningful idea, and successful idea, may be useful in informing pedagogical and creative practice in the AP program and beyond.