The purpose of this study was to determine if there was any difference between beginning high school art students at Calhoun High School, Port Lavaca, Texas, who had had a junior high art experience and those who had no such experience in regard to their art information, art attitudes, and ability to produce quality art work. The Eisner Art Information and Art Attitude Inventories and three art performance tasks were administered to the population. Those with junior high art experience scored significantly higher on the art information inventory and art performance tasks than those without. The data support the positive effect of a junior high art experience on beginning high school art students.

Growing concern for the popularity of art competitions that encourage participation of secondary school senior art students is reflected in debate by many Australian art educators. It appears that acceptance of the external goal of winning a prize may demonstrate that many students and teachers have not fully considered the adverse implications of extrinsic rewards on learning strategies relevant to artistic behavior. On the other hand the benefit of exhibitions of student art work appears to be overshadowed by the prevalence of art competitions. This study surveys attitudes and perceptions of art teachers and secondary senior art students towards art competitions supported by the school. Subjects include secondary senior art students and teachers from selected Brisbane Independent Schools. It appears that participation in art competitions is more frequent in these schools. Results may prove beneficial to art educators who are concerned with the issue of extrinsic rewards for artistic behavior.

Thesis (M. A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 150-152).

The Sustained Investigation is a student-directed body of work completed as a requirement of the AP Studio Art (APSA) course. This work involves three audiences: students themselves, their teachers, and AP readers who evaluate their portfolios. Students must consider not only the personal meaning and relevance of their work, but the extent to which that significance can or should be communicated to these outside viewers. Teachers are faced with a related challenge: to guide students through work that is essentially self-defined. The purpose of this research was to document teacher, student, and reader descriptions of the pursuit of worthwhile ideas as they relate to the perceived goals and purposes of the Sustained Investigation. This research was undertaken as a collective case study involving interviews of APSA teachers and students across four school sites, as well as a selection of readers. Findings indicate that the term idea might describe a range of approaches to organizing a body of work, including themes, concepts, political stances, feelings, and other sources or motivations. Furthermore, this work often reflects multiple concurrent ideas, involving primary and secondary goals for one’s work. The development of ideas was often linked to a nonlinearity of practice; ideas were clarified through the process of making rather than beforehand. Respondents indicated that ideas should be meaningful to the creator, largely relating meaning to personal relevance. Meaning might be pursued by selecting topics of personal significance, developing individual creative processes, or reflecting on this experience as an opportunity to fully embody the role of artist. Meaningful ideas were differentiated from successful ones. Notions of success were defined in terms of the degree of internally and externally imposed challenge involved in this endeavor. Participants agreed that students should be considered the primary audience for their own work. For some students, awareness of readers motivated them to take on challenging work, but this awareness did not influence their choice of central ideas. The findings of this study, particularly the nuance in distinctions between idea, meaningful idea, and successful idea, may be useful in informing pedagogical and creative practice in the AP program and beyond.

Thesis (Ed. D.)--Illinois State University, 1978. / Title from title page screen, viewed Jan. 18, 2005. Dissertation Committee: Max Rennels (chair), Marilyn Newby, Robert Stefl, Jack Hobbs, Robert Goodall, Eugene Irving. Includes bibliographical references (leaves 63-65) and abstract. Also available in print.

The problem of this study is to determine the degree to which color concepts should be taught to the art student. There is a survey of the awareness of color through art history, the introduction of certain historical and recent information in the fields of physics, physiology, and psychology in relation to color and the art student, a review of the symbolic nature of color, an examination of the development of color notation or theories utilized by art students, and an attempt to integrate color more fully with the other art elements.

Writing has a peculiar place within higher art education. Students in all three cycles are required to produce written thesis work alongside their artistic work in order to receive a diploma. However, there is no established style or methodological approach to the written thesis work and the information practices of art students are not well researched.  This thesis attempts to discover and explain the information practices of art students by studying master’s theses from two Swedish universities using a mixed method. A quantitative study provides data on the types and subject of the references of interest to art students. While a qualitative study of a smaller number of theses is conducted in order to better understand the reference practices in the context of the art field. Results are analysed using a theoretical framework composed of Richard Whitley’s theories on the social and intellectual organization of the scientific fields and Björn Hammarfelt’s writing on reference practices within the humanities.  Findings confirm the previously documented importance of non-art material and print books, but also highlight the importance of various digital sources to students. It was also discovered that art students are unlikely to strictly follow established references styles in their theses. Instead, reference practices are highly individualized and related to variables such as degree of specialization within the individual program and the stylistic construction theses.

The uses of computer technology in the fields of art and graphic design in Thailand were investigated for the purpose of identifying levels of current computer use from 280 responses to a specifically designed questionnaire among: 1) full-time graphic design educators, 2) art and design students, and 3) graphic design directors in professional business positions. The study instrument consisted of a questionnaire developed by the researcher, reviewed by a panel of seven experts selected by the Department of Creative Arts, Chula-longkorn University. The panel verified content-related evidence to ensure the validity of the instrument. Appropriate statistical procedures were implemented to develop responses to questions of interest. Analysis of the data showed that a majority of educators, students, and design professionals supported the use of computer in their professions and/or coursework, and that majorities of the same groups made regular use of computers. Subject to differences in rank ordering of computer usage among population groups, majorities from each group agreed that publications and graphics constituted the area of greatest use. A majority of the population agreed that computers helped to improve efficiency within the studio environment, and there were only slight differences among the three groups in generalized support of the use of computers within art and design curricula. All groups agreed that educational emphasis should be placed at the level of the baccalaureate degree, subject to the possible integration of computer training at all educational levels. Students reflected the highest percentage of use frequency, followed in order by professionals and educators. Each group reflected its own specific concerns in perceptions of major barriers to the use of computers in graphic design fields: Educators noted the lack of budgetary resources to install and maintain computers; students noted the lack of computer availability for hands-on experience; and design professionals perceived a lack of opportunity to attend training courses. Overall, the results of this study indicated that significant differences existed between groups representing academic fields (i.e., educators and students) and graphic design professionals for all criteria measured. / Graduation date: 1994

Thesis (Ph.D.)--Mississippi State University. Department of Leadership and Foundations. / Title from title screen. Includes bibliographical references.

The purpose of this study was to examine and evaluate the perceptions of high school art teachers, parents of high school students and high school students themselves relative to the merits of goals of a district program for high school art education and to determine whether the three populations share a common perception of these goals. The reveiew of the literature indicated a lack of substantive art programs in the curriculum from kindergarten through grade 12. The emphasis on art productino goals was cited as a major reason art is given such low status in our nation's schools. Many authors believe that if art is to be valued as fundamental to a child's educational development, the emphasis on art production must be broadened to include art hsitory, critique and aesthetics. Because an official school curriculum is often established to reflect societal values, information on art teachers', parents' and students' perceptions of the merits of the goals of high school art programs is important. Such information can be used to plan a local strategy for generating support for and effecting a change in art curriculum. Twenty-two certified high school art teachers, 200 randomly selected parents and a representative sample of 240 high school students were asked to review a list of 20 goals for a high school art education program and to rate them on a seven point Likert scale. for the three groups included The survey instruments five art activities pertaining to each of the four major goal areas of the discipline-based art curriculum, namely art production, art history, critique and aesthetics. Seventy percent of the participants responded to the questionnaires. The objectives of this study were (1) to determine the variability of perception between and within each group, (2) to find whether the three groups possess common perceptions of the merits of alternative goals, (3) to ascertain whether art teachers with more than five years experience share a common perception with teachers with less than five years experience, (4) to determine whether students who have received secondary level art instruction differ in their perceptions from students who have not received instruction, and (5) to compare the ratings of production oriented goals with the other discipline-based art education goals. Major findings of the study were as follows: (1) The plot fo the mean ratings of the merit of the goals for teachers shows wider variability than either parents or students. (2) Students provided a lower mean rating than either the teacher or parent groups. (3) Lack of data. (4) Students and parents with more exposure to secondary art education tended to rate the goals lower than their counterparts with no art background. (5) In the One-Sample Runs test, the art production goals did not appear more predominant at one end of the list of rankings. Teachers, parents and students rated aesthetics and criticism moderately high. In conclusion, the findings indicate that teachers, parents and students do value critique and aesthetic goals in the high school art education curriculum. Continued in-depth research and study with wider populations will be beneficial if we are to meet the challenge to continue to broaden high school art curriculum goals.