No description available.

The purpose of this study was to discover similarities and differences in opinions held by secondary art teachers, secondary art students and animators on the role and character of animation in art education. The problem was to determine whether the relative neglect of animation as a part of the art curriculum has come about because the techniques and concepts associated with it are seen as difficult and/or unnecessary to implement by teachers; or whether students are unfamiliar and uninterested in animation as a field of study; or whether animation, in the opinion of professional animators, is not a suitable subject for study. The study was conducted with five secondary art teachers, nine secondary art students and three professional animators. Informants responded verbally to questions posed by the researcher. These responses were documented on a tape recorder and later transcribed for analysis. Responses from the informants generated data relating to five areas of animation: 1) defining animation, 2) potent images, 3) popular culture, 4) careers and 5) backgrounds. The study showed that although animation is a part of students1 popular culture and students are interested in it, teachers are not currently teaching it. Technical difficulties prevent them from doing so, despite the fact that they acknowledge animation as an important art form. The other findings in this study are that both teachers and students are often not consciously aware that they are watching animation; and that there are many misconceptions and prejudices associated with the medium. Implications for art education are discussed. / Education, Faculty of / Graduate

Visible models of assessment of senior secondary studio art in Britain and North America are analysed and compared. In Britain, The General Certificate in Secondary Education (GCSE), specifically, the London East Anglian Examining Board (LEAG) assessment model is examined, and in North America, Advanced Placement(AP), Arts PROPEL, and International Baccalaureate(IB). Assessment structures and criteria for assessment are examined in order to reveal art educational values inherent in assessment practices. The problem is threefold: The subjective nature of studio art has rendered assessment difficult; problems have been associated with methods adopted for assessing studio art, and with determining the purposes of art education. Findings are that similar structures characterize the qualitative studio art assessment strategies studied: Criteria are delineated; norm referencing through rank ordering occurs, and assessments depend on professional judgements by art educators. In all cases except for Arts PROPEL, judgements occur intersubjectively through moderation, enhancing reliability. With regard to values implicit in assessment criteria, all the strategies focus on understanding of form. LEAG and IB assessments are similar in their emphasis on linking art and design, form and function, historical, critical, and contextual understanding. LEAG, IB, and Arts PROPEL assessments focus on evidence of process as well as product. All the strategies are personally relevant to students in that they determine the thematic nature of their studio inquiries. The assessment approaches examined are adaptable to varied teaching contexts, and thus are suitable models for regional or national assessment. Because of its grassroots support nationally, and its sophisticated accommodation of contextual and multicultural understandings of art, LEAG emerges as a worthwhile model to emulate.

Visible models of assessment of senior secondary studio art in Britain and North America are analysed and compared. In Britain, The General Certificate in Secondary Education (GCSE), specifically, the London East Anglian Examining Board (LEAG) assessment model is examined, and in North America, Advanced Placement(AP), Arts PROPEL, and International Baccalaureate(IB). Assessment structures and criteria for assessment are examined in order to reveal art educational values inherent in assessment practices. The problem is threefold: The subjective nature of studio art has rendered assessment difficult; problems have been associated with methods adopted for assessing studio art, and with determining the purposes of art education. Findings are that similar structures characterize the qualitative studio art assessment strategies studied: Criteria are delineated; norm referencing through rank ordering occurs, and assessments depend on professional judgements by art educators. In all cases except for Arts PROPEL, judgements occur intersubjectively through moderation, enhancing reliability. With regard to values implicit in assessment criteria, all the strategies focus on understanding of form. LEAG and IB assessments are similar in their emphasis on linking art and design, form and function, historical, critical, and contextual understanding. LEAG, IB, and Arts PROPEL assessments focus on evidence of process as well as product. All the strategies are personally relevant to students in that they determine the thematic nature of their studio inquiries. The assessment approaches examined are adaptable to varied teaching contexts, and thus are suitable models for regional or national assessment. Because of its grassroots support nationally, and its sophisticated accommodation of contextual and multicultural understandings of art, LEAG emerges as a worthwhile model to emulate. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The definition of discipline-based art education presented in this thesis includes all domains of art learning and practice: art history, art criticism, art production, and aesthetics. The study develops a series of art history lessons for adolescents at the junior high and high school level. Activities are designed to present instructional strategies appropriate to the educational needs and concerns of these groups of students. These lessons primarily focus on art history, and art criticism as a means for approaching studio production concepts. One instructional unit includes a day-by-day description of art history learning activities covering a period of 10 days, or two regular school weeks. Also included is a description of the order in which the art history, art criticism and production activities occur for each lesson. Specifics regarding media, materials, artists to be studied, styles, reproductions and the vocabulary terms and images to be used for each day are also included. (Abstract shortened with permission of author.)

The problem of this study was to ascertain the degree and kind of relation which might exist between a) certain measured indices of general creativity, ingenuity, and artistic judgment, and b) teacher judgments of artistic creativity within a senior high-school art population. One of the major purposes of this study was to identify a test or tests of creativity which might be used with senior high-school students to find those students with artistic potential who either should be counseled into art classes or for whom particular kinds of teaching procedures should be developed.

This thesis describes two lithographic techniques that may be used to introduce black and white lithography to beginning art students. Aluminum plate and paper lithography are two relatively low cost and safe lithographic methods suitable for schools with limited budgets and limited space. It is recommended that the instructor interested in teaching the two processes described in this thesis have some previous experience in lithography.

published_or_final_version / abstract / Education / Master / Master of Education

The purpose of this study was to determine the status of art education in Catholic secondary schools. Studied were:(1) historic status of the schools and attention to separate schools for boys and girls;(2) specific factors for comparison with findings of the 1963 NEA survey of music and art in the public schools;(3) the extent of shared time art programs; (4) obstacles to art programs; (5) the extent of humanities courses.A questionnaire modelled on the 1963 NEA survey incorporated features specific to the Catholic schools. It was sent to 486 Catholic secondary schools in a saturation survey of Indiana, Illinois, Ohio, Michigan, Wisconsin, Kentucky--states selected for their historic associations and concentration in them of a Catholic population and a Catholic school population proportionate to that of the nation at large.Results were based on a usable net response of 382-(78.60 percent) which was 80.93 percent of 472 schools continuing operation in September, 1969.Results corresponded roughly to those of the 1963 PLEA survey although there were basic differences in composition by type, organization, and size of schools.Of schools responding 13.09 percent offered no art. Art departments existed in 76.70 percent. Another 10.31 percent provided opportunity for shared time classes. Some of these supplemented their own offerings with shared time classes. This percentage of schools offering art far surpassed the 53.6 percent of all public schools offering art in the 1963 survey, but it was only one percent higher than the 74.7 percent offering art in public senior high schools whose composition was nearest that of Catholic secondary schools.Percent of art enrollment to total enrollment in Catholic secondary schools was close to that of public schools in the 1963 survey. The 14.63 percent was only .57 percent below 15.2 percent enrollment in senior public high schools. Art enrollments in Catholic schools showed strong influence from separate schools for boys and girls. Girls' and coed schools accounted for the 60.44 percent of small schools which offered art. All large schools not offering art were boys' schools.Strong evidence of a continuing tradition of art education was shown by the high percentage of girls' schools (92.74 percent) with art departments. An interesting feature of the boys' schools was the number of them (55.26 percent) which had introduced art within the past decade. The past two years had seen others taking advantage of art classes in nearby girls' schools.Art curricula followed much the same generalized pattern as public schools with little opportunity for specialization. Less than three percent of the schools required art above grade nine.Preparation of teachers was generally adequate, and percentage of art teachers to average number of teachers per school compared well with percentages in senior public high schools.Lack of personnel ranked first in causes of schools dropping art. Finances ranked first in obstacles toward schools introducing art programs. A crowded academic schedule was the first obstacle in schools which had art programs. Lack of space and finances followed. Almost89 percent of the schools charged for or had students purchase art supplies beyond tuition. Forty-one percent of the schools required an additional studio fee.Humanities programs which included visual arts were reported by 35.08 percent of schools. Another 7.9 percent offered humanities courses which did not include visual arts. Courses were not generally restricted to an intellectually elite; but many encompassed music and art alone, and time allotted them was limited.

Artists are seldom consulted in the making of school art programs yet many are vitally concerned with the need for a visually literate public. This study summarizes the history of art education, examines recent issues documented by art educators, looks at opinions of artists of this century on the teaching of art, and presents interviews with six British Columbian artists to elicit their thoughts on what is necessary in a secondary school art curriculum. The interviews are essentially informal in nature and only those remarks dealing with secondary school education, or related concepts, are included. The final chapter contains an infusion of the artists' ideas under headings suggested by issues raised by art educators. An evaluation of the data collected from the interviews leads to recommendations for consideration for secondary school programs and the conviction that artists should be encouraged to participate in matters relating to art education. / Education, Faculty of / Graduate