My thesis is about the metaphor of erosion of mind and matter and reconstructing my own memory using influences of environment, athletics, atmosphere, and art. Drawing from these important sources conjures something unknown. Deterioration of surfaces in the desert parallels my faded memories. Erosion gradually decays matter and the mind; it decays material surfaces facing the environment of the desert and mentally deteriorates details of the past. The mind recorded the past to remember but certain memories and details have faded away in time, and from here I compensate by using imagination.

This diploma thesis deals with the issue of evaluation and classification of pupils in art education. The aim of the diploma thesis is to describe the form of evaluation and classification of art education at the second stage of primary school for selected teachers. Following the aim of the work, the following questions were asked: How do teachers evaluate pupils in art education? Does their evaluation subsequently correspond to the classification? According to art teachers, is classification necessary? What do teachers emphasize when evaluating a student's artistic performance? Within this work, qualitative research was performed. Selected research methods include observation of lessons of selected art teachers and subsequent interviews with them. Each of the teachers teaches art education and another subject at primary school. The main conclusions of the research include the finding that according to the respondents, evaluation is an activity that helps teachers in critical evaluation of student work, evaluation criteria and form of evaluation are not uniform among respondents and ideas about evaluation and classification often differ from the observed reality. Furthermore, respondents evaluate and classify in different ways. However, they clearly agreed on the importance of classification in art...

The evidence of cultural and social partiality within the methodology of art history has influenced the manner in which art is presented to the public. The formally structured and often obsolete methods of the earliest art historians continue to influence the telling of art history today, relying on and emphasizing art historical fact over the viewer's personal interaction and interpretation. The traditional structure of both the public art museum and art education course rely on the classical methodologies of the past, resulting in the presentation of the object as historically and socially removed from the viewer's own experience. The role of the art historian should cease to be one of translator, but rather one of facilitator to the artistic exchange. It is through this intentional dialog between artist, viewer and art object that authentic enlightenment occurs.

This study was concerned with the development and testing of an instrument to measure levels of aesthetic judgement making. The review of evaluation methods for aesthetic judgement resulted in a two-part instrument. The review of related literature demonstrated that the majority of instruments for aesthetic judgment employed a naive to sophisticated judgment comparison to determine levels of aesthetic sensitivity. The inadequacy of a score reporting only the degree of agreement between the subject's choice and the choice of a panel of experts without indicating the source agreement was discussed. Content analysis of aesthetic responses used in research studies by Wilson and Morris were presented as an alternative means for determining aesthetic criteria. Part one required the subject to select the better of two art works and to state the reasons for the choice. Part two, a self-scoring component, consisted of the Wilson categories presented as typical statements containing the primary criterion for the category. The subject was instructed to select the statements that were closest in meaning to his initial response.

This study investigated the relationship between visual cues in art reproductions, simple linguistic time vocabulary and children's temporal understandings. During interview sessions, 33 third-grade students attending two suburban schools were asked to place three art postcard reproductions sets in chronological order. Interviews were recorded, transcribed, and coded for analysis. Linguistic references used to represent historical time and visual cues within the art postcards which caused students to place art works in a particular time sequence were documented.

Most colleges and universities offer a general course in elementary art education to provide instruction to the elementary generalist to enable that student to later provide art instruction to students at the elementary level. This course is commonly referred to as the two-credit course in elementary art education throughout this thesis. This thesis is a case study investigation of a certified elementary art specialist and a non-art certified teacher teaching elementary art in the Subject School District in Utah. It asks and gathers data on three main questions. How is art education valuable for elementary students? What is a quality elementary art curriculum? How does an elementary art specialist change the learning experience of elementary art students? Under these three main questions the following questions are also considered: Where do teachers obtain their curricula? What research exists that describes differences between art specialists and non-art specialists teaching elementary art? What were the qualities within each art room? What types of art projects are being taught in these two different classrooms?Further, a survey was constructed to seek answers about the attitudes towards art education in the Subject School District in relation to the three questions under consideration. To ensure the maximum in statistical accuracy, the survey was sent to every elementary school in this district including all elementary administrators. The survey contained 49 statements on attitudes towards elementary art education. There were 129 elementary educators and administrators out of 2,300 from Subject School District that responded. The data from the survey was analyzed to determine where these attitudes lie and the thoughts on the importance of art education at the elementary level. The results of this survey show the typical elementary educator in Subject School District feel the arts are indeed an important part of the elementary curriculum. However, the majority do not feel fully prepared to teach a quality elementary art curriculum and feel elementary art should be taught by art specialists.

This a/r/tographic research study examines how explorations of identity and place influence a sense of self. An elementary art educator investigated the roles of artist, researcher and teacher by having students create artwork individually and as a class. These pieces reflected their understanding of place and how it contributed to a sense of self. Using the methodology of a/r/tography, this teacher separated her identities of artist, teacher and researcher, and explored the complications and implications of all three in relation to her place as an elementary art specialist and her identity in the classroom. Several important understandings were drawn from this research study, specifically the idea of using art making as a learning tool to uncover identities in relation to place in an elementary classroom, the complications of working with elementary students on a deeper level due to the amount of students and the schedule of an art specialist, and the difficulties of coping with the demands placed on an art specialist.

This research effort focused on developing a process model to include art in the individualized education programs (IEPs) of physically handicapped and health impaired students which followed guidelines prescribed by Public Law 94-142. A systems approach was utilized for the development of the model. The sequence of interrelated tasks involved stating needs, identifying the problem, assessing the resources, identifying the population sample, establishing definitions of disabilities, specifying objectives, defining methodologies, developing a programmatic plan, conducting the operational phase, evaluating and refining the model.

This study is about the development of a curriculum guide which projects flexibility, continuity, sequential framework, and to a certain extent, uniformity, around which each teacher may build an art program that will best meet the students' needs. Areas pertinent to developing the curriculum guide are presented in light of literature in this field. The guide may be used to facilitate the teaching of art in recognizing and understanding artistic development that is essential in bringing to fruition the inherent individual ability of all the Junior High Catholic School students.

The purpose of this research study was to investigate the attitudes and usages of assessment methods by elementary visual art teachers in two southeastern school districts. Data consisted of responses to a mailed survey instrument that included relevant demographic information pertaining to respondent's educational preparation experiences, tabulation of classroom activities, assessment usage, and a construct set of questions which addressed an attitudinal scale about the effectiveness of evaluation and measurement within their visual art classrooms. The primary focus of attitudinal orientation toward assessment centered upon the types of role models respondents encountered regarding assessment during initial teacher preparation and the resulting paradigm of belief concerning measurement art teachers experienced in varied educational settings. Results indicate that study respondents had a strong positive response to the construct attitudinal statements about accepting evaluation as a normative practice in their classrooms. The survey item "multiple choice tests are appropriate to use in visual art classrooms" had a strong relationship to the total reliability and had the greatest impact on the factor analysis. Further relationships were identified in the use of newly adopted textbook curricula to the acceptance of the statement "learning could be measured in visual art," suggesting that if art teachers embraced a textbook curriculum (developed through an outside, expert entity) they were more likely to accept the possibility that learning in elementary visual art classrooms was possible to be measured. The relationship between the statements regarding the acceptance of multiple choice tests as a valid method of assessment and the recentness of either graduation from teacher preparation coursework or specific in-service professional development about assessment also suggests that pedagogy at the university and district level after The No Child Left Behind Act of 2001 was more likely to include instruction or role models in the practical use of assessment techniques for respondents.