abstract: The present study explored the use of augmented reality (AR) technology to support cognitive modeling in an art-based learning environment. The AR application used in this study made visible the thought processes and observational techniques of art experts for the learning benefit of novices through digital annotations, overlays, and side-by-side comparisons that when viewed on mobile device appear directly on works of art. Using a 2 x 3 factorial design, this study compared learner outcomes and motivation across technologies (audio-only, video, AR) and groupings (individuals, dyads) with 182 undergraduate and graduate students who were self-identified art novices. Learner outcomes were measured by post-activity spoken responses to a painting reproduction with the pre-activity response as a moderating variable. Motivation was measured by the sum score of a reduced version of the Instructional Materials Motivational Survey (IMMS), accounting for attention, relevance, confidence, and satisfaction, with total time spent in learning activity as the moderating variable. Information on participant demographics, technology usage, and art experience was also collected. Participants were randomly assigned to one of six conditions that differed by technology and grouping before completing a learning activity where they viewed four high-resolution, printed-to-scale painting reproductions in a gallery-like setting while listening to audio-recorded conversations of two experts discussing the actual paintings. All participants listened to expert conversations but the video and AR conditions received visual supports via mobile device. Though no main effects were found for technology or groupings, findings did include statistically significant higher learner outcomes in the elements of design subscale (characteristics most represented by the visual supports of the AR application) than the audio-only conditions. When participants saw digital representations of line, shape, and color directly on the paintings, they were more likely to identify those same features in the post-activity painting. Seeing what the experts see, in a situated environment, resulted in evidence that participants began to view paintings in a manner similar to the experts. This is evidence of the value of the temporal and spatial contiguity afforded by AR in cognitive modeling learning environments. / Dissertation/Thesis / Doctoral Dissertation Educational Technology 2016

abstract: ABSTRACT Art educators use a variety of teaching and demonstration methods to convey information to students. With the emergence of digital technology, the standard methods of demonstration are changing. Art demonstrations are now being recorded and shared via the internet through video sharing websites such as YouTube. Little research has been conducted on the effectiveness of video demonstration versus the standard teacher-centered demonstration. This study focused on two different demonstration methods for the same clay sculpture project, with two separate groups of students. The control group received regular teacher-centered demonstration for instruction. The experimental group received a series of YouTube videos for demonstration. Quantitative data include scores of clay sculptures using a four-point scale in three separate categories based on construction abilities. Qualitative data include responses to pre and post-questionnaires along with classroom observations. The data is analyzed to look at the difference, if any, between YouTube instruction and regular teacher-centered instruction on middle school students' ceramic construction abilities. Findings suggest that while the YouTube video method of demonstration appeared to have a slightly greater effect on student construction abilities. Although, both instruction methods proved to be beneficial. / Dissertation/Thesis / M.A. Art 2013

abstract: Through the disciplines of art education, anthropology and psychology the researcher examined research-based traits and characteristics of the creative process among a second year Title 1 urban high school art class. Within the theoretical framework of social justice, this micro-ethnographic study explored exactly what teaching and learning to be creative implies and proposes a potential resolution for art teachers learning how to enhance teaching children how to think creatively. The research proposition is that student creativity occurs as a function of a series of interrelated factors including a nurturing classroom context, strong teacher-student dialogue, strategic questioning, purposeful incorporation of visual culture, and manipulation of content in favor of student interests within the culturally situated context of the art classroom. Navigating teacher-student relationships at moments of creative origination produced results indicating that the art teacher alone is the single most influential factor for enhancing creative outcomes in a classroom. Through incorporation of a variety of collaborative activities and comparative analysis of dissimilar content-driven projects generated evidence that artistic skills and creativity do not necessarily go hand-in-hand. The study finds that the artworks produced evidence based nuances of the creative traits of originality, fluency, flexibility, and elaboration in which profoundly varied in character depending on the content and the context. The study concludes that creativity cannot be strictly taught or learned, but rather that it can be enhanced through teacher nurturing and manipulation of content to encompass a socially intelligent uptake in the culture of art-making. Broader implications are suggested focusing on the significance of creative education and the impact it can have for educational systems, schools and undergraduate programs in art education. The researcher proposes an art education curriculum model that fosters both creative thinking and the unique learning needs of Title 1 urban students. The curriculum suggests the art teacher begin initial instruction by teaching students about the traits, characteristics and obstructions of creativity prior to teaching artistic skills sets to serve as a foundation of creative awareness from the start. / Dissertation/Thesis / Ph.D. Curriculum and Instruction 2014

The diploma thesis called Visual arts education and artistic creation in Štětí describes the teaching and the conception of Visual arts in Štětí. The methods of qualitative research were implemented, namely the observations of the art teachers in practice, the interviews with the teachers and the statements of the pupils. All these methods were used in order to answer the research question. Another aim of the diploma thesis is to describe the educational and cultural institutions. In the practical part, the Visual arts project focusing on a particular space and situation is introduced. KEYWORDS Art education;arts; city of Štětí; educational intitutions; art education project

Many new institutions struggle with issues of identity and purpose, which can create instability and lack of growth. Mission statements are often used to clearly identify the characteristics that make an organization unique. This study was informed by theories of organizational management, art integration constructivism, and Bronfenbrenner's cultural ecology. The literature indicates that there is a strong connection between a clear and concise mission statement and the organization's behaviors. This study examined a small Southeast Michigan charter school devoted to integrating arts and academic curricula to determine how the stated mission was understood and implemented by its stakeholders. An applied, mixed methodology design was used to investigate the connection between the stated mission and the actions of the school's stakeholders. A 4-point, Likert type, quantitative survey was administered to 40 teachers, administrators, and board members and descriptive statistics were used to analyze the summative data. The analysis examined coded themes and found inconsistencies in the knowledge base of the school's stakeholders, primarily related to a lack of shared understandings of organizational statements and arts integration. The study recommendations include a guide for a staff introduction to ongoing pragmatic action research as a method to investigate and implement possible resolutions to the stated problem. The action research would help the school meet its stated goals of providing a coherent, arts-integrated learning experience for the school's students. The study and recommendations will lead to positive social change in that a coherent, arts-integrated education has been shown to provide an educationally and socially beneficial learning environment for the individuals involved in the program.

Adolescent students with psychiatric disorders who are educated in day treatment school classrooms manifest cognitive limitations, maladaptive behaviors, and social functioning deficits that often lead to academic failure, impeding their productivity when they become adults and causing them to run afoul of the criminal justice system. Informed by their students' interests and perspectives, day treatment schoolteachers can individualize existing curricular and behavioral interventions, or develop alternatives so that unwanted classroom behaviors decrease and academic performance improves. This qualitative case study used Roland Barthes' (1981, 1985) theory of semiotics as a conceptual framework for answering how an analysis of photographs taken by adolescent day treatment school students who have psychiatric disorders provide insight into the students' interests and perspectives. The photography of seven adolescent participants, who were placed in a day treatment school and involved in its photography elective, was found to have communicated their interests and perspectives. A semiotic analysis was conducted of the photographs they took, observation notes made at the time the photographs were taken, and questionnaires collecting their reflections on taking the photographs. Should school-wide photography programs be implemented in day treatment schools and in schools with similar student populations nationwide, those programs could generate more effective curricula informed by their students' interests and perspectives. This could lead to a larger percentage of their graduates becoming productive members of society, thus prompting positive social change.

There are no guidelines in South Carolina for developing workshops that reflect the needs of art educators, and there are no tools to evaluate and support their professional development. The problem is a lack of informative, substantive, and academically oriented art inservices that are standards-based and focused on the enhancement of pedagogy, teaching strategies, and content. The purpose of this case study was to explore participants' perceptions of an art professional development workshop as an approach to examining art standards, instructional strategies, and policy changes. Dewey's experiential theory served as the conceptual framework. A purposeful sample of 10 art educators who attended a district-sponsored professional development workshop participated in this study. After the workshop, data about educators' perceptions of the inservice were collected through a beta test and a focus group with 2 participants, 1 open-ended questionnaire with 8 participants, and a workshop observation with 20 participants. Data were analyzed using comparative analysis to identify patterns in the data. Member checking and triangulation were used to verify the data and control bias. Five themes emerged from the data: adult-centered hands-on learning, professional development experiences, grants, collaboration and networking, and best practices. This study contributes to social change by showing the importance of on-going adult-centered, research-based, hands-on professional development for educators addressing visual art standards, practice, instructional strategies, policy changes, and the facilitation of student-centered activities.

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This thesis will critically examine the importance, purpose, methods, and applications of art criticism. Initial background information on types of critical judgment will lay the foundation to understanding the different methods of art criticism. While the articles and journals read on criticism vary in style and method they all have the goal to become a basic framework for examining the form and content of works of art. My goal of this thesis will be to take researched methods of criticism and create my own methods of criticism to be used in the K-12 art education classroom. The body of my research will examine the following methods of criticism (1) Feldman Method, (2) Broudy Method, (3) Lankford Method, (4) Anderson Method, (5) Feminist Conversation Method, (6) Modernism, and (7) Postmodernism. My research will seek to understand the nature of and importance of art criticism and its educational applications for K-12 art classrooms. In conjunction with the examination of these methods and their corresponding stages, I will be able to synthesize three methods of criticism to be used in the classroom: formalist, expressivist, and instrumentalist.