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This thesis establishes guidelines and develops art historical instructional materials that answer requirements of discipline-based and feminist art education. Recent literature on the theoretical bases and curricular applications of DBAE,and feminist writings in art education and art history serve as conceptual sources for developing an integrative art historical model. This study applies this model to develop a variety of high school level instruction materials based on the lives of 19th century American neoclassical women sculptors. These materials contain biographies, sources of reproductions, and an analysis of these artists' particular positions as women, and as artists, in nineteenth century America. The last chapter provides information and suggestions for teachers on how to use the materials in a discipline based context. This kind of integrative approach can serve to broaden our understandings and experiences of the visual arts so that they are more truly representative of all humankind.

The subject of art in Arizona elementary schools is often taught by general classroom teachers with no art training. In an attempt to rectify this situation, The 1986 Arizona Institute for Elementary Art Education, following the example of the Getty Institute for Educators on the Visual Arts, created Staff Development and Curriculum Implementation Programs for these teachers. This study evaluates the Curriculum Implementation Program of Year One of the Arizona Institute. Data for the study were compiled from 10 classroom observations and 23 interviews of Institute participants by two evaluators. The components of discipline-based instruction taught during Summer Staff Development were implemented by all participants. Implementation was on at least a mechanical level of use, and the evaluators' results showed interrater agreement.

This thesis examines the significance of the study of art, specifically discipline-based art education, for behaviorally disordered public school students. A brief description of the distinctions between art education and art therapy is given and appropriate terms are defined. A discussion of the labels that constitute behavioral disorders and the general educational needs of that population is included. General benefits of art instruction for behaviorally disordered (BD) students are explored with the intention of demonstrating how a discipline-based art program can specifically enhance those benefits. A sample discipline-based drawing lesson adapted for behaviorally disordered students follows.

For my creative thesis project I authored an interactive tour of the Ball State Department of Art. Many underlying factors go into this project. My desire to learn multimedia design, the departments desire to develop a new information tool and having the necessary hardware and software to do such a project were all key to its sucess.In the summer of 1994 I came to Ball State to learn multimedia authoring while getting a master's degree in art. Unknown to me at that time, the department had set a goal of increasing visibility both within and beyond the Ball State community. Faculty members Professor Phil Repp and Professor Christine Paul were collaborating on a promotional identity campaign. From these collaborations grew the idea of a departmental publication to promote the mission and programs of the Department of Art. With the rapid advancement of technology, it seemed appropriate to use computers as part of this promotional campaign.As Professors Paul and Repp researched the possible ways in which computers could be incorporated into this project, many questions remained. Exactly what form should a project like this take and who could do it? Careful discussion and planning also followed over what physical form the project should take (i.e. video tape, a computer disk, or printed material). Eventually the decision was made that an interactive tour of the Department of Art on CD-ROM was the most appropriate solution. For the amount of information that needed to be included and to engage the end user in a dynamic, interactive way, this medium was also the most logical.My decision to return to school coincides perfectly with the departments needs. Professor Paul’s and Professor Repp’s collaboration led to the conclusion that a third person would be needed. Someone who was already literate in advanced computer graphics and had the desire for such an undertaking. Therefore, my goals of advancing my understanding of Macintosh based digital imagery learning multimedia are significant on two levels; my career as a teacher and a professional artist would realize significant gains and this project is an outstanding addition to my portfolio.For the past several years, the primary area of artistic study for me has been in the area of computer graphics and I came to Ball State last summer with some very specific goals. One of them being to learn Macromedia Director (the authoring package I used to create the project). Director is nationally recognized by professionals in this field as the top program for this type of work. Therefore, this was both an opportunity to reach personal goals and to create a thesis project that could be used as an important part of the Department of Arts identity campaign. My thesis project is the result of my own goals and the Department of Arts goals to utilize cutting edge technology for designing innovative computer programs.I’m sure at the onset of this project that I did not understand the full magnitude of an undertaking such as this. However, it is very rewarding to look back and see both how far I’ve come personally and how the piece has progressed into a dynamic information tool. / Department of Art

The problem of this study was to determine whether there was any relationship between selected personality variables and art production with structured and non-structured stimuli.

This study follows the progress of 11 elementary students who exhibited similar language-arts deficiencies and were treated with traditional and non-traditional language-arts remediation methods. Non-traditional methods were exclusively Discipline-Based Art Education (DBAE) lessons that required students to observe, talk about, and write about art images using a DBAE framework. Portfolios maintained by the students during one complete school year included writings and art production. Writings were marked using a color-coding system developed for the research project and designed to track growth in art cognition. Interviews for affective measure and the Test of Non-Verbal Intelligence, Edition II were administered as pre- and post-tests. Evidence indicated art understanding improved as cognition in language arts improved. Change in attitudes toward art and artists demonstrated a slight positive change. No significant difference was detected in non-verbal intelligence.

This narrative-based qualitative research investigated the distinct journeys of eight cross-cultural artists (four artists from South Korea and four artists from China). Utilizing a variety of theoretical frameworks surrounding cross-cultural research, this dissertation examined current discussions on cross-cultural challenges and their implications in the field of art education. Methods of data collection focused primarily on interviews and were examined through the lens of Bandura’s (1997) self-efficacy theory. Evaluating the lived experiences of artists illuminated nuances in cross-cultural environments, specifically, how socio-cultural transitions influenced their artwork and professional lives. The findings of this research correlate with previous literature surrounding current challenges in the lives of cross-cultural students. These challenges were discussed in the context of how art educators can best confront issues that emerge in the classroom. The analysis and discussion presented in this thesis seeks to provide insights into the experiences of cross-cultural artists, while highlighting the educational implications for both artists and educators.