This thesis attempts to demonstrate an approach to secondary art education which will emphasize the student's own experience as the basis of his art work. Furthermore, the students' learning activities are given a broader context by the inclusion of material from the history of art within the framework of the studio course. Such an integrated approach can give meaningful insight to the adolescent as he deals with experience in a visual form. This orientation to art education has evolved through the writer's own teaching experience and from reading the works of art educators. In preparation for the thesis, I researched the history of landscape painting, current material on art education and adolescent psychology, and the formal technical aspects of using color in art. The problem became that of integrating this diverse information into coherent teaching units. Landscape painting is the subject of the teaching units, or chapters; and each chapter deals with a different approach to the world of nature. The thesis consists of five chapters, including an introduction and a summary. The central chapters contain two sections: one based on the history of art and the other on related student experiences and classroom procedures. A specific lesson plan is included at the end of each chapter.

This doctoral investigation examines educational relationships between museums and schools, and more specifically between art museums and secondary art education. The author's analysis of literature pertaining to museum/school relationships and previous research conducted within Honours research establishes systematic contradictions as permeating the public role of museums and educational engagements with museums. In seeking explanation, a theoretical framework, derived from the social theories of Pierre Bourdieu is developed. The framework is used to interrogate the practices of school-based art education and art museums, and the agents involved, to examine how social relations operate to enable and constrain the representation and engagement of secondary school-based perspectives in the museum setting. Aspects that have previously remained unacknowledged are examined to reveal the interplay of factors that influence educational experiences in the art museum setting. Using the findings from the first stage of the analysis, in concert with the Bourdieuan framework, the author develops a model for learning in art museums that explores and articulates a new pedagogical terrain in the art educational use of art museums. A socio-cognitive framework is developed to reflect the strategic incorporation of museological knowledge, contemporary art education philosophies and practices and sociological theory. The aims of the model are to engage secondary art education and art museums using a sociological perspective, provide the tools for secondary art educators to be autonomous in the art museum setting, recognize that individuals relate to cultural materials and experiences in varying and multiple ways and develop educational encounters that predispose learners to engage in the cultural practice of art museum visiting. In intrinsically valuing art museum experiences as distinctive learning opportunities, the model provides teaching and learning strategies that allow for a multi-faceted, developmentally appropriate and cognitively based educational involvement. As the ultimate outcome of the research the model has significance for secondary art students, secondary art educators, teacher educators and art museum educators. It is unique in providing a secondary school-based art educational perspective on learning in art museums that is designed to establish a foundation for cultural practice, within and beyond the school years.

This qualitative study compares an "integrated" art program with a "discipline-oriented" art program at the grade eight level in two Ontario public schools. Data were collected through ethnographic interview and observation. The comparison is based upon the intentional, curricular, structural and evaluative dimensions of schooling as outlined by Eisner (1991). The study indicates that integrative practices are complex and multi- dimensional. Integrated outcomes occur and may be cultivated within a discipline-oriented school structure.

The expansion of Built Environment Education into art programs is a relatively recent phenomenon but very timely. The need to develop in students an understanding of their living environment is urgent as they inherit a world that is experiencing the depletion of its resources and erosion of its ecological balance. / There is a fundamental need for more comprehensive curriculum planning in built environment education. The goal of this research is to develop a curriculum paradigm that can be used to create curriculum plans and instructional designs for built environment education as part of the art class in secondary schools. / The built environment content of this curriculum paradigm is based on the active investigation of the students' internal world with all its different perceptions and lived experience and how this affects their understanding of the greater built environment. Through a more intense investigation of the greater built environment, the students will then analyze the effect that this environment has on their own perceptions and living habits. By developing a more conscious understanding of the built environment, the students will be better equipped to make informed decisions on how to better adapt to or change their environment. / A guiding principle for the curriculum paradigm was to ensure that the introduction of a new subject area, such as built environment education, into art education curriculum involved processes of creativity and discovery along with self-reflective and participatory action for both the teacher and students. To be effective, the content material must not only be accessible through the traditional modes of academic literature research but also made valid through observation, reflection and interaction with the particular built environment of the teacher and students themselves. / Vigilance and active participation in the process of urban change are vital. These changes can only be effective and enduring if we acknowledge the capacity of the built environment to enrich our lives as private and communal beings. / One of the essential goals of this curriculum paradigm is to capture the excitement and potential that the built environment offers as a pervasive agent for understanding and celebrating constructed past, present and future.

The purpose of the study was to make an assessment of Arkansas middle school/junior high art programs using National Art Education Association standards. Data were collected from questionnaires, curriculum guides, and school visitations. Participating in the study were 127 schools enrolling 53,502 students of which 14,755 (28%) were taking art classes. For comparisons, the state was divided into five regions.

This qualitative study compares an "integrated" art program with a "discipline-oriented" art program at the grade eight level in two Ontario public schools. Data were collected through ethnographic interview and observation. The comparison is based upon the intentional, curricular, structural and evaluative dimensions of schooling as outlined by Eisner (1991). The study indicates that integrative practices are complex and multi- dimensional. Integrated outcomes occur and may be cultivated within a discipline-oriented school structure. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

No description available.

The purpose of this paper is to compare a group of adolescents with the learning disorder of dyslexia and a group of adolescents without dyslexia in regard to their ability to make realistic drawings. Subjects selected for the study were from a suburban junior high school in which a random sample was taken of both dyslexic and non-dyslexic students. Each was given three standardized drawing tasks, including a still-life drawing, a contour drawing, and a perspective drawing. The drawings were judged by five evaluators on a continuum of realistic to non-realistic. The ratings were then analyzed by the application of the Mann-Whitney U-Test, which indicated that there are no significant differences in the abilities of the two groups to render drawings realistically.

This study reports on the development of a curriculum guide to insure some degree of experience uniformity in the first art course available to students in high schools in Mesquite, Texas. Current general education and art education literature as well as curriculum guides from American schools provided the behaviorally oriented framework and objectives, content, and teaching strategies. The guide reflects a balance between the ideal and the real physical environment in which the guide will be implemented. Conclusions include the concepts that teacher education in using behavioral objectives is necessary, that a behaviorally oriented guide will work in Mesquite high schools, that behavioral objectives will facilitate evaluation, and that the trend toward tri-part subject content will increase in art curricula.

The purposes of this study were as follows: 1. To measure selected junior high school students' creativity in art. 2. To determine the relationship between the following factors and the degree and kind of creativeness in art demonstrated by the subjects involved: ethnic group, sex, social class, community size, previous art training, cultural interest in the home and community.