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The purpose of this study was to determine whether kindergarten children possess the ability to recognize, match, and discuss lines and line qualities. Using graphics and art reproductions, three matching tasks were constructed which examined young children's awareness of the line qualities of length, width, straightness, direction, movement, and uniformity. Graphics and art reproductions were also used to construct two tracing tasks employed to examine young children's awareness of actual and implied lines. The tasks were administered to 69 kindergarten students from four elementary schools in a public school district in the north central Texas area.

Since its opening in 1931, the Vancouver International Airport has been a site where significant representations of the city, its geography and its population have been made. Instead of being utilitarian structures the airport terminals have been purposefully designed and decorated with art chosen specifically to communicate Vancouver's distinct qualities and culture to travelers. As culture is never static and changes continuously, the representations have also shifted over time. By considering the specific history of Vancouver's airport in conjunction with the wider history of Canadian and international airport development, patterns (such as the continuous use of symbols from native cultures to represent aspects of the colonizer's culture) and tensions (such as Vancouver's relative position as a major Canadian urban centre and the growth of visible immigrant populations) which accompany the representation of locality at the airport become apparent. Henri Lefevbre's understanding of space as an active social product, David Harvey's assessment of the impact of globalization upon the local and Siegfried Kracauer's interpretation of architecture as illustrative of broad social trends underpin my analysis. The adoption,of an historical and theoretical framework within this thesis is directed at developing an interpretation of the current art program at the Vancouver International Airport which can move beyond the point where debate regarding "authenticity" and the agency of the native artists or their communities constricts the discussion. Through an examination of airport design, both theoretical and actual, the genesis of and reactions to art programs executed at the airport since the 1960s, as well as aspects of the city's social history, I illustrate that the current art program is representative of more than a superficial thematic strategy. Instead, it points to a complex and ongoing struggle to define and represent Vancouver both to its residents and the rest of the world.

This dissertation explores the process of reproduction of works of art in the province of Quebec. Reproduction is studied historically, considering its significance as a cultural industry and its characteristics as a mode of communication. The dissertation first engages the theoretical discourse surrounding the novelty of technologies of reproduction of art works at the turn of the century and further pursues an exploration of reproduction within the framework of postmodernity. The phenomenon is studied with special attention to the movement of art works into private spaces. / In considering the history of reproduction with regard to works of art in Quebec, four distinct periods have been established: 1936-1950, the novelty of techniques of reproduction; 1950-1970, the era of education; 1970-1980, the discovery of national identity through reproductions of Quebec artists; and 1980-1989: the consolidation of a new market; 1989-1990: the economical boom of the market and the structures get organized. / The portrayal of this new cultural industry is traced and its different characteristics considered. Selection of works, styles, marketability and motives for purchase are presented problematically. Thus, in the last chapter, a theory for art reproductions as a silent mode of communication in the private space is explored.

Thesis (doctoral)--Magadh University, 1981. / Text in English, appendices in Sanskrit. Includes bibliographical references (p. 332-356).

Art history serves as a record of civilization's cultural heritage. Yet there is a paucity of art history or appreciation materials for the elementary level child that are historically ordered. The problem with which this study is concerned is the development of a prototype of a slide-tape series on art history for instruction of upper elementary students. The purpose of this investigation is to produce a slide-tape set that is designed to use advance organizers, direct attention, proceed with moderate speed, elicit responses, and give feedback. The series also guides the student in analyzing art with a historical approach. More over, the media stress key ideas on the culture and examine the relationship between the culture and the art produced.

The development of this thesis is akin to that of a painting. It is subject to various influences that have evoked ideas and each idea has stimulated other ideas, thus the continuity could have gone beyond the bounds of this work. It is not so much an amalgamation of similar ideas but a development of diverse ideas which have, once composed, a common factor - the Multiple Image. Image refers to some paintings that have been made or part of them, a photograph, a film, a subject visualized in the mind or a complex reforms which is suggestive. Multiple refers to anything that relatively repeats itself, has facsimilies of itself, triptychs, polyptychs or is a conglomeration of ideas in a work of art. Intro., p. 1.

Since its opening in 1931, the Vancouver International Airport has been a site where significant representations of the city, its geography and its population have been made. Instead of being utilitarian structures the airport terminals have been purposefully designed and decorated with art chosen specifically to communicate Vancouver's distinct qualities and culture to travelers. As culture is never static and changes continuously, the representations have also shifted over time. By considering the specific history of Vancouver's airport in conjunction with the wider history of Canadian and international airport development, patterns (such as the continuous use of symbols from native cultures to represent aspects of the colonizer's culture) and tensions (such as Vancouver's relative position as a major Canadian urban centre and the growth of visible immigrant populations) which accompany the representation of locality at the airport become apparent. Henri Lefevbre's understanding of space as an active social product, David Harvey's assessment of the impact of globalization upon the local and Siegfried Kracauer's interpretation of architecture as illustrative of broad social trends underpin my analysis. The adoption,of an historical and theoretical framework within this thesis is directed at developing an interpretation of the current art program at the Vancouver International Airport which can move beyond the point where debate regarding "authenticity" and the agency of the native artists or their communities constricts the discussion. Through an examination of airport design, both theoretical and actual, the genesis of and reactions to art programs executed at the airport since the 1960s, as well as aspects of the city's social history, I illustrate that the current art program is representative of more than a superficial thematic strategy. Instead, it points to a complex and ongoing struggle to define and represent Vancouver both to its residents and the rest of the world. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Each day countless numbers of high school students remain standing at the threshold of the door to meaningful learning in art history because of traditional authoritative instructional methods and content. With the keys of feminist pedagogy, interactive teaching methods, and the new art histories, the teacher can now unlock that door and lead students to personally relevant learning on the other side. A case study using both qualitative and quantitative research methods was conducted in a secondary art history classroom to examine the teacher's pedagogical choices and the degree to which they enable meaningful and relevant student learning. The analysis of multiple sources of data, including classroom observations, revealed statistically significant correlations between the teacher's instructional methods and the content, as well as their impact on student meaning-making.

The purpose of this action research study was to determine how a critical theory curriculum implemented in a college-level art appreciation course impacted student understanding of an encyclopedic art museum. A critical theory-based curriculum unit was designed and implemented, and students were given assignments to assess their learning. The most significant assignment centered on a self-guided student visit to the art museum in which students made detailed observations of the museum spaces and responded to articles critiquing museum practices. These documents, together with class discussions and my personal observations, were analyzed and described in this research study. The data revealed that students had a high level of regard for and interest in art museums, were capable of understanding how history and context influences museum practices, detected multiple instances of bias in art museum galleries, and self-reported high levels of cognition and empowerment based on their experiences. The data suggested that, in college students, both art appreciation instructors and museum educators have an ideal audience in which to facilitate sustained, higher-level, critical theory-based museum learning experiences.