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.

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.

Certain disjunctions exist between the structure, courses, and practices of current textile curricula on the one hand, and the demands of students for entry into diverse creative professions and the demands of the creative industry for qualified new talents on the other. Thus, this research will explore the history, current issues, and emerging trends of academia and the creative professions as these shape the qualifications, aspirations, and expectations of students, academia, and the textile-related fields. The ultimate goal of this study is to comprehend the contemporary issues—social, economic, and cultural shifts—that may impact textile education within art and design colleges, and propose an efficient and engaging BFA (Bachelor of Fine Arts) textile curriculum suitable for the era of interdisciplinary education and the fourth industrial revolution. Since scholarly study of the effectiveness of art school curriculum is limited and little research has examined the challenges of BFA education, and in particular BFA textile education in the context of 21st century college education, the researcher begins with a survey of existing literature from adjacent fields, including higher education, sociology, business, marketing, apparel, and art education, in particular, adolescent artistic development. The existing literature also includes statistics from government, consulting firms, colleges ranking sites, and annual reports published by each school. This qualitative case study examines how stakeholders in BFA textile education—students, faculty, and professionals—from five selected art colleges in the U.S. perceive their educational experiences and post-college careers. The data were collected through 1) a review of existing literature pertaining to perspectives of general college education, creative industry, and current student generation, and 2) qualitative data gathered through initial surveys and verbal interviews, including two pilot studies. Stakeholder perspectives obtained through interviews are interpreted through the following theoretical frameworks: 1) the business perspective aiming at the success of all stakeholders; 2) the marketing perspective aiming at improving stakeholder satisfaction as a means of enhancing the operational efficiency of organizations; and 3) the educational perspective aiming to create effective teaching and engaging learning environments for the success of today's young creative talents. The researcher contends that the findings strongly suggest curricular and pedagogy change in accordance with societal changes and demands of the stakeholders—current student generation, creative industry, and academia—while at the same time informing the significant value of college education, BFA education, and textile education in the 21st century.