No description available.

This study investigated educators' perceptions of an instructional supervision system for implementing discipline-based art education (DBAE). The purpose was to determine whether teachers, principals, and supervisors who are in a position to use the system perceive its components as clear and useful. The survey research design on which this study was based was carried out at the 1985 Getty Summer Institute for Educators on the Visual Arts. The sample for the design included 47 educators defined by their institutional role and their knowledge of DBAE: Returning Principals, Elementary Classroom Teachers, Art Educators, Art Supervisors, and New Principals. The respondents rated 25 DBAE teaching behaviors on a Supervision Scale from 1 (No Help) to 5 (Very Helpful), and an Art Content Scale from 1 (Unclear) to 5 (Clear). Written comments were compiled and qualitative comparisons were made within and between groups. A Principal Components Factor Analysis was used to determine the underlying factors within the Supervision System. Analyses of variance techniques were used to determine whether there were statistically significant differences among the four educator groups for each of the teaching behaviors. Pearson product moment correlation was used to determine relationships between total ratings and the respondents' years teaching, years in educational administration, and years as art educator. The results of this study indicate that: (1) the teaching behaviors in the Supervision System measure three distinct constructs of DBAE instruction: Content, Curriculum, and Context; (2) the System was perceived as clear and useful by each of the educator groups included in this study; (3) the items were rated higher as their years in educational administration increased; and (4) the Content and Curriculum items were rated lower as years in art education increased, while the context items were rated higher. The DBAE approach to teaching art is in its development stages. The constructs included in the Supervision System should be reevaluated as DBAE evolves.

In 1982, the Getty Center for Education in the Arts, an operating entity of a private foundation, began to promote discipline-based art education (DBAE), a newly-articulated paradigm that had evolved within the art education field over the previous twenty years. The new paradigm, which advocated balanced and sequential instruction in aesthetics, criticism, art history, and studio production across the grades, contrasted sharply with traditional practice that focused on the student's innate creativity and expressiveness. A controversy ensued as the Getty Center and the National Art Education Association, the field's professional affiliation, each tried to advance a definition of art education practice. Rather than focusing on the contentious paradigms, this dissertation considers the Getty Center's activities on behalf of DBAE as an instance of professional challenge. Working from the sociological literature on professions and using a time series of selected Getty and NAEA documents published between 1985 and 1989, this study examines the dialectic between the Getty and the art education field and NAEA as each tries to garner sufficient legitimacy to establish its prescribed form of art education practice. The dissertation offers a new perspective for the art education field and refines professionalization literature by describing the process of professional challenge.

No description available.

This thesis will promote an understanding of discipline-based art education in conjunction with some methods of Navajo culture for the purpose of teaching the visual arts. How the Navajo child responds to natural objects, and to those objects of the Southwest he or she identifies as works of art, is shaped by the culture of the Navajo child. The methods that the Native American teacher has already attained of the Navajo culture would exercise discipline-based art education and could provide a much-needed vehicle by which to converge the theoretical bases of the profession.

The development of Discipline-based Art Education (DBAE) has focused attention on curricular structure, especially as it relates to the concept of students' creative expression. Creative self-expression, the focus of many school art programs, is to encourage students' art production. Discipline-based art education in contrast strives to develop students' artistic expression. Achievement of artistic expression requires conceptually focused instruction of art content from four art disciplines, art history, art criticism, studio production, and aesthetics. A discipline-based lesson can be examined for the way artistic expression is fostered as a part of production. Specific examples drawn from one lesson are used to illustrate that artistic expression can be recognizable, sensitive to instruction, and subject to evaluation.

This thesis examines the role that technology may have in art education. It is a case study that describes how the art educators in one Arizona school district are currently using technology and the plans they have to use technology in their classrooms in the future. On site interviews and limited classroom observations were used to collect information. Art educators cooperating in the study were asked a wide range of unstructured questions to gather their views and impressions. Transcripts are included. The case study suggests that there is a high level of support for the introduction of technology into the art classrooms in this school district. However, at this time it seems that the technologies under consideration are limited to the microcomputer and the CD-disk. In addition, in this school district there seemed to be no technical support system available to assist the art educators in their attempts to integrate technology into the art classroom. Their future success might be limited by the lack of support available from outside sources.

The purpose of this study is to qualitatively explore the art therapist's perspective of working with victims of disaster and implications of art therapy after a disaster experience. Empirical research in disaster relief is limited, likely due to the unpredictable nature of disasters and the unique circumstances of each disaster event. Victims of disaster are at risk for developing symptoms related to acute stress disorder and post traumatic stress disorder related to their disaster experience. Art therapists have worked alongside other mental health providers to assist and treat victims of disaster within the immediate and delayed response to a disaster. Literature on art therapy with victims of disaster is heavily weighted on art therapy with children after a disaster, with few studies including adolescents or adults. This study used a qualitative clinical-ethnographic grounded theory approach to understand what art therapists do and how they work with victims of disaster that aids in healing from these traumatic events. The findings of this study suggest the participating art therapists valued openness and flexibility in their work, varying their approach based upon the timing of their response (immediate or delayed), consideration for the environment in which they worked, they took on a variety of roles in the disaster response community, and emphasized the practices of self-care as beneficial for their own well-being and for increased quality of care for their clients. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2015. / October 29, 2015. / art therapy, clinical-ethnography, disaster relief, qualitative, trauma, victims of disaster / Includes bibliographical references. / David E. Gussak, Professor Directing Dissertation; Steven I. Pfeiffer, University Representative; Marcia L. Rosal, Committee Member; Jeffrey L. Broome, Committee Member.

This arts-based dissertation explored an art teacher and her students’ interactions and movements through a high school art class using visual maps. Art as research by way of visual mapping methods emerged as a tool teachers can use to reflect and analyze their unique teaching and classroom contexts. Using the conceptual idea the art room assemblage is like an Australian mud map, the art room becomes an ephemeral relational space formed by the in-betweens of the teacher and students and the art room with mappable felt and seen forces: the nuanced coordinates of new materialism, affect theory, and immanence. Visual cartographic content generated around teacher/student conversation and artmaking constructed all aspects of this research project, tuning into . Visual cartography mapped content from informal interviews, observation/video, teacher and students’ artwork, and the researcher/artist journal/sketchbook. Further, the project draws on situational analysis, which provided a way to see various relationships in context. Serving as a mode of analytic thinking, visual mapping takes the focus away from a single subject and places emphasis on the art room assemblage as a whole. Encouraging the reader/viewer to consider the varied social situations within an art room assemblage, this research invites looking at the art room in a different way to move our thoughts in new directions. The implications from this research advocate for the artist teacher to research their own context with the very skills and knowledge they are teaching, herein directing in-service and pre-service art educator professional development towards art-based practitioner research. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / February 19, 2018. / art education, artist-teacher, arts-based research, assemblage, mud map / Includes bibliographical references. / Sara Scott Shields, Professor Co-Directing Dissertation; Rachel Fendler, Professor Co-Directing Dissertation; Terri Lindbloom, University Representative; Jeffery Broome, Committee Member; Ann Rowson Love, Committee Member.

This study forms a meta-narrative exploring the educational experiences of Black and Brown elementary students in public schools. The goal is to decenter and dismisses racism and mis-education frequently found in majoritarian stories using methods similar to Faith Ringgold's art and artistic processes. Together students and teacher crafted a telling of Black and Brown elementary school students' stories. Storytelling is both my research content and approach. The goal is to create a positive narrative about Black and Brown students' culture in public school settings. Informed by Paulo Freire's (1993) Critical Pedagogy, Critical Theory and Critical Art a category I have defined as a composition of visual elements that are composed to engage and/or provoke the viewer to examine, critique, or question her reality, we offer a critical perspective on social issues, provokes thought, conversation, and action on a personal, communal, or global level to help in gaining freedom, justice, or equality. Race, gender, poverty, identity and education are common and important considerations in this category. The resulting written and visual meta-narrative presents a new perspective, giving way to a deepened understanding of the educational experiences of African American children public K-8 school (Barone & Eisner, 2012). / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2018. / November 14, 2018. / Art Education Theory and Practice, Arts Based Education Research, Critical Art, Critical Pedagogy / Includes bibliographical references. / Sara Scott Shields, Professor Directing Dissertation; Jerrlyn McGregory, University Representative; Jeff Broome, Committee Member; Antonio Cuyler, Committee Member.