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1. Instructional Leadership, Connoisseurship and Critique: Using an Arts-Based Approach to Extend Conversations about Teaching (EJ811436)
Author(s):
Kelehear, Zach
Source:
International Journal of Leadership in Education, v11 n3 p239-256 Jul 2008
Pub Date:
2008-07-00
Pub Type(s):
Journal Articles; Reports - Descriptive
Peer-Reviewed:
Yes
Descriptors: Handicrafts; Teacher Effectiveness; Art Criticism; Instructional Leadership; Teaching Methods; Pilot Projects; Art Expression; Aesthetics; Teaching Experience; Principals
Abstract: Recent teacher effectiveness research supports the notion that students learn best from teachers who can be characterized as managing both the craft and the artistic dimensions of learning. Additionally, there is a body of research that has examined possible strategies instructional leaders might use to support the development of the craft dimension. It is less clear, however, in what ways leaders might address the artistic dimensions of the classroom performance when working with teachers. Rooted in a theory of qualitative inquiry, the author presents a model for instructional leadership practice as connoisseurship and couples that private practice with the Feldman Method for art criticism to make public what is observed in classrooms. The results from a pilot study focusing on the level of implementation of arts-based leadership are included. (Contains 1 figure and 4 tables.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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2. Wellbeing and Education: Issues of Culture and Authority (EJ757679)
White, John
Journal of Philosophy of Education, v41 n1 p17-28 Feb 2007
2007-02-00
Journal Articles; Opinion Papers
Descriptors: Art Criticism; Aesthetics; Citizenship; Educational Philosophy; Well Being
Abstract: The idea that education should equip people to lead flourishing lives and help others to do so is now becoming salient in policy-making circles. Philosophy of education can help here by clarifying what flourishing consists in. This essay examines one aspect of this. It rejects the view that wellbeing goods are derivable from human nature, as in the theories of Howard Gardner and Edmond Holmes. It locates them, rather, as cultural products, but not culturally-relative ones, drawing attention to the proliferating forms they have taken over the past three or four centuries. It looks to aesthetics and art criticism as a guide to a philosophical treatment of wellbeing goods more generally. It also takes off from aesthetics and art criticism in seeking to identify reliable authorities on the flourishing life. On this, it rejects elitist conceptions in favour of a more democratic model, emphasising its importance in education for citizenship. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
3. "A New Way of Looking?" Reflections upon One Teacher's Experience of Supporting Learners Using Handheld Computers (EJ817638)
Burkett, Ellie
Educational Action Research, v16 n4 p481-493 Dec 2008
2008-12-00
Journal Articles; Reports - Evaluative
Descriptors: Handheld Devices; Educational Technology; Electronic Learning; Computer Assisted Instruction; Art Education; Foreign Countries; Influence of Technology; Secondary Schools; Disadvantaged Schools; Urban Schools; Design; Secondary School Teachers; Action Research; Art Teachers; Teacher Researchers; Arts Centers; Art Criticism; Program Evaluation; Student Attitudes; Interviews
Abstract: This article explores the experiences of students who used interactive learning material on handheld computers in a gallery to support their understanding and appreciation of artwork. The article considers the wider implications of using technology to change relationships between teacher, learners and subject matter, and attempts to offer positive and pragmatic recommendations about the implementation of new technology into established educational contexts. Research was undertaken as part of the ICT Test Bed Project, set up by the DfES (UK Department for Education and Science) and funded by Becta (British Education Communications Technology Agency). Initial findings from this project are likely to be of interest to those exploring how mobile technology can be used to support the Government's wider agenda for educational reform and offer a practitioner's critical perspective on the possibilities and challenges offered by their use. (Contains 2 figures.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
4. Aesthetic Encounters: Contributions to Generalist Teacher Education (EJ801222)
White, Boyd
International Journal of Education & the Arts, v8 n17 p1-28 Dec 2007
2007-12-23
Descriptors: Preservice Teacher Education; Art Criticism; Aesthetics; Art Education; Classroom Techniques; Learning Experience; Art Products; Aesthetic Education
Abstract: This article describes the learning experiences of three pre-service teachers within a university-level course entitled "Aesthetics and Art Criticism for the Classroom." Discussion is focused on the nature of the meaning-making that emerges from aesthetic encounters and its educational value. Specifically, what can pre-service generalist teachers learn from aesthetic encounters that they may ultimately apply in their own classrooms? For evidence of emergent meaning-making I rely on examination of what I call "aesthetigrams". These are essentially maps of one's encounter with an artwork. They provide a basis for reflection on the encounter, for the student and for myself as the instructor, as well as insights into the nature of aesthetic learning. (Contains 6 figures and 5 footnotes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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5. Hypermediated Art Criticism (EJ772107)
Taylor, Pamela G.; Carpenter, B. Stephen, II
Journal of Aesthetic Education, v41 n3 p1-24 Fall 2007
2007-00-00
Descriptors: Art Criticism; Art Products; Aesthetics; Information Technology; Access to Information; Hypermedia; Television; Films; Computer Software; Visual Arts
Abstract: Technological media catapults our perception into what Marshall McLuhan called "new transforming vision and awareness." As our lives become more and more immersed in such technologies as television, film, and interactive computers, we find ourselves inundated with a heightened sense of mindfulness--an aesthetic experience made possible through such computer technological characteristics as hyperlinks, hypermedia, and hyperreality. In these terms, the prefix "hyper" represents various linking devices inherent to computer technology that allure and transport us between, above, below, and toward vast areas of information, places, and peoples. Hypermediacy, according to Bob Cotton and Richard Oliver, is "an entirely new kind of media experience born from the marriage of TV and computer technologies. Its raw ingredients can be brought together in any combination. It is a medium that offers random access; it has no physical beginning, middle, or end." In other words, there is no set or static structure inherent in technological media. It is not so much an "anything goes" apparatus as it is an "anything is possible" system. The seemingly vast possibilities inherent to technological media offer us many and alternate views of the world.(Contains 10 figures and 46 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
6. An Arts-Integrated Approach for Elementary Level Students (EJ757097)
Brown, Susannah
Childhood Education, v83 n3 p172 Spr 2007
Descriptors: Teaching Methods; Elementary Education; Integrity; Art History; Art Criticism; Fine Arts; Experiential Learning; Art Activities; Art Education; Interdisciplinary Approach; Educational Change; Learning Strategies; Teacher Collaboration
Abstract: A focus on school reform within the field of elementary education has brought an arts-integrated approach to teaching and learning to the forefront. This is not a new approach, as integrating what many call "hands-on activities" in the classroom is quite common. The difference lies in the quality and depth of the approach to teaching and learning, as it has expanded beyond art-making activities to include art history knowledge, art criticism and analysis, and the process of aesthetics in the classroom. Another difference in this new wave of school reform as it addresses the arts in education, is the focus on the integrity of the arts form. For the purposes of this article, "arts integration" refers to a unit of study that focuses on the arts as a way of learning in other disciplines, involving creative, imaginative, experimental and purposive and collaborative interaction, and focusing on the integrity of the arts forms and life-centered issues. In this article, the author discusses arts integration and briefly maps out a possible arts integration unit of study that illustrates the definition described above. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
7. Aesthetics and Humean Aesthetic Norms in the Novels of Jane Austen (EJ784580)
Dadlez, Eva M.
Journal of Aesthetic Education, v42 n1 p46-62 Spr 2008
2008-00-00
Descriptors: Aesthetics; Novels; Art Criticism; Art Appreciation; Social Values; Authors; Fiction
Abstract: During the eighteenth century, amateurs as well as philosophers ventured critical commentary on the arts. Talk concerning taste or beauty or the sublime was so much a part of general discourse that even novelists of that era incorporated such subjects in their work. So it would not be surprising to find that perspectives on aesthetics are sometimes presented in the novels of Jane Austen. In this article, the author argues that the strongest correlations and correspondences are in fact between Austen's and Hume's positions on aesthetics. Evidence in support of a Kantian analysis is first canvassed and later compared with claims in favor of a Humean alternative. The author establishes that the positions on taste and beauty and delicacy that are explicitly stated in or can be inferred from Austen's novels fit a Humean model--and fit it with a fair degree of precision. In doing so, she hopes to demonstrate a correspondence strong enough to serve as the staging area for the further speculations that constitute the second thesis of this article. The effort is not to establish some exclusive series of correspondences between Jane Austen's and Hume's normative stance, either in ethical or in aesthetic contexts, but to make a point about degree of fit, the case for which is largely cumulative. (Contains 25 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
8. Pierre-Auguste Renoir: "Woman with Parrot" (La Femme a la Perruche) (EJ779340)
Fisher, Stacy
SchoolArts: The Art Education Magazine for Teachers, v107 n4 p29-32 Dec 2007
2007-12-00
Descriptors: Empathy; Art Education; Artists; Aesthetics; Individual Characteristics; Painting (Visual Arts); Art Criticism; Art Appreciation; Art Activities
Abstract: In this article, the author profiles Pierre-Auguste Renoir and describes Renoir's work of art, "Woman with Parrot". Renoir gained a reputation among peers for taking exceptional pleasure in painting, and his style was said to celebrate beauty and sensuality. He is recognized for showing significant empathy for the sitters in his portraits, and for capturing the spirit of group scenes one might see while people-watching in a cafe or park. According to his son, he was like a human sponge, absorbing everything that had to do with life. In "Woman with Parrot", the woman wears a black dress with accents of red ribbons. She seems to be alone in a room, except for the parrot perched on her finger. The woman's free hand appears in motion as if she is feeding or petting the bird. As with many portraits, this painting asks the viewer to empathize with its subject. (Contains 4 resources.) [This article was produced by Davis Publications, Worcester, MA.] Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
9. Aesthetic Development: A Cognitive Experience (EJ740304)
Heid, Karen
Art Education, v58 n5 p48-53 Sep 2005
2005-09-00
Descriptors: Cognitive Processes; Aesthetics; Art Teachers; Art Criticism; Aesthetic Education; Interpersonal Relationship; Sensory Experience
Abstract: One of the most challenging concepts for preservice and experienced art teachers is to comprehend the difference between aesthetics and art criticism. In this article, the author discusses aesthetics from a historical perspective and reflects on how it can be defined and used in the art classroom. Gardner's (1983) intrapersonal and interpersonal proclivities can be further compared to aesthetics and criticism. This article further suggests teaching aesthetics and art criticism in a sociocultural setting elevates cognition. By creating and studying how art relationships are formed with other people in the classroom, in the places where others live, at their work and play, and with the things that are important to those people, students begin to know both themselves and others in more powerful and meaningful ways. Their world becomes one of interpersonal and intrapersonal interaction--a place where aesthetic understanding can be authentic understanding. In this type of sociocultural learning, aesthetics enables students to engage deeply in both their personal and interactive learning. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
10. A Visual Culture: Approach to Art Education (EJ789047)
Knight, Wanda B.; Keifer-Boyd; Amburgy, Patricia M.
SchoolArts: The Art Education Magazine for Teachers, v106 n6 p36-39 Feb 2007
Descriptors: Art Education; Color; Art Criticism; Critical Viewing; Cultural Pluralism; Visual Aids; Visual Arts; Selection; Culturally Relevant Education; Cultural Awareness
Abstract: People are immersed in visual culture and, therefore, are usually not aware of how power and privilege are enacted and how they operate in works of art from past and present times. Two premises infuse individuals' thinking on visual culture. First, that an activity-based approach to its study seeks to recognize how power and privilege function in artworks and other forms of visual culture that they encounter. Second, that specific strategies are needed to see how the kinds of decisions teachers make and the kinds of action they take in their artrooms can either challenge or contribute to power and privilege in visual culture and to systems of power and privilege that permeate every classroom. In this article, three authors--Wanda Knight, Karen Keifer-Boyd, and Patricia Amburgy--offer some practical suggestions for promoting active examination of visual culture through the selecting, the making, and the critiquing of art. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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