Visual arts, technology and education : how can teaching and learning in high school visual arts classrooms be enriched by the use of computer technology?

Whilst a variety of studies has appeared over the last decade addressing the gap between the potential promised by computers and the reality experienced in the classroom by teachers and students, few have specifically addressed the situation as it pertains to the visual arts classroom. The aim of this study was to explore the reality of the classroom use of computers for three visual arts highschool teachers and determine how computer technology might enrich visual arts teaching and learning. An action research approach was employed to enable the researcher to understand the situation from the teachers' points of view while contributing to their professional practice. The wider social context surrounding this study is characterised by an increase in visual communications brought about by rapid advances in computer technology. The powerful combination of visual imagery and computer technology is illustrated by continuing developments in the print, film and television industries. In particular, the recent growth of interactive multimedia epitomises this combination and is significant to this study as it represents a new form of publishing of great interest to educators and artists alike. In this social context, visual arts education has a significant role to play. By cultivating a critical awareness of the implications of technology use and promoting a creative approach to the application of computer technology within the visual arts, visual arts education is in a position to provide an essential service to students who will leave high school to participate in a visual information age as both consumers and producers.

The visual arts: ways of seeing

In this chapter, Felicity McArdle provides a framework for planning,implementing and assessing quality experiences in the visual arts. She describes the importance of embedding Indigenous perspectives and knowledge in the curriculum and how to a build a repertoire of resources and practical ideas to assist children to become eff ective communicators through the use of symbol systems for meaning-making.

Ambivalent realities : postcolonial experiences in contemporary visual arts practice

This practice-led research project investigates how new postcolonial conditions require new methods of critique to fully engage with the nuances of real world, 'lived' experiences. Framed by key aspects of postcolonial theory, this project examines contemporary artists' contributions to investigations of identity, race, ethnicity, otherness and diaspora, as well as questions of locality, nationality, and transnationality. Approaching these issues through the lens of my own experience as an artist and subject, it results in a body of creative work and a written exegesis that creatively and critically examine the complexities, ambiguities and ambivalences of the contemporary postcolonial condition.

Visual arts learning with iPads

In this chapter Knight & Dooley discuss arts learning and issues of educational authenticity via children’s engagement with iPads (O’Mara & Laidlaw 2011; Shifflet, Toledo & Mattoon 2012). The chapter begins by considering common perceptions about art and how these popular beliefs and conditions affect and influence how children’s art is defined and valorized. The art produced by children using iPads is then discussed through key observations and reflections, and the chapter concludes with some recommendations when selecting apps for making art.

The modern primitive and the antipodes: The visual arts and Oceania

In a book seeking to redraw the boundaries between interdisciplinary and transnational modernisms, this chapter contributes to the reorientation in modernist studies by revisiting "primitivism." While no one freely identifies as “primitive,” the spectre of primitivism was a magnet of attraction as well as of critical refusal. It resided on the knife-edge of envy and denunciation, as well as for the projection of alternate imaginative utopias and the worst forms of racial chauvinism. This chapter asserts that primitivism endures as a provocation as much as a utopian aspiration, but it also provides a different understanding of cultures on the "periphery", which is how Antipodean art history has understood itself. The spectre of primitivism not only amplifies the quandaries of modernist cultures—both alerting one to the aesthetic alternatives to modernist cultures, yet also highlighting the fate of traditional culture pitted against modernist cultures, it also suggests the quandaries of a peripheral modernity.

Transition: Exchange establishing a visual arts practice based on personal pedagogy

There is a perceived tension in the relationship between the roles of art teacher and artist that led to the question: can an art teacher use their professional training and experience to establish an authentic artistic identity? This self-study tracked and analysed how the process of making her own art enabled an art teacher to also identify as an artist. Drawing on Lamina, the public exhibition of her multimedia artworks, the final exegesis proposes five conditions for art teachers in developing their own art practice: developing an identity as artist, using time and space mindfully, tolerating uncertainty, mentoring, and privileging the process.

Study of the images for the Visual Arts Education in Secondary Education textbooks: educational implications

In this paper we present the first data from the research conducted to determine the relationship between traditional visual arts and other forms of visual culture closer to the experiences of high school youth. The hypothesis of this research is that while students are nurtured and live primarily with the images provided by the media culture, their textbooks basically refer to the more traditional art images. The research has been limited to a review and analysis of the most common educational materials for teaching visual arts in high school. After the systematization and analysis of the images appeared in textbooks, we have detected three major types: the artistics, those who belong to media culture and others. The most relevant conclusions indicate that: there are hardly any connections between different types of images, they offer a very traditional view of art and they are far removed from the experiences of young book users.

Artistic proposals of visual arts of Ecuador since the second half of the twentieth century to the present

This article is the result of a research that analyzes the most important artistic proposals of Visual Arts in Ecuador, since the second half of the twentieth century to the present. Through literature review and data collection held in the city of Guayaquil, we could determine their influence and impact on the circuit of contemporary art. The instruments used for data collection were depth interviews that were done to experts in the field. Like surveys of attendees at different artistic events (exhibitions, permanent exhibitions, seminars), allowed to establish the social interests of those proposals. The methodology was mixed approach, quantitative and qualitative data were used.

Regarding the Real: Cinema, Documentary, and the Visual Arts

Regarding the Real: Cinema, Documentary, and the Visual Arts develops an interdisciplinary approach to documentary film, focusing on its cultural and formal relations to other visual arts, such as animation, assemblage, photography, painting, sculpture, and architecture. The book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form, an unstable expressive phenomenon that cannot but interrogate the validity of its own narratives and representational modes. Combining close analysis with cultural history, Regarding the Real calls for a re-assessment of the influence of the modern arts in subverting the structures of realism typically associated with documentary filmmaking.

Post-Conflict Performance, Film and Visual Arts:Cities of Memory

This book examines how contemporary theatre, performance, film and the visual arts respond to the post-conflict condition. The contents of the volume focus on a range of post-conflict cities, encouraging interdisciplinary discussion on the role of the arts and its relation to issues of testimony, witnessing, forgetting, representation, healing, reconciliation, agency, and metaphor. Contributors include: Thomas Elsaesser, Jane Taylor, Marvin Carlson, Rob Stone, Laurel Borisenko, Katarzyna Puzon, Miriam Paeslack, Emma Grey, Paula Blair, Zoran Poposki, Marija Todorova, Elena Carduro, and Paul Devlin.

Screening for success in a visual arts program.

Abstract: Little research has been directed towards determining means of predicting success in visual arts programs. Therefore, this study attemps to profile a typical successful student in a visual arts program, namely the Illustration & Design program at Dawson College. To this end, questionnaires, designed by the researcher, served to investigate the students' reasons for choosing the program as well as provide demographic data. In addition, students' personality types were investigated by means of the online Sternberg & Wagner Thinking Styles Inventory (SWTSI) questionnaire. Using the SPSS statistical software, an analysis was done to determine whether students who offer intrinsically motivated reasons for applying to the Illustration & Design program are those who also demonstrate greater academic success. Furthermore, grounding this study in Sternberg's theory of mental self governance, students' college grades were correlated to their personality type to determine if Type I personality types perform better academically than Type II or Type III (Zhang, 2005), The participants consisted of three cohorts (128 students form semester 1, 3 and 5) of the Illustration & Design program, as well as two comparison groups, one from the Fine Arts program (24 students), and another from the Business Administration program, a non-visual arts program at Dawson College (20 students).||Résumé: Les recherches portant sur l'identification de moyens qui permettent de prédire la réussite dans les programmes d'arts plastiques sont très rares. Par conséquent, cette étude tente de dresser le profil de l'élève type qui réussit dans un programme d'arts visuels, à savoir le programme Illustration & Design au Collège Dawson. À cette fin, des questionnaires conçus par le chercheur ont servi à déterminer les raisons pour lesquelles l'élève a choisi ce programme et ont permis de fournir des données démographiques. En outre, les étudiants ont été catégorisés par type de personnalité au moyen du questionnaire Sternberg & Wagner Thinking Styles Inventory (SWTSI). Grâce au logiciel statistique SPSS, une analyse a été effectuée afin de déterminer si les élèves dont la motivation comptait beaucoup dans leur choix du programme Illustration & Design étaient aussi ceux qui affichaient un taux de réussite plus élevé. En outre, en s'appuyant sur la Théorie d'autonomie de gestion mentale de Sternberg, cette étude avait pour but de corréler les résultats scolaires des élèves à leur personnalité afin de déterminer si les étudiants du Type de personnalité I avaient de meilleurs résultats scolaires que ceux de Type II et de Type III (Zhang, 2005). Les participants étaient composés de trois cohortes (128 étudiants des 1er, 3e et 5e semestres) du programme Illustration et Design ainsi que de deux groupes témoins, un groupe de 24 élèves du programme de Techniques de l'Administration, programme en dehors des arts visuels.

The nature of the highly artistic student in visual arts at secondary school /

This qualitative investigation examined the nature of 7 highly artistic visual arts students at 2 secondary schools in southcentral Ontario. Through interviews, questionnaires, observations, and artwork documents, this study attempted to understand these highly artistic students in terms of creativity, motivation, social and emotional perspectives, and cognitive processes. Data collection occuned over a 3-monlh period. and the data analysis program NVivo 7 was used for coding to develop themes and categories for organizing data. The findings of this study illustrate the significant place that \ isual arts can lake in the growth and development for the youth of today. Participants idcniificd dcxclopnig critical thinking and problem-solving skills, taking risks, and meeting challenges ilirouuh their engagement in the creative process. The transferability of these skills \\ as referenced to numerous aspects of their lives. By enhancing individual perspectives through the study of visual arts, their local and world connections were extended, and environmental and societal concerns evolved. In addition, the communicative opportunities that visual arts provided for these students in terms of personal expression provided emotional health and paths of personal discovery. Through the participants' production of artwork with the many stages this involves, combined with insight into their needs, the participants relayed miportant suggestions for programming enhancements and educational settmgs lor \ isiial arts classrooms. These suggestions are meaningful for educators and curriculum developers of the future.

Why do some adults change their minds about what is important in the visual arts? : a case study

This-~-case study used ethnographic-methodo-logy. --The research project was an introductory study of one adult's present and past experiences with the visual arts, exploring, in particular, the causes and processes that were related to the individual's changes of mind in order to develop an understanding of why that individual had changed her mind about what was significant in the visual arts. The individual who provided the data was a solid supporter of art galleries: female, middle-aged, graduate of university and college, married with two children, and living in an urban community. The data were collected from two informal conversational interviews and from a written description of one change experience selected by the participant. The individual had positive experiences with art during early childhood, in elementary and secondary school, during university, in avocational drawing and painting studio courses, and in aesthetic experiences. All of these experiences have had individual effects and, together, they have had a cumulative effect on the development of the participant's opinions and ideas about the visual arts. The experiences which had the most effect on the development of the individual's perspectives on the visual arts were handson studio, educational, and aesthetic experiences. Further research is suggested to investigate why some adults change their minds about the visual arts.

Virgil's fourth Eclogue and the visual arts

Virgil's poetry has frequently appeared in illustrated editions, and has regularly provided subjects for other works of art, including some of the most celebrated masterpieces of the western tradition. In view of its constant appropriation in literary contexts over the course of the centuries, we might expect the famous fourth Eclogue (the so-called ‘messianic’ eclogue) to have exerted more of an impact on visual culture than it appears to have done. This paper considers some of the possible reasons for the apparent scarcity of engagement with Virgil's poem beyond the literary sphere, and examines the uses to which the poet's text is put when it does make an appearance in visual media — perhaps more often than has sometimes been supposed.

Rome 1600: the city and the visual arts under Clement VIII

"Snapshot" of the city of Rome around 1600, with relation to the visual arts, especially the work of artists and architects such as Caravaggio, Annibale Carracci, Rubes, the Cavaliere d'Arpino, Federico Zuccaro, Giacomo della Porta and Carlo Maderno, as well as their patrons (Aldobrandini, Farnese, Giustinani, Mattei, Del Monte).