This experimental study investigated the possibility of measuring pupil progress in art activities undertaken by a regular class and a class of Educable Mentally Retarded students to determine the extent to which E.M.R.s might assimilate concepts and complete activities from an art programme designed for regular classes. The underlying assumption explored was that it may be that E.M.R. students do not achieve results comparable with students in regular art classes simply, because they do not have comparable programme content and quality of instruction. Two classes, one regular art Grade 10/11 combination class and an E.M.R. class were assigned treatment identical in nature and scope. The classes were a part of the regular grouping within a senior secondary school in British Columbia. The treatment consisted of engaging in fifteen assignments delivered by the investigator over a period of six consecutive months. The first two and the last two assignments served as a pre-test and post-test respectively. All interim assignments and pre and post-tests provided materials for analysis arid comparison. Pre and post-test results provided within-group gains; interim assignments provided material for informal between-group comparisons. Evaluation of all assignments was performed by three art educators employing an objective scoring procedure previously familiar to each. The evaluative instrument purported to assess the results of each assignment on seven clearly stated criteria which normally form part of the foci of instruction in art. Analysis of the data revealed that both the regular class and the E.M.R. class gained significantly according to pre-test to post-test results. Significance levels reached by the regular class on all seven categories were .001. Significance levels reached by the E.M.R. class were .0C1 on five categories. On the two remaining categories the significance levels were .01 and .004. On programme results (interim assignments) performance by E.M.R.s was comparable to that of the regular class on better than 60% of programme content. Findings indicated that there were significant differences at the .05 level between groups on 28 out of 77 categories. However, on the remaining 49 categories there was no significant difference at the .05 level. The findings suggest that E.M.R. students can perform at a level comparable to that achieved by the regular class on most assigned art tasks. Special limited art programmes do not offer the only alternative for the education of the E.M.R. within the confines of the public school and other possibilities are worth exploring. / Education, Faculty of / Graduate

The purpose of this study was to determine whether British Columbia teachers were achieving the goal of teaching an integrated art program. The component of the curriculum which is specifically studied is reasoned criticism, traditionally a neglected component in art education. Through a survey of art teachers in selected B.C. high schools, information was gathered to assess the impact of the new B.C. Secondary. Art Curriculum grade 8-12 upon teaching practice in criticism. The results of the study show that the new curriculum has had little impact on the teaching of reasoned criticism. The results indicate that art production remains the focus of- art programs while reasoned criticism occurs most frequently as a process of informal discussion between the student and teacher while attention is focused on the student's work. A summary of the findings is provided and implications of the study for classroom practice are discussed. / Education, Faculty of / Graduate

This thesis describes a process of teaching figure drawing to adolescents which places importance on the subjective experiences of the students. Traditional figure drawing methods emphasizing the development of visual perceptual skills are integrated with activities which are designed to secure emotional participation, and develop awareness of art as a means of expression and communication. This approach seems to motivate students and to reduce the anxiety usually experienced by adolescents when they are drawing the figure.

In developing the study, the writer has attempted to devise a method whereby high-school students may gain an understanding of certain trends in modern abstract and non-objective painting.

No description available.

No description available.

This thesis establishes guidelines and develops art historical instructional materials that answer requirements of discipline-based and feminist art education. Recent literature on the theoretical bases and curricular applications of DBAE,and feminist writings in art education and art history serve as conceptual sources for developing an integrative art historical model. This study applies this model to develop a variety of high school level instruction materials based on the lives of 19th century American neoclassical women sculptors. These materials contain biographies, sources of reproductions, and an analysis of these artists' particular positions as women, and as artists, in nineteenth century America. The last chapter provides information and suggestions for teachers on how to use the materials in a discipline based context. This kind of integrative approach can serve to broaden our understandings and experiences of the visual arts so that they are more truly representative of all humankind.

This thesis examines the significance of the study of art, specifically discipline-based art education, for behaviorally disordered public school students. A brief description of the distinctions between art education and art therapy is given and appropriate terms are defined. A discussion of the labels that constitute behavioral disorders and the general educational needs of that population is included. General benefits of art instruction for behaviorally disordered (BD) students are explored with the intention of demonstrating how a discipline-based art program can specifically enhance those benefits. A sample discipline-based drawing lesson adapted for behaviorally disordered students follows.

No description available.

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.