...Fine Arts Proposal Jennifer Rohrer St. Louis University INTRODUCTION Before we begin, I would like to introduce a few terms which will be used throughout this paper. First, visual art. In this paper, visual art refers to aesthetic art, such as drawing, painting, and sculpture. Second, “at- risk” youth, this refers to children who come from low socioeconomic backgrounds. They are typically a black or Hispanic minority, even though there have been cases of Caucasian children. They are also of low academic standing. Finally, success. Success in this research paper means the completion of high school. No Child Left Behind was put into place in hopes of closing the achievement gap between high and low socioeconomic children. States have been trying to figure out the best way to achieve this dilemma, but they have been going about it the wrong way. The legislators who are in charge of education are assuming all children learn the same. However, this is not the case. Children have many different ways which they learn. But because of this cookie cutter mold, curriculum is being designed to suit one type of child. This can cause boredom, under achievement, and discipline problems in other children (Lutfi and Repress, 2006). One way legislators have decided to design their curriculum, is to have education based on Math, Science, and English, eliminating other subjects such as Music and Art. This plan is not beneficial to anyone. Art education, especially through critiques...
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...THE ROLE OF ARTS EDUCATION IN NIGERIA Bojor B. Enamhe Cross River University Of Technology, Nigeria ABSTRACT This article explores the meaning of Arts and Education from different perspectives. After a careful exploration of the meaning of arts, the paper highlights the role of art in Education with special reference to Nigeria. Art empowers individuals with creative skills that widen the base of participation in the society, create jobs, self reliance, identity, communicates by creating, recording and transferring ideas. It builds and perpetuates social, religious, political and economic stability. On the basis of this, suggestions are offered for developing Art Education in Nigeria. Art Education is a basic and very important aspect of our Education and should not be treated otherwise. Art should be given premium like other subjects in the school curriculum. It should reflect a study of all ages, as this is vital in the development of individuals. Keywords: Art Education, Nigeria Education, Art Management. Introduction Education in Nigeria is vital and has been adequately challenged. The survival of this engine house which services the country should be a concern. According to Afigbo, “education is the aggregate of ideas, methods, institutions, facilities and personnel designed and deployed by society to teach its members how to get through life by doing or by nursing and realizing set goals” (2004). If the house is shaky, what happens to the...
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...Academic Standards for the Arts and Humanities Pennsylvania Department of Education 22 Pa. Code, Chapter 4, Appendix D (#006-276) Final Form-Annex A July 18, 2002 Academic Standards for the Arts and Humanities XXV. TABLE OF CONTENTS Introduction………………………………………….……. XXVI. THE ACADEMIC STANDARDS Production, Performance and Exhibition of Dance, Music, Theatre and Visual Arts…………..……………… A. Elements and Principles in each Art Form B. Demonstration of Dance, Music, Theatre and Visual Arts C. Vocabulary Within each Art Form D. Styles in Production, Performance and Exhibition E. Themes in Art Forms F. Historical and Cultural Production, Performance and Exhibition G. Function and Analysis of Rehearsals and Practice Sessions H. Safety Issues in the Arts I. Community Performances and Exhibitions J. Technologies in the Arts K. Technologies in the Humanities Historical and Cultural Contexts..……………………….. A. Context of Works in the Arts B. Chronology of Works in the Arts C. Styles and Genre in the Arts D. Historical and Cultural Perspectives E. Historical and Cultural Impact on Works in the Arts 9.1. F. Vocabulary for Historical and Cultural Context G. Geographic regions in the arts H. Pennsylvania artists I. Philosophical context of works in the arts J. Historical differences of works in the arts K. Traditions within works in the arts L. Common themes in works in the Arts Critical Response…………………………………………. A. Critical Processes B. Criteria C. Classifications D. Vocabulary for...
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...“ultimate” graduate profile. Following program chairs’ agreement, the material will go to the full faculty for discussion and vote. I will also gather input from Student Affairs so that we understand their contribution to the success of our students. Readings about assessment and what it is are attached.* As I mentioned earlier, we will be working our way through this process together, and developing our assessment program in relationship to the goals and values unique (and/or integral) to this institution. Additional readings are on reserve in the library, and an enormous amount of information is available on the web. *Distributed at the Program Chairs meeting on 9.9.2008 MISSION Maine College of Art delivers a demanding and enlivening education in visual art and design within an intimate learning community. We teach each student how to transform aspirations and values into a creative practice that serves as the foundation for a lifelong pursuit of personal and professional goals. VALUES o Maine College of Art’s educational philosophy is built on the premise that focused individual attention and meaningful collective inquiry produce the conditions in which students’ voices can find strength, clarity, and purpose. o Our faculty of practicing professional artists, designers, writers, and scholars are committed and passionate educators who consider their classrooms to be extensions of their creative work. o We give our students the tools they need to take risks...
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...Division of Fine Arts, Speech and Commercial Music Northwest College ARTS 1303 – Art History I CRN 42838 – Spring 2015 SPBR Campus - Room 602 / 8:00-9:30am / T,R Credit:3 / 3 hour lecture course / 48 hours per semester Course length : 16 weeks/ Type of Instruction Traditional (Face-to-Face) Instructor: David Swaim Instructor Contact Information: Email: david.swaim@hccs.edu Phone: (713) 718-5674 Due to changes in the state core curriculum this syllabus is subject to change!!!! Office location and hours SPBR room AD4 hours: 7:15-8:00 am and as per class discussion Please feel free to contact me concerning any problems that you are experiencing in this course. You do not need to wait until you have difficulties or have received a poor grade before asking for my assistance. Your performance in my class is very important to me. I am available to hear your concerns and just to discuss course topics. Feel free to come by my office anytime during these hours. Course Description This course is a global investigation of the styles and methods of artistic production covering Prehistoric through Gothic periods. Media studied include: drawing, painting, sculpture, architecture, printmaking, textiles, ceramics, and metal arts. Using this framework, universal themes are studied within their historical, political, economic, theological, sociological, and ethnic contexts. Prerequisites Must be placed into college-level reading and college-level writing Academic...
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.....................................12 Linkages................................................................................................14 Potential for growth...............................................................................15 Government regulations........................................................................16 Ethical Issues.........................................................................................17 Appendix................................................................................................18 Glossary................................................................................................18-19 Appendix 1 | Start up Expenses | | TWINKLING FINGERS SCHOOL OF ART | | | | | | | | | | | | | | | | |...
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...Palmer Cutbacks in Music, Art and Physical Education School is where we all gain basic knowledge. It is where we learn what we need to live and then get interested in what we will excel at later in life. Many students want to grow up to be a lawyer, doctor or a teacher but for some students, it is the dream of being a famous musician, artist or athlete. With education budget cuts and the motion for higher standardized test scores on the raise, many schools have been forced to cut some of their programs. Those hardest hit are music, art and physical education classes. The issue is that cutting these programs may do more harm to students than good. Studies have shown that music, art and physical activity have many positive effects on student development and learning. Physical education has become especially important today. With childhood obesity become an increasing problem, physical health and proper nutrition has become a great concern. Music and art also have also shown to have an impact on physical development. These are the classes and programs that promote creativity, self-expression and individuality, and for many students are the classes that they look the most forward to and are often the highlight of their day. By taking them away are we not robbing our students of the opportunity to learn through different mediums? What about the future musicians, artists and athletes? Are we not robbing...
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...Abstracts/Résumés pp. xv-xxi We Practice What We Preach: A Local History of a Community-Based, Student/Faculty Art Exhibition (2002-09) Elizabeth Auger Ashworth Nipissing University Daniel H. Jarvis Nipissing University Purpose of the Exhibitions Student-organized exhibitions hold the potential to greatly enhance the visual arts school curriculum. Burton (2004, 2001), for example, contends that there are a number of multi-faceted benefits for art students, art teachers, and for the art education program in general through the implementation of student-organized exhibitions. In Exhibiting Student Art (2004), he concludes: The key to successful student art exhibitions rests in the knowledge and skills students learn from doing it firsthand. . . . They need to immerse themselves in various aspects of art exhibition, from preparing and presenting art to other people to exploring alternatives of scale, venue, theme, and purpose. . . . When exhibitions of student art are presented well, parents, teachers, and administrators recognize and appreciate the value and meaning of art in the school curriculum. Exhibitions of student art convey a continuous message that the quality of ideas, the depth of issues, and the magnitude of expression are © 2009 CRAE - RCÉA & AUTHORS/AUTEURS 84 Elizabeth Auger Ashworth & Daniel H. Jarvis displayed along with and through art. (p. 46) Student art exhibition events can address socio-economic issues (Russell-Bowie, 2005), function as part of integrated...
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...19th Century Art Education, Industrial Art or Fine Art? Varick Taylor East Carolina University MAED Art 6800 History and Philosophy of Art Education Abstract As an art educator in the today’s public school system, I feel that it is my responsibility to introduce and allow my students to explore the arts from the past and the present. I want them to learn a variety of art making techniques and art history. I also want to prepare them for future by giving them exposure to possible career choices that utilizes the arts. Therefore I feel it is important that my art classes allow students to be exposed to both the fine arts and design fields of the 21st century. 21st century technology like 19th century industrialization has influenced art education methods. The use of technology in classes is increasing each year. We are using design software to create both designs and fine art assignments on computers. In the 19th century, industrialization was one of the most important reasons why art became a part of public school education. Government leaders and the industry wanted America to able to compete with the superior European imports. As a result they felt that requiring drawing as a subject in public schools would help the U.S. in competing with Europe and balance trade. Knowing how much they wanted America to produce better products, I was puzzled when the Massacusetts did not model its art education after the France, whom was considered the best in producing superior product...
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...HUMANITIES: FINE ARTS Section D M/W/F 11:15 AM–12:10 PM Section classrooms: Art: Goodman 204 Music: PPAC135 Theatre: Elder 146 Prof Anne Greeley anne.greeley@indwes.edu Beard, Office 115 Office hours: M/W 1:00–5:00 PM T/TH by appointment Prof Davy Chinn davy.chinn@indwes.edu PPAC, Office 164 Office hours: M/W 1:00–3:00 PM T/TH 10:30 AM–12:30 PM All others by appointment COURSE DETAILS Description MUS180 is an integrated arts appreciation course. It is part of the Humanities Core Curriculum. Each week, you will rotate between classes in art, music, and theatre appreciation (see p. 11 for course rotation schedule). Classes will be structured around a common topic or theme, enabling you to make connections between the different art forms. Required Course Texts Erwin Raphael McManus, The Artisan Soul: Crafting Your Life Into a Work of Art, HarperOne, 2014. Other texts as assigned, available via Learning Studio. Required Course Fee Our class field trip to the BSU David Owsley Museum on Jan. 22 will cost $10, due by Jan. 20 to Amanda Dyer in the BAC office. Prof Katie Wampler katie.wampler@indwes.edu Elder, Office 140E Office hours: M/W/F 12:10–1:25 PM W 2:30–3:30 PM T/TH 11:00 AM–1:30 PM Syllabus Contents Course details Learning outcomes Policies & expectations Course evaluation Museum Artwork Analysis paper Museum Art & Music Integration paper Mix-tape project Concert reports Theatre critiques Mix-tape project Arts Integration ...
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...Visualizing Research This page intentionally left blank Visualizing Research A Guide to the Research Process in Art and Design Carole Gray and Julian Malins © Carole Gray and Julian Malins 2004 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Carole Gray and Julian Malins have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as the authors of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hants GU11 3HR England Ashgate website: http://www.ashgate.com British Library Cataloguing in Publication Data Gray, Carole Visualizing research : a guide to the research process in art and design 1.Art – Research 2.Design – Research 3.Universities and colleges – Graduate work I.Title II.Malins, Julian 707.2 Library of Congress Cataloging-in-Publication Data Gray, Carole, 1957Visualizing research : a guide to the research process in art and design / by Carole Gray and Julian Malins. p. cm. Includes index. ISBN 0-7546-3577-5 1. Design--Research--Methodology--Handbooks, manuals, etc. 2. Art--Research--Methodology-Handbooks, manuals, etc. 3. Research--Methodology--Handbooks, manuals, etc. I. Malins, Julian. II. Title. NK1170.G68 2004 707’.2--dc22 ISBN 0 7546 3577 5 Typeset by Wileman Design Printed and bound...
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...Reem 2013 Active learning through play and creative arts Reem 2013 Active learning through play and creative arts Play and creative arts are important aspects of children’s learning that are being used in kindergartens. This action research project explores the using of play and creative arts in a kindergarten classroom. The purpose of this study is to evaluate and analyze how play and creative arts activities enhance and support children’s learning in literacy and numeracy lessons. Qualitative methods were used to gain data that reflect on the implementation of play and creative arts strategies and activities in teaching and the interpretation collected from participants. The three types of tools that used to collect data are observations, interviews and a reflective journal to ensure validity of results. After analyzing the data, two interrelated themes emerged. The first theme highlights the benefits of play and creative arts in early childhood. The second theme shows the benefits of using them can support literacy and numeracy development. Consequently play and creative arts seems to promote development in children’s learning processes and they also offer the learners’ confidence in their learning. To conclude, this study shows that play and creative arts may have positive effect in improving the children’s overall performance and attitudes. Play and creative arts are important aspects of children’s learning that are being used in kindergartens. This action research...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...THE RULES OF THE GAME: NOUVELLE EDITION FRANCAISE/THE KOBAL COLLECTION DEEP FOCUS CANON FODDER As the sun finally sets on the century of cinema, by what criteria do we determine its masterworks? BY PAU L SC H RA D E R Top guns (and dogs): the #1 The Rules of the Game September-October 2006 FILM COMMENT 33 Sunrise PREFACE THE BOOK I DIDN’T WRITE I n march 2003 i was having dinner in london with Faber and Faber’s editor of film books, Walter Donohue, and several others when the conversation turned to the current state of film criticism and lack of knowledge of film history in general. I remarked on a former assistant who, when told to look up Montgomery Clift, returned some minutes later asking, “Where is that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to...
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...THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times...
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