This creative project was to develop a curriculum art Package for special education students in the seventh grade, enabling them to work independently within an art class for normal seventh grade students.The package was developed in such a way that special education students would learn skills that would help them in their everyday environment, as well as giving them a pleasing end product that would encourage a feeling of self-worth.Observations were made in training centers for the handicapped in New York City to obtain information on developing the package. From these observations certain needs became apparent: learning to cope with the environment; art skills should be relevant to their environment; repetition was essential in a learning situation; students needed to experience a feeling of self-worth; and emphasis should be Placed on teaching special education students to be more independent.

Students are regularly involved in art making as a part of the general school curriculum. This study investigated and documented sixth grade students' art making in terms of thinking and the construction of knowledge. Following qualitative research procedures the study took place in two sixth grade classrooms. Four questions directed the investigation. These included inquiries into the subjects' art making knowledge base, how knowledge is used in the practice of classroom art making, ways in which art making exhibits cognitive and reflective thinking, and finally how student production is affected by interactions with other members of the environment. Data was collected through observation and informal interview. Data collection activities focused on three student subgroups, identified by peers as having an interest, disinterest or a neutral attitude toward classroom art making.Analysis of data revealed three broad patterns of behavior relative to student art making. Reflecting the research questions these behaviors considered ways art making knowledge is constructed by students, how art making knowledge is used for the process of art production problem solving, and the impact of other members of the environment on the art making.These data indicate that subjects are especially able to construct and use art making knowledge in terms of technique and procedure. Knowledge exhibited through the use of analytical and critical language was observed less frequently, and with less skill. Subjects' processed art making as cognitive and reflective thinking, rather than as spontaneous activity. Students identified asart interested especially pursued their production activities, making choices and decisions relative to their act of making and their constructed object. Junctures of the art making activity specifically considered the envisioning of the problem, choosing appropriate production actions and the determination of a work's completion. Interaction between members of the setting was also prevalent during class observations. Teacher input resulted in the highest level of impact relative to student art making. The focus of student interactions was primarily social and thus had limited influence on the art making practices of their peers. / Department of Art

The purpose of this study was to develop a valid and reliable measure of ability to render pictorial depth. The instrument, which was named the Pictorial Depth Rendering Test, is hereafter referred to as the PDRT.The instrument is a drawing completion test containing twenty-one pictures. Each picture is a simplified line drawing of one or more familiar objects located in pictorial space through the use of monocular depth cues. Written instructions that appear with each of the drawings ask for additional visual information to be added to the pictures. The twenty-one pictures contain a total of thirty-six scoring items providing a total possible score of thirty-six. A written set of scoring instructions was also developed for the instrument.In a pilot study the test was administered to a convenience sample of sixty subjects with an age range of seven through twenty-five. The sample was divided into six groups: lower elementary; upper elementary; junior high; senior high; college non-art students, and college art majors. To determine concurrent validity of the instrument, subjects were administered two other perceptual tests: MacGregor's Perceptual Index, and Silhan's SpatialIllusionism Sensitivity Test. Significant correlations were obtained between scores on all three tests, and scores on the PDRT were also found to correlate highly with age and grade. A high correlation of .99 was found between two sets of PDRT test scores obtained from two independent test scorers. An item discrimination index was computed on the pilot study data and four items were found to be moderate, low, or non-discriminators. The pictures containing the four items were subsequently redesigned.In the main study, the refined version of the PDRT and the Spatial Illusionism Sensitivity Test were administered to a sample of 309 elementary, secondary, and college students divided into six groups: first and second grade; fourth and fifth grade; junior high school; senior high school; college non-art, and college art majors. The perceptual Index was administered to a random sample of sixty subjects were composed of ten randomly selected students from each of the six groups. A .90 correlation was obtained between scores on correlation was obtained between scores on the PDRT and scores on the Spatial Illusionism Sensitivity Test. Significant correlations were also found between scores on the PDRT and the age and grade variables. No significant relationship was obtained between the sex variable and scores on the PDRT, although group mean scores indicated that male subjects tended to score more highly than female subjects on all three tests.The main study data were subjected to one way analysis of variance and the F-ratio obtained indicated that significant differences exist among group mean scores on the PDRT. A linear progression of PDRT group mean scores was also noted.A second item discrimination index was computed on the PDRT scores of the random sample of sixty subjects drawn from the main study sample. The D-values obtained from the second item analysis revealed that the refined version of the test contains thirty-five high discriminating items and one moderate discriminating item.A Kuder Richardson (KR-20) correlation coefficient of .90 which was obtained for the total main study PDRT data indicated that the instrument has a high level of internal reliability. Subsequent KR-20 correlations which were computed for each of the six groups revealed that the test does not have a high level of reliability when administered to lower elementary students.From the results of the study, the researcher concluded that the refined version of the PDRT contains sufficiently high levels of validity and reliability to permit its use as a measure of ability to render pictorial depth when administered to fourth grade or above.

The purpose of this study was to investigate the relative effectiveness of two teaching strategies in a studio art context for Elementary Education majors. It concerned itself with the development, implementation, and evaluation of an instructional method specifically designed to increase learning in the cognitive domain.

The purpose of this thesis was the identification of two new phenomena in the culture, and their implications upon the educational curriculum of art museums. The prognostication of theoretical constructs and curriculum models to accommodate such phenomena were made for practical application in art museums.

This study explores ideas of inclusion and exclusion - in/exclusion - within art and education contexts, more specifically how they shift and alter within the processes of selection to one Scottish institution of Higher Education in Art and Design. The empirical focus of selection is told through detailed narratives that follow the thinking and responses of a diversity of selectors to the visual and written submissions of wide ranging applicants. These discussions make visible the ways in which candidates are deliberated into and out of the institution and are layered further by a broader quantitative look, exploring how this detail plays out more widely in the chances of in/exclusion across all applicants. This research has implications for a number of areas, including policy and practice on social in/exclusion, particularly as it relates to the arts and Higher Education. However, it is not solely an access or admissions study; it tries to extend understanding and approaches to in/exclusion by questioning what people are being included into as well as the ways of in/excluding. It gets inside and lays open a process of decision-making that has not previously been explored in this kind of depth and is made visible here through an often troubling, personal, methodological and theoretical assemblage of stories and crossings. My own shifts as a learner, artist and educator en/unfold with selection narratives and rich visual images that confront and question issues of representation, difference and risk as they surface within the research. It is this very detail of insight, getting inside those areas that are often unspoken and unseen that makes this investigation so unusual, adding new layers of questioning and understanding to the many approaches that exist in thinking and acting on in/exclusion. If there was any sense that in/exclusion to Higher Education in the Arts and Design might be determined or resolved simply by altering indicators and numbers in terms of social class, education or the spatiality of where an individual lives, then this study offers a different kind of view. It reveals a more complex process of looking and decision-making, in which selectors often try to see beyond the surface of the visual and written in search of the individual. It shows the shifting balance in what is looked for in a process that is fraught with chance, ethics, trust and emotional dilemmas. In doing so, it makes the case for a more reflexive and ontological engagement in approaches to in/exclusion. Nothing is certain. In/exclusion becomes an assemblage of elements that displace across selectors, taking new forms and combinations that are rooted in qualities that applicants bring with them as well as what selectors bring into the process. How these fold together can lead to very different outcomes.

This dissertation examines the connection between colonial governance and art education in colonial Punjab after its annexation by the British in 1849. It argues that art education at the Mayo School of Art was part of large project for creating a disciplinary society. It draws largely on archival and printed primary sources for tracing the career of disciplinary technologies of art schools, museums, exhibitions as well as regulatory discourses of colonial anthropology and the folklore, that together constitute colonial sphere of art education. The archives entered the present study both as the source of information as well as the technology of the colonial rule. The disciplinary discourses of the colonial state formed the primary archive for the colonial construction and ranking of indigenous population on the evolutionary scale of "primitive" through the techniques of census and surveys. The ethnological, psychological and intellectual profile of "tribal" population of Punjab along the scale of evolutionary history provided a grid to structure empirical knowledge for vast scale social engineering of indigenous society, including the organization of a system of colonial education for "pre-literate" and "oral" society. The study specifically contends that boundaries between "oral" and "literate" were the folklorist prisms through which the practices of communities and institutions of "art" and "craft", the distinctions between, "primitive" and "modem", "artists" and "craftsmen", "traditional" and "creative", "anonymous" and "individuals", "literature" and "myth", "history" and "legend", and "knowledge" and "folklore" were articulated. The historical contingencies of naturalization of these binary oppositions will be read in the ethnographic project of the colonial state and art educational discourses in the late nineteenth and early twentieth century Punjab that transformed individuals and social groups into subjects of a particular kind of power through the techniques of discipline and regulation. The institutional career of the Mayo School of Art (from 1875 to 1920s) as a technical as well as an educational institution is located at the intersection of discourses on utility and aesthetics. Through the writings of key exponents of the British craft advocates in India and the administrative discourses of the colonial state in Punjab that had brought the study of "decorative arts" to the forefront of the imperial concerns as well as art pedagogy, the dissertation analyzes the implications of the art school instruction on the production of modern artists and craftsmen and the construction of "customary" sphere and "traditional" Punjabi art and craft.

The first five chapters of this thesis provide a historical survey, dealing mainly with West Africa, and primarily concerned with the cultural problems that have occurred from the contact between the traditional African; and our Western culture. The effect of this contact in the areas of Art and Education are examined in some depth since the central hypothesis of this thesis is that Art Education can help to resolve some of the cultural problems that have resulted through the contact and conflict between the two worlds, African and Western. The final chapters provide an example of how the purposes and theory of Art Education in the emerging nations of Africa can be put into practice within a specific country--in this case, Ghana. This part of the thesis is a result of two years of experiment and study done by the author within Ghana itself. This deals with the way natural materials in Ghana (at the present moment woefully ignored in the schools) can be put to good use in the Arts and Crafts programme. It also deals with the way methods and techniques in traditional crafts can be used, adapted and applied within this programme. An examination is made of the way other traditional cultural "materials" such as stories, music and designs can be assimilated and used for motivational purposes in the arts and crafts lesson. Much of this material comes from a controlled experiment, lasting ten weeks, which was directed by the author and carried out by his students with Primary and Middle School children at the Cultural Centre, Kumasi, Ghana. / Education, Faculty of / Graduate

Few naturalistic studies exist that take an in-depth look at the lifeworlds of consultants and supervisors. This single case study describes and interprets the practical knowledge of an exemplary Fine Arts Supervisor. In this study, the investigator acted as a participant-observer while "shadowing" Ruth Britten (a pseudonym) over a four month period. Data were derived through field research techniques, and were subjected to data analysis and interpretation. Drawing upon a body of literature dealing with the nature of practical knowledge, this study concludes that a supervisor's practical knowledge is different from a teacher's practical knowledge in two important ways. First, curriculum implementation replaces curriculum development in the five commonplaces found in teacher practical knowledge: self, instruction, curriculum development, subject matter, and milieu. Second, the political knowledge context forms a major addition to the five orientations defined by Elbaz regarding teacher practical knowledge: theoretical, social, personal, situational, experiential. A third conclusion underlies the above: Elbaz's conceptual framework for a teacher's practical knowledge proved to be a useful starting point in determining a supervisor's practical knowledge. Practical knowledge is constructed upon rules of practice, practical principles, and images. In this study, these forms revealed the dialectical nature of much of Ruth's practical knowledge. Two constructs or landscapes of imagery became apparent, one being the empowerment and power of teachers, and the other, bureaucratic power and control and educational stability. Analysis of Ruth's style as a supervisor examined further dialectical relationships, as she continuously resolved contraries while implementing fine arts curricula. The findings suggest that among other requirements, supervisors need to develop a unique form of practical knowledge geared to the political context of curriculum implementation. Therefore, School Boards should consider tenure contracts for supervisors rather than limited term contracts, and should promote special training for supervisors in curriculum change strategies rather than assume that master teacher practical knowledge is sufficient. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

This study was designed to investigate the ability of young children to use a particular computer graphics program Colorpaint and its effects on their artwork. It was conducted in two parts : the pilot study in which five children participated and the main study which involved two children. Four predictions were made. Prediction one stated that of the total number of children's interactions with the program, more would be in the category of independent use than in the category of teacher-assisted use. The second prediction was that children would use goal-oriented behavior in aesthetic decision-making and problem-solving when using the program. Prediction three stated artwork, done with computer media would be rated higher in each of the categories of "Variety within Shapes", "Variety between Shapes", "Complexity", and "Texture" than would images made with other media. The fourth prediction was that computer-generated artwork, would be rated lower in the category of "Image Autonomy" than the artwork done in other media. For both parts of the study, anecdotal data in the form of field notes, transcribed conversations, and videotapes were kept and analysed to provide insight into the children's behavior when using the computer. During the main study the children's interactions with the computer program were recorded on a checklist indicating whether they were able to use the program independently or if they needed help. Artwork made by the subjects in the main study using the computer and other media were saved for analysis and were rated by three independent judges. The judges used five criteria derived from the literature on children's art to rate each image on a five point Likert scale. Results indicated that prediction one, which stated that more interactions with the computer would be in the category of independent use, was supported as there were more independent interactions than teacher-assisted interactions with the computer for each subject. Prediction two, which indicated that children would use goal-oriented behavior in aesthetic decision-making and problem-solving when using the computer, was supported by the descriptive data collected. Prediction three, that the computer images would be rated higher in each of the categories of Variety within Shapes, Variety between Shapes, Complexity, and Texture, was supported in the two categories Variety between Shapes and Variety within Shapes. The fourth outcome predicted was that the computer artwork would be rated lower in the category Image Autonomy than artwork done in other media. This outcome was supported by the results of the analysis of the artwork. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate