The purpose of this phenomenographical case study is to explore the ways in which a group of MFA students conceive of their learning as they are enmeshed within an MFA community. The research follows along two guiding research questions: 1) What does artistic learning involve for graduate students in an MFA community? 2) How is one's artistic practice shaped by one's active participation in an MFA community? The findings of this study have been presented as lines of artistic learning and help to show the various conceptions that MFA students have of their learning as artists while in an MFA program of study. Ultimately, it is in better understanding one's lines of artistic learning that MFA students can be better supported in their journeying to become professional, practicing artists.

This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.

The goal of my study is to develop a mobile application to enable all visitors, including blind and low-vision visitors, to autonomously gather and share information about interpretations of art and to have a fully independent museum-going experience. With an application, blind visitors have more access to opportunities and tools in the museum, which empowers their museum experience. My study used a qualitative, mixed-methods approach to research how blind and low vision museum visitors might increase their independence in the museum space and discover ways to equalize their access without relying on museum educators. In carrying out my study, I conducted interviews and collected data based on observations and transcribed and analyzed them using a grounded theory approach. I used Freire's theory of pedagogy of the oppressed and hooks' theory of education as the practice of freedom to frame my study.

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The dissertation centers on my personal journey in Saudi Arabia and the USA as an art student, educator, and researcher, illuminating social, cultural, racial, and gendered dimensions that intersect in various places. The study concludes with a design for a digital platform that can share my protocols and encourage others to experiment with arts-based phenomenological practice to explore place identity. Overall, this dissertation advances the understanding of place identity conceptually and empirically and offers a foundation for future research to promote experiential learning, nurture creativity, and underscore the role of perception in shaping our comprehension of identity and place in art education. This study critically assesses the ways in which identity is discussed in the contemporary art and culture scene in Saudi Arabia, proposing a more complex understanding of identity that is intimately connected to place. Although Saudi Arabian arts policies encourage art as an expression of identity, their notion of "identity" is undertheorized and does not engage with contemporary theories of identity important in the larger art world. Employing a phenomenological framework drawn by Merleau-Ponty, as well as insights from feminist and Latina phenomenologists, the research focuses on embodied and embedded identity, exploring themes of home, in-between, and multiplicity. My research aims to reveal the identity that emerges from body-place interactions. The study employs an experimental, art-based "protocol" method to analyze body-place interactions, exploring the multiple layers of identity that guide the body in the world. In particular, I created a series of protocols as phenomenological "breaching experiments" to help me critically reflect on the pre-conscious ways in which body, place, and identity interact.

La mission éducative des musées auprès de la société en générale aujourd’hui est incontestable et les musées d’art contemporain sont des endroits importants de formation et de délectation. Cette recherche de maîtrise qui s’inscrit dans le cadre de la recherche Le grand public et l’art contemporain : du rejet au plaisir menée par A.M. Émond et C. Dufresne-Tassé de 2009 à 2014 identifie les sources de plaisir qui peuvent émerger chez les visiteurs de type grand public lors d’une visite à un musée d’art contemporain. Pour ce faire, nous avons analysé 30 discours de visiteurs de type grand public qui ont visité le Musée d’art contemporain de Montréal dans le cadre de la recherche d’Émond et de Dufresne-Tassé. La présente recherche de maîtrise privilégie l’approche qualitative, étant à la fois exploratoire, empirique et fondamentale. Nos résultats ont démontré l’existence de plaisirs qui émergent en fonction de trois grandes catégories (objet muséal, visiteur lui-même et impression générale) et qui se subdivisent en dix-huit sous-catégories. Nous avons décrit chacune de ces catégories et sous-catégories de plaisir à l’aide d’exemples extraits des discours des visiteurs. Cette recherche contribue à l’avancement des connaissances en fournissant aux musées d’art contemporain des indications sur la présence de diverses sources de plaisir dans l’appréciation des visiteurs lors de leur traitement de l’art contemporain. Ainsi, les secteurs éducatifs des musées pourront réinvestir ces résultats de recherche dans l’élaboration de stratégies éducatives muséales destinées à ce public non spécialiste. / Today, the educational role of museums in society as a whole is indisputable. Museums of contemporary art are important learning environments where a significant proportion of visitors can experience pleasure during their visit. Given the necessity of improving our understanding of this phenomenon, the present Master's level research has allowed us to identify, within the framework of the most recent research by A.M. Émond and C. Dufresne-Tassé entitled Le grand public et l’art contemporain: du rejet au plaisir, sources of pleasure which could emerge amongst visitors from the general public during a visit to the Montreal Museum of Contemporary Art. To do so, we analyzed 30 discourses of visitors from Émond and Dufresne-Tassé’s study. Our research favours the qualitative approach, being simultaneously exploratory, empirical and fundamental. Our results have demonstrated the existence of pleasures which emerge as a function of three broad categories (Museum Object, Visitors Themselves, General Impression) which can be subdivided into eighteen subcategories. We have described each of these categories and subcategories of pleasure with the aid of examples extracted from visitors' discourses. We believe that with our findings on the identification and importance of pleasure, educational sectors of art museums could benefit from our research in the development of educational strategies for a non-specialist public viewing contemporary art.

Dans les écoles primaires québécoises, les cours d'arts font partie des domaines d’apprentissage obligatoires. Toutefois, les effets de l’apprentissage des arts sur les jeunes élèves demeurent mal connus puisque d’une part, l'art est fréquemment perçu comme une discipline de deuxième ordre et d’autre part, des programmes à volet artistique voient encore le jour dans certaines écoles. L’objectif de l’étude est de déterminer si les élèves de 4ième, 5ième et 6ième années fréquentant une école à volet artistique développent davantage d'habiletés particulières liées directement à leur intelligence émotionnelle (IE) comparativement à des élèves fréquentant une école à programme régulier. Une méthodologie reposant sur un devis quasi expérimental avec groupe témoin non équivalent est privilégiée. Les scores d’IE ont été mesurés à l’aide de questionnaires complétés par les élèves, leur enseignant ainsi que leurs parents afin de trianguler les données. Dans un premier temps, les résultats obtenus auprès de l’ensemble de l’échantillon montrent que selon la perception des enseignants, les élèves suivant des cours d’art en parascolaire ont une IE plus élevée que les élèves qui n’en suivent pas. Toutefois, la fréquentation d’une école proposant un programme artistique ne semble pas avoir d'incidence sur le développement de l'IE puisque les résultats obtenus dans le cadre de cette étude montrent que les élèves inscrits à une école à vocation artistique ont une IE inférieure à celle des élèves provenant d’un programme régulier. Ces résultats contradictoires à l’hypothèse de départ sont discutés à la lumière de la littérature scientifique disponible, ainsi que des forces et des limites de la présente recherche. / In Quebec’s elementary schools, arts education is compulsory. As a matter of fact, study programs with an artistic concentration are present in many schools. However, some individuals still consider that arts education is a less important field of study. As a result, the effects learning arts has on young students remain unclear. The objective of this study is to determine if students from grades 4, 5 and 6 who study in a school with an artistic program develop more abilities linked to their emotional intelligence (EI), compared to students who study in a school with a regular program. A quasi-experimental research design with a non equivalent control group was used. EI scores were measured with questionnaires completed by students, their teachers and their parents. Using three different types of respondents made it possible to triangulate the data. Results first show that, according to teachers’ perception, students who followed arts courses in extracurricular activities have a higher EI than students who did not follow those kinds of courses. However, participation in an artistic program does not appear to have an effect on the development of EI, because our results indicate that students who attend a school that offers an artistic program have lower EI than students from regular schools. Outcomes are discussed in light of the current literature, and according to the strengths and the weaknesses of the current study.

For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of 'What is art'? and 'What is the role of the art teacher'? continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed 'art and design' teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland's streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman's rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children's individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed.

Diploma thesis is focused on younger school age children´s drawings. Theoretic part gives information about the stages of younger school age, describes the art development of children and it deals in more detail with the concept of creativity. The thesis gives a characteristic of art taught at a primary school and fine art at an art school in its last part. Practical part of this diploma thesis analyzes a set of 64 drawings of children aged 8-9 years. Its aim is to compare the drawing expression and to find differences in drawings on the given, theme between two groups of children, children from a common elementary school and children from an art school who visit fine arts lessons.