1,480,243 research outputs found
HeartLines Issue 1 (April 2023)
https://digitalcommons.sacredheart.edu/heartlines/1000/thumbnail.jp
HeartLines Issue 2 ( Dec 2023)
https://digitalcommons.sacredheart.edu/heartlines/1001/thumbnail.jp
The role of transformative leadership between teacher and student in the context of the senior secondary art studio
Senior art students enter into an intensive relationship with their art teacher who initially acts as a mentor during the preparation of their senior art folio. There is limited existing research describing the transformative process which occurs between the student and the teacher in their preparation of the students' senior art folio. This pilot study provides important insights into: the role of the senior art teacher; the transformative relationship between the student and teacher; the dynamics of the collaborative process; and the creation of the senior art folio which is the 'third entity' from this process. This transformative relationship is necessary to foster growth and allow the senior art student to progress and excel in their chosen form of expression.
The senior art teacher is largely responsible for much of what senior art students produce by the artworks they expose them to and the subject matter they permit. In this research the collaborative and inherently creative nature of the teacher/student relationship results in an art portfolio which is a visible and tangible record of this process. The conceptual framework and methodology for this project is case study. The social phenomenon of collaboration was investigated through an examination of two case studies, each with a unique context. Data were collected, analysed and presented in a narrative form to provide the reader with the essence of each of the case studies leading to an understanding of how the collaborative process has operated between the senior art teacher/senior art student in each school. Case study methodology has been chosen because it is 'a way of organising social data for the purpose of viewing social reality' (Best & Kahn, 2006, p. 259)
The findings of this research will enhance the experience for both senior art students and teachers by clearly describing the complexities involved in transforming the student's perception of themselves from student to emerging artist. This identification will allow senior art students to re-contextualise the impact of their work resulting in a professionalisation of their student experience. Approaching senior art in this manner will result in a transformation of the teacher - student relationship. This will also allow for a more seamless transition into any arts profession which the student may pursue, but will also provide important skills concerning leadership, communication, support, skills and expertise which can be transferred to any sector
Exploring Art Student Teachers’ Fictions of Teaching: Strategies for Teacher Educators
Using portions of my research involving three art student teachers, I provide suggestions for strategies to examine preservice art student teachers’ fictions about teaching (art). First, I begin by briefly introducing my three participants and listing my research methods. Next, I describe three of the most common teaching fictions I found through analyzation of the data. I discuss the productive usefulness, as well as a few procedures, of employing visual culture as a catalyst for unfolding student teachers’ (un)conscious pedagogical fictions. Then, I describe how creating illustrations of the self as art teacher can further help explore fictions of teaching. Lastly, I end by discussing how important it is to have a supportive space to talk and theorize with student teachers about their continuous processes of identity (re)formation and to work through the anxieties of the profession of teaching art
Creating Digital Art History: Library, Student, and Faculty Collaboration
Over the last two decades, teaching, learning, and research in higher education have developed a growing digital presence. Digital development in the humanities has been slow relative to most other areas in academia, and with some exceptions, art and art history have enjoyed slow digital growth within the humanities. Within this environment, the article here presents one collaborative model for digital art history, rare in its exclusive focus on undergraduate “junior scholars”. Undergraduate senior-level art history and studio art students at Providence College collaborate annually with art history and studio art faculty to publish their senior theses in print format as the Art Journal. In the last few years, students, faculty, and digital library staff have enhanced this collaboration to include the publishing from process to product of the Art Journal as a complementary digital Art Journal. They collaborate in creating digital art history and digital studio art in order to bring exponentially greater meaning, significance and visibility to the students’ senior culminating works through real-world digital publishing, including quality control, copyright issues, and ideas related to persistent access and ongoing global visibility for the scholarly and creative works, and for the student scholars. These students function as real-world collaborative scholarly partners in publishing their culminating academic and artistic work globally, and persistently accessible in Providence College’s digital repositories. This case study evidences engagement in meaningful digital knowledge creation focused on the intellectual and creative output of student-scholars and student-artists (art historians and studio artists) as a model for other student-faculty-digital library professional collaborations.
Note: Full text document is a pre-print version of article due to publisher rights. Publisher\u27s version available at the following citation:
Bailey, D. Russell. Creating Digital Art History: Library, Student and Faculty Collaboration . The International Journal of New Media, Technology, and the Arts. Volume 10. Issue 2. 2015. pp. 1-10.
Ninth International Conference on the Arts in Society website:
http://artsinsociety.com/the-conference-201
From Dynamic to Expressionism: An Arts Integration Study
The classroom based study “From Dynamic to Expressionism: An Arts Integration Study” was designed to answer the question; Will implementing an interdisciplinary art and music unit affect the level of student confidence in understanding expressionism in art? The researcher implemented an interdisciplinary art unit in two inner-city second grade classes. Throughout the study a survey was used for students to assess their confidence level and a checklist was used to observe student confidence during class time
More than just art on the walls: Enhancing Fine Arts Pedagogy in the Academic Library Space
At a medium sized university with a small department of art and no specific art library, art majors and minors can feel that they have no place within the academic library. At Valparaiso University, a collaboration between the university’s Department of Art and library culminated in a Student Art Purchase Award. Faculty from both departments collaborated to create an experiential learning opportunity that includes the application process, production and finishing of fine art pieces on a professional level. This ongoing, annual, experiential learning opportunity culminates in a juried art presentation, and purchasing of art for a permanent art collection within the library. An exploration of the varied responsibilities that come with changing a space and the effects of new art representation within the space of the library will be examined from the student and faculty side. While not considered traditional collaborative space, both groups change the physical environment of the library space favorably
More than just art on the walls: Enhancing Fine Arts Pedagogy in the Academic Library Space
At a medium sized university with a small department of art and no specific art library, art majors and minors can feel that they have no place within the academic library. At Valparaiso University, a collaboration between the university’s Department of Art and library culminated in a Student Art Purchase Award. Faculty from both departments collaborated to create an experiential learning opportunity that includes the application process, production and finishing of fine art pieces on a professional level. This ongoing, annual, experiential learning opportunity culminates in a juried art presentation, and purchasing of art for a permanent art collection within the library. An exploration of the varied responsibilities that come with changing a space and the effects of new art representation within the space of the library will be examined from the student and faculty side. While not considered traditional collaborative space, both groups change the physical environment of the library space favorably
Method and Meaning: Selections from the Gettysburg College Collection
What is art historical study and how it should be carried out are fundamental questions the exhibition Method and Meaning: Selections from the Gettysburg College Collection intends to answer. This student-curated exhibition is an exciting academic endeavor of seven students of art history majors and minors in the Art History Methods course. The seven student curators are Shannon Callahan, Ashlie Cantele, Maura D’Amico, Xiyang Duan, Devin Garnick, Allison Gross and Emily Zbehlik. As part of the class assignment, this exhibition allows the students to explore various art history methods on individual case studies. The selection of the works in the exhibition reflects a wide array of student research interests including an example of 18th century Chinese jade chime stone, jade and bronze replicas of ancient Chinese bronze vessels, a piece of early 20th century Chinese porcelain, oil paintings by Pennsylvania Impressionist painter Fern Coppedge, prints by Salvador Dalà and by German artist Käthe Kollwitz, and an early 20th century wood block print by Japanese artist Kawase Hasui. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1014/thumbnail.jp
Quantifying Changes in Creativity: Findings from an Engineering Course on the Design of Complex and Origami Structures
Engineering educators have increasingly sought strategies for integrating the arts into their curricula. The primary objective of this integration varies, but one common objective is to improve students’ creative thinking skills. In this paper, we sought to quantify changes in student creativity that resulted from participation in a mechanical engineering course targeted at integrating engineering, technology, and the arts. The course was team taught by instructors from mechanical engineering and art. The art instructor introduced origami principles and techniques as a means for students to optimize engineering structures. Through a course project, engineering student teams interacted with art students to perform structural analysis on an origami-based art installation, which was the capstone project of the art instructor’s undergraduate origami course. Three engineering student teams extended this course project to collaborate with the art students in the final design and physical installation.
To evaluate changes in student creativity, we used two instruments: a revised version of the Reisman Diagnostic Creativity Assessment (RDCA) and the Innovative Behavior Scales. Initially, the survey contained 12 constructs, but three were removed due to poor internal consistency reliability: Extrinsic Motivation; Intrinsic Motivation; and Tolerance of Ambiguity. The nine remaining constructs used for comparison herein included:
• Originality: Confidence in developing original, innovative ideas
• Ideation: Confidence in generating many ideas
• Risk Taking: Adventurous; Brave
• Openness of Process: Engaging various potentialities and resisting closure
• Iterative Processing: Willingness to iterate on one’s solution
• Questioning: Tendency to ask lots of questions
• Experimenting/exploring: Tendency to physically or mentally take things apart
• Idea networking: Tendency to engage with diverse others in communicative acts
• Observing: Tendency to observe the surrounding world
By conducting a series of paired t-tests to ascertain if pre and post-course responses were significantly different on the above constructs, we found five significant changes. In order of significance, these included Idea Networking; Questioning; Observing; Originality; and Ideation. To help explain these findings, and to identify how this course may be improved in subsequent offerings, the discussion includes the triangulation of these findings in light of teaching observations, responses from a mid-semester student focus group session, and informal faculty reflections. We close with questions that we and others ought to address as we strive to integrate engineering, technology, and the arts. We hope that these findings and discussion will guide other scholars and instructors as they explore the impact of art on engineering design learning, and as they seek to evaluate student creativity resulting from courses with similar aims
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