This thesis deals with the artistic expression of handicapped children. The first part is devoted to the theoretical background of the topic. Provides basic information about children's artistic expression. It deals with the use of creative expression for educational and therapeutic purposes. Describes some of the current knowledge about artistic expression of children with disabilities. A substantial part is devoted to research in the field of artistic expression of children with disabilities. The survey has a qualitative character and features of action research. It focuses on a specific group of children of primary school age. It seeks to describe and identify any specifics in their artistic process and outcome. Findings of fact submitted by the stories of children that reflects their individual expression (not only artistic). The work also showcases the contemporary art form of special education in the chosen institution. Based on interviews with teachers and personal experience with art education for children with disabilities writer looking for a suitable pedagogical approach. He is also the curricular document analysis and tries to formulate recommendations to improve the current practice of art education for children with disabilities. .

This paper explores possible applications of the experiential knowledge of motherhood in the field of art education through self-portraiture, a methodology which blends a/r/tography with elements of portraiture. A review of relevant literature situates the study within the scope of mothering pedagogy and arts-based research. Employing artistic practice and anecdotal journaling as the primary methods of inquiry, the researcher examines her experiences as a mother in a preservice art education program and the intersections of her roles as mother/artist/teacher. The researcher identifies resonant metaphors, including labor, separation, the umbilical cord, circles, the ovum, and pretending; offers parallels between mothering and art education in play, scaffolding, relationality, matrescence, changing plans, and paradigms; presents challenges such as time constraints, breastfeeding/pumping breast milk, and sleep deprivation; and provides an artist statement. The study attempts to address issues of misrepresentation and underrepresentation of mothers in art education by promoting understanding through empathetic participation.

Thesis advisor: Jon M. Wargo / Recent critical literature on science and art education highlights a shift from engagement with disciplinary canons toward expansive, equity-oriented disciplinarity. Efforts to integrate the science and art disciplines, especially under the acronym STEAM (Science, Technology, Engineering, Art and Math), have not sufficiently engaged with such within-discipline critique. Left unchallenged, proposals for disciplinary integration cannot meet the transformative potential to which they aspire. Therefore, this 3-paper dissertation adopts an anti-colonial lens to explore conceptualizations of art and science inter- and transdisciplinarity as a collection of interconnected stories of disciplinary reimaginings. Drawing from multiple theories and methods, this dissertation aims to demonstrate the possibilities of transdisciplinarity conceptually, methodologically, practically, and personally. The first paper critically examines current discourse trends that mention transdisciplinarity efforts in K-12 schools, specifically in curricular activity that seeks to expand science learning through the arts. It offers a critique against flattened ways of being and knowing present in schooling and aims to put forward considerations for critical and creative transdisciplinary curriculum development. The second paper presents a vertical case study that investigates how the purposes of art and science transdisciplinarity are defined by multi-level actors: from the macro national and city policy level to that at the microlevel of an art and science museum. Using critical discourse analysis alongside Bakhtin’s concepts of centrifugal and centripetal forces, this study identifies how the purpose of transdisciplinary learning is reproduced and reimagined through discourse at multiple scales. Tensions arose in the pull of how transdisciplinarity was conceptualized, particularly between board members and staff who felt different responsibilities for aligning with national discourse. Finally, the third paper is an autoethnographic study weaving together personal narrative, theory in the arts and cultural studies, and student work from one summer art and science program. Grappling with the art/science disciplinary dichotomy, this last paper troubles framings of the human-nature divide through material inquiry into place. In the discourse of critique and iterative making, the class community follows one student’s movement in a relational encounter with an ant as a disruption of enduring dualisms that signify Cartesian logic. / Thesis (PhD) — Boston College, 2022. / Submitted to: Boston College. Lynch School of Education. / Discipline: Teacher Education, Special Education, Curriculum and Instruction.

Vår kunskapsöversikt fokuserar på att besvara frågan: hur kan lärare arbeta med färglärai bildundervisningen, för att öka elevers kunskap om färglära? Kunskapsöversikteninnefattar också att beskriva definitionen av färglära och hur färglära är relevant ibildundervisningen. Syftet med vår kunskapsöversikt är att presentera olikaundervisningsmodeller som innefattar färglära och vidare diskutera omundervisningsmodellerna fungerar för bildundervisningen, eller inte. För att finnarelevanta undervisningsmodeller för vår frågeställning, använder vi oss avlitteraturöversikt som metod. I sökandet efter relevanta undervisningsmodeller, märktevi att det fanns en brist på forskning kring framtagna modeller för färglära ibildundervisningen. Resultatet blev därför att vi fann några undervisningsmodeller somfungerar för vår frågeställning och några fungerar till viss del. Ett parundervisningsmodeller fungerar inte alls, men dessa undervisningsmodeller visar dockpotential för ett vidare arbete i färgundervisning och är därför med i vårkunskapsöversikt.

Brief mentions by three writers on synthetic painting media first intrigued my interest in a' new technique of making transparent acrylic paintings on glass or plexiglas supports, some of which were said to I I simulate stained-glass windows. In writing this paper on acrylic polymer transparencies my problem was three-told: first. to determine whether any major recognized works of art have been produced by this, method; second, to experiment with the technique and materials in order to explore their possibilities for my own work; and third, to determine whether both materials and methods would be suitable for use in a classroom. Pursuant to these objectives I reviewed art journals of the past decade to determine whether any major works in acrylic polymer transparencies have received national recognition. At the same time I consulted every available book on acrylic painting methods, to obtain all possible information as to how to proceed. Following this, I experimented, over a period of approximately eight months, with a great many materials and methods. During the course of this experimentation, I produced a number of transparencies, using. various colorants, media, supports and dikes, also exploring many methods of applying these materials to obtain a variety of effects. As a result of my research and experimentation, I have reached the following conclusions: First: So far as can be determined, no major works in acrylic polymer transparencies using these specific methods have yet received national recognition. However, a great many works in closely related art forms are being produced, and are receiving recognition. Second: After several months of experimentation, I agree with Jensen, Woody and Chavatel that this medium has great possibilities, and that when these possibilities are realized in the future, by artists of skill and imagination, major works of great beauty may well be created. Third: It is believed that acrylic polymer transparencies would I be a most suitable project for use in many classrooms. The materials are non-toxic and perfectly safe and easy to use; both the emulsion and the colors are water-soluble, making for ease of cleanup; both materials and technique are new, and therefore challenging to young people; .and finally, the beauty of the jewel-like colors when viewed by transmitted light furnish a great incentive to the student to create in this medium.

This thesis proposes to develop a one-year sculpture program for high school art students. The intention is to present a reference and guide for those teachers interested in establishing their own sculpture program. Justifications for the course are discussed, including the importance of experiencing three-dimensional forms for any student interested in the visual experiences of life - be it nature or the man-made environment. The general approach to teaching sculpturing is presented along with a sequence of projects designed to provide the student with a variety of experiences with sculpturing as an art form and means of personal expression. Also included is a description of desirable classroom characteristics, materials and tools. The conclusion contains my personal views on the value of offering sculpturing at the high school level and the benefits to student, school and community. I also recommend a means of selecting students for the class and reasons for such selection. Here also, as a result of three year's of teaching at the high school level, I feel that it is necessary to make comment about the importance of the high school art teacher's commitment to their subject matter.

The goal of this thesis was to present a teaching method which would demonstrate increased visual awareness in general education college students. The particular approach presented for that purpose was also designed to be of potential benefit to students' total educational experience. To that end sane conditions and specific research were introduced as necessary considerations for the teaching approach and for the role of art education as it pertains to the thesis goal.

This thesis describes a process of teaching figure drawing to adolescents which places importance on the subjective experiences of the students. Traditional figure drawing methods emphasizing the development of visual perceptual skills are integrated with activities which are designed to secure emotional participation, and develop awareness of art as a means of expression and communication. This approach seems to motivate students and to reduce the anxiety usually experienced by adolescents when they are drawing the figure.

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