Art Education Commons^™

An Investigation Of Changes To The Tertiary Entrance Examination Art History Syllabus And Art Teachers' Perceptions Of Those Changes, A. Ivankovic

Theses : Honours

In 1986, a new Tertiary Entrance Examination Art Syllabus was introduced to the secondary school curriculum. Four years have passed since the implementation of this syllabus without 11 formal evaluation having taken place. Because the changes to the Art Syllabus were implemented swiftly, it is considered appropriate to investigate any discrepancies between the intended changes to the Tertiary Entrance Examination Art History Syllabus and art teachers' perceptions of those changes, This study was prompted by concern expressed by art teachers over the changes in the Tertiary Entrance Examination (TEE) Art Syllabus. A foreshadowed minor change in the 1992 Art History …

Collecting Women’S Art And Native American Artificates: Issues For Museum Curators, John Wilton

Journal of Social Theory in Art Education

Egalitarianism is quite possibly the education buzzword of the eighties. Egalitarianism is belabored in the literature of late that it seems inconceivable that any person or institution with any degree of social responsibility has not yet acted to realign the programs and policies of our biased past. Yet many major social groups still remain disenfranchised in the current American cultural scenario. This commentary addresses the predicament of two of those groups-women and Native Americans. While seemingly unrelated, both groups share a common dilemma: their voices, their opinions and their expressions are not yet respected in the realm of art and …

A Gender Exposition: Black And White Images In The Grey Chain Of Being, Jim Paul

Journal of Social Theory in Art Education

It is interesting how the numerical demarcation of a decade spurs one to reflective stock-taking and visionary anticipation. We know that the beginning or termination of long-term social trends do not “naturally” fall into neat groups of tens. Still, as empirically-entrenched and categorically-minded consumers we must quench our never-ending thirst to link events until we have reduced them into man”age”ableness. We are more at ease when we can name where we have been and visualize where the future will be.

The Need For Openness In Art Education, Dan Nadaner

Journal of Social Theory in Art Education

Can art education tolerate art? It looks more and more like the answer is no. Art requires imagination, play, openness and critical questioning. Art education, as an institution, tends to produce practices inconsistent with imagination, play, openness, and critical questioning. The dominant practices of the field tend to define, to reify, to certify, to enshrine.

Here’S Looking At Us Looking At Us, Amy Brook Snider

Journal of Social Theory in Art Education

This paper was an introduction to the mini-conference, “The Conference as Ritual: The Sacred Journey of the Art Educator,” organized by Harold Pearse, Cynthia Taylor and myself for the NAEA Convention in Los Angeles, April 1988. Art educators from Canada and the United States along with Dr. Michael Owen Jones, author and director of the Folklore and Mythology Center at UCLA (our non-participant observer) looked at our annual spring pilgrimage to various hotels in the United States from historical, psychological, philosophic, structural, and ethnographic perspectives. As the introduction to the mini-conference, my paper specifically recounts the ways that I, an …

The Level Of Visual Literacy In Post-Secondary Students, Julie Russell

Theses : Honours

In an education, the term visual literacy refers to the ability of a student to interpret or decode various forms of representation. A person who is literate is able to read and write text, while a visually literate person is able to decode visual an images, and to a lesser extent use these skills in the creation of artworks. Art syllabuses in Western Australia clearly state desired outcomes in the area of visual literacy, yet little is known about how effective these guide-lines have been in producing school leavers who are visually literate. The effectiveness of secondary an teaching strategies …

Attitudes Towards Assessment In Art, Sheila Posner

Theses : Honours

Assessment in the field of Art Education has always been difficult. The subjective element has caused art to be considered a controversial subject in school as far as assessment is concerned. Different educators have argued for and against the necessity of assessment. The literature has shown that if art is to be taken seriously in school, it must be subjected to formal assessment. It was found that while there were studies about evaluation and assessment in art and studies about attitudes to art, little has been written on attitudes to art assessment. This research set out to examine the attitudes …

Subjective Undercurrents: Humour And The Naea, Harold Pearse

Journal of Social Theory in Art Education

The psychological climate of an NAEA conference is a highly variable one. Given the temporal and spatial restrictions, emotions tend to be intense and feelings concentrated. A good deal of what is felt is predictable – after all, conferences are call conventions. But beneath the surface veneer of officiousness, formality, and collegiality, there are subjective undercurrents. The novices experience loneliness, insecurity and feelings of inadequacy being surrounded by “experts” – people whose publications they have read or with whose names they are familiar. The experts may experience anxiety and insecurity as their egos, careers and reputations are exposed to public …

An Investigation Of Art Teachers' And Art Students' Perceptions Of An Art Gallery Visit, Eliza Leano

Theses : Honours

The literature on museum and art gallery visits by schools draws attention to the fact that schools and other educational institutions may perceive the art gallery as a place for learning and education whilst other groups in society do not. The literature also draws attention to internal and external factors related to the school and art gallery context which may contribute to the intended and unintended outcomes of art gallery visits by schools. To date, no research has been conducted into the effects of a single visit to the Art Gallery of Western Australia (ACWA) en secondary art students. Art …

Seeking Cultural Understanding: Knowing Through The Art Of The Picturebook As One Of Five Modalities, Rogena M. Degge, Kenneth Marantz

Journal of Social Theory in Art Education

Caught in the maelstrom of scholarly debate about cross-cultural values, we seek some straws for our intellectual salvation. Groups of theoreticians and practitioners, like schools of fish roiling in the seas, create waves. Some groups, like those who supported the exhibition of Primitive and Modern artifacts at the Museum of Modern Art in New York City, are historical revisionists seeking new values through the alleged "influences and affinities" they attempt to demonstrate. Others more mundanely offer youngsters cardboard and paint so they may produce their own Kachina dolls in order to come to grips with the fundamental values of an …

The Interpretation Of Modern Art—What Is Possible When Dealing With The Explication Of Art, Heinrich Kupffer

Journal of Social Theory in Art Education

The attempt to interpret modern art comes from different approaches and moves along several lines of thought. Generally speaking, together these approaches leave no doubt that a linguistic explanation is possible and legitimate. This assumption, which forms a bridge between lord and picture, is a decisive, often uncontested problem of aesthetic logic. Spectators should watch out for the traps and fallacies. They may expect that the clear statement a work of art unambiguously makes for them, the unseemingly apparent interpretation of the work, leads back to a lack of understanding of the "real" thoughts and precise statement of the artistic …

Art Educators’ Responsibility To Cultural Diversity: Or “Where Are You Goin Wid Alla My Stuff?”, Kristen G. Congdon

Journal of Social Theory in Art Education

The responsibility of art educators to recognize and study the art and context of as many populations as possible is examined in this article. Examples of how artistic expressions have been borrowed, used in different contexts and otherwise removed from their original cultural context are given, and examples of ways that art teachers can help to recognize origins and the artistic functions of many cultures are suggested. By placing art in its context and studying it as it changes, students may begin to understand the artistic source, appreciate the importance of the creative context, and begin to see multi-cultural dimensions …

Sue Williamson: The Artist’S Struggle Toward Freedom In South Africa, Betty Laduke

Journal of Social Theory in Art Education

I first learned of Sue Williamson through an exhibit of her photo silk screen prints, A FEW SOUTH AFRICANS, sponsored by On the Wall Gallery in Medford, Oregon, in November, 1985. Combining visual and verbal elements, Williamson's seventeen portraits focused on black and white women and their ongoing, historical struggle against political injustice as experienced by South Africa's predominant black population. In February, 1986, I had the opportunity to interview Sue Williamson in New York City and learn how her personal development as an artist became linked with the expression of her political views, resulting in A FEW SOUTH AFRICANS. …

Folk Art In Art Education: Toward A General Theory Of Art As A Social Institution, James Noble Stewart

Journal of Social Theory in Art Education

Art may be understood by considering it as a social institution in which particular artifacts are presented as candidates for appreciation. This institution includes the domains of production, distribution, and consumption, all of which are regulated according to rules and standards relating to both art objects and behavioral roles for those people involved. In the paradigm case all participants in the institution are of the same cultural group. This is important for art educators to understand because of the diversity of cultures represented in the classroom. Because a person's greatest opportunity for meaningful involvement in the arts comes from within …

A Resource Guide To The Art Of The Puyallup/Nisqually Indians, Peggy Dionne Clark

All Graduate Projects

This project concerned the availability of resource material to teachers of units on Northwest Indians. The project evolved as a result of the strong belief of the researcher that a distinction should be made between the tribes of the southern Puget Sound area, and their neighbors to the north. A resource guide to the art of the Puyallup/Nisqually Indians was developed and used in the classroom of the researcher. Recommendations and suggestions for use were included in the resource guide.

Thought On Social Contextualism In Art And Art Education, Tom Anderson

Journal of Social Theory in Art Education

Art as a manifestation and reflect ion of culture has been clearly established. Discussions of various depth on the subject are available in many general art education texts. However, the concept of art as a reflection of culture may take many forms and thus has the potential for ambiguity. Culture, as defined by the social sciences, is the complex of knowledge, beliefs, mores, customs, laws, and social institutions held by human beings as a part of society. Culture, in this sense, does not refer to what is commonly known as high culture, except as high culture is included in the …

The Nature Of Philosophical Criticism, Ann L. Sherman

Journal of Social Theory in Art Education

Nielsen challenges philosophers to examine the nature of philosophy. He criticizes them for adhering to 'philosophy for philosophy's' sake and points out the non-neutrality of philosophy. Nielsen and other radical philosophers ask: In what sense are the concepts and distinctions which philosopher address 'ordinary'? What are the societal influences on the formation of their discourse? What are the societal consequences of their discourse? Can philosophy be conceived in such a way as to perform a critical service to society? and In what ways does or should philosophy interface with other disciplines?

The Getting Of Taste: A Child’S Apprenticeship, Cathy Brooks

Journal of Social Theory in Art Education

Childhood art experience reflects an apprenticeship to the taste systems which a child's family and the public school subscribe to. This paper sketches my own taste experiences as a school child advancing from age six to eleven. Taste is used here to mean a person's ability to discern among alternatives. Taste judgments rely on not only aesthetic criteria but also status and economic criteria that are part of the social context in which one makes choices in objects and images. Understanding this childhood apprenticeship reveals some of the factors influencing participation in art activity and aesthetic choice. I will outline …

Carl Jung: A Formalist Critique, Harold J. Mcwhinnie

Journal of Social Theory in Art Education

I will present a review of the basic thoughts of Carl Jung and outline his research in areas such as psychological types and the uses of symbols in art. Special attention will be placed on his discussions of Schiller's work on aesthetic play. His work on the psychological types will be related to research in art education with the Myers-Briggs tests. His work on symbols in art will be related to the new and growing interest of art education in the whole field of Creative Arts Therapy. Jung's influence on art education will be discussed within the historical and philosophical …

A Socially Relevant Art Education, Lanny Milbrandt

Journal of Social Theory in Art Education

In view of the foregoing arguments for art education in a social context one might ask: do art educators bear a responsibility for the shaping of a society? If one agrees that such a responsibility is within our jurisdiction, the next question must be: what is our potential sphere of influence and activity in this realm of responsibility and how do we get on with the job? Art educators must develop a commitment to socially responsive goals and take active roles to enable those goals to be realized.

Why Art Education Lacks Social Relevance: A Contextual Analysis, Robert Bersson

Journal of Social Theory in Art Education

Contemporary art education is individual - focused (i.e. self-centered) to the almost complete exclusion of larger social concerns. This is true whether the art education is child-centered, discipline-centered, Rockfeller (Coming to Our Senses) - centered, or competency-based. The primary concern, notwithstanding differences, is on individual artistic productivity and, to a lesser degree, on personal aesthetic response. The enormous untapped potential of art education - and ninety-nine percent of us will be viewers and consumers, not artists - is in the social dimension. Critical understanding of the dominant visual culture - often dehumanizing in its effect, multicultural understanding through art, and …

Needed: A New View Of Art And Emotions, Ann Sherman

Journal of Social Theory in Art Education

Progressives have often neglected or purposely ignored the role of art and emotions in their analyses. Recently, however, critical theorists like Max Horkheiner and Theodore Adorno have focused on the place of the "subjective" (which usually includes art and emotions) in the economic framework of society. That such individuals have attempted to include art and emotions in their broad political/economic dimension is especially important for progressive art educators to pursue at this point in history. Art therapy programs which do not include a political/economic analysis of the images produced or the emotions expressed are becoming a significant entity within our …

The Creative Process: A Symposium, Charlotte B. Winsor

Books

A collection of papers encompassing an education conference about the creative process, in honor of Lucy Sprague Mitchell - founder of Bank Street College. The collection examines the creative process theoretically through psychodynamic and Piagetian viewpoints, as well as the effects of creativity on cognition and development. The works cover a large range of discussions on creativity and include an array of studio-workshop reports using music, food, needlework, and many more materials to stimulate creativity.

The Potential Of The High School Art Education Program For Developing A Transferable Problem-Solving Creativity Applicable To Business And Industry, Glenn K. Whitman

All Master's Theses

This paper is a Documentary Research Paper using authorities on the subjects of art education, the recognition of creative potential and development of creativity, and the need and uses of creativity transferable to problem-solving in business and industry to substantiate the hypothesis that high school art education programs have more potential for developing a creative, transferable problem-solving ability that is needed in business and industry.

The consensus of the authorities was that:

(a) There is a definite need for problem-solving creativity and the creativity and the confidence that this ability can instill in a person when making decisions in business …

The Effects Of A Varied, Short Term Art Program On The Attitudes Of Pupils In A Juvenile Detention Center, Sigrid B. Sowell

All Master's Theses

This study concerned 50 secondary students in a school art program in a juvenile detention institution. These students were administered a nine-item, five-choice pretest-posttest questionnaire to measure attitude changes toward art and school as a result of a varied, short term art program designed for their needs. The program was structured to be motivational and to insure success for reach individual student. Pupil attitudes toward art and school were found to be more positive in all areas.

Careers In Graphic Design, Joe Drovetto

All Master's Theses

This paper presents an illustrated brochure on careers in graphic design. The study includes the investigation of the number of possible professions in graphic design, definition of each specific profession, education and training necessary to qualify in each area, and a listing of further sources of information. The study also includes a series of creative visual illustrations to represent each area of graphic design.

Selected Experiences And Teaching Procedures, Using Clay As A Medium, For Developing Creativity In The Nine-To-Eleven Year-Old, Linda Claire Hohn

All Master's Theses

In the opinion of the investigator, the experiment reported reinforces the hypothesis that greater imagination and creative ability can be fostered in the nine-to-eleven year-old through giving primary consideration to the developmental needs of this age group when presenting a medium. Also that a systematically structured approach to the use of the medium facilitates the child's creative growth and makes progress an unavoidable issue.

Luminous Multiple And Serial Systems As An Expression Of The Infinite, James Bradley Barnaby

All Master's Theses

The visual expression of the infinite; the feeling of endless and inexhaustable progression or the relation of all works is my primary concern.

A Study Of The Influence Of The Lyrical Prose Novels Of Virginia Woolf And Hermann Hesse On The Creative Process In Intaglio Printmaking, Kathleen Heather Embree

All Master's Theses

It is the purpose of this study (1) to emphasize the complementary union between literature and the visual arts; (2) to limit the exploration to those specific lyrical prose writers: Hermann Hesse and Virginia Woolf; (3) to create prints utilizing the novel as a source of image-gathering but which do not retain this identity in the finished work; (4) I to experiment with the division of the plates, as well as cutouts for the effect of creating spatial illusion or imaginary space.

A Study Of The Revival Of The Arts And Crafts Of The Yakima Indian Nation, Rosa Mae Winder

All Master's Theses

It is the purpose of this research to study the steps which have been taken to revive the arts and crafts of the Yakima Indian Nation. It is a study to discuss the recognized and accepted values of art education, namely: (a) The aesthetic value (b) The cultural value (c) The therapeutic value (d) The vocational and avocational value to those "gifted” and/or interested in the arts.