The Art Education area within the
Department of Fine Arts initiated a complete revision of its Graduate Art
Education Program in 1986. This program
was designed to reflect national trends.
This required a move from a media/product-based curriculum to a
content/process based curriculum. This
program revision was based on standards set by The National Art Education
Association (NAEA). Currently, the
· The study of art history develops an understanding and appreciation of art and artists, artists' intentions, cultural heritage, and contemporary social roles.
· The study of the artistic process through art production encourages experimentation and the development of skills and abilities with materials and learning concepts to help students convey their own ideas.
· The study of art criticism and aesthetics involves observation, organization, analysis, judgment, critical thinking skills, and the development of personal values.
The
Mission Statement for the
Central to this mission is:
• the development, expression, and evaluation of ideas
• the production, analysis and interpretation of visual images in an increasingly visually-oriented world
• the recognition and understanding of artistic achievements and expectations of civilized societies
• the perception and understanding of visual relationships in the environment, especially aesthetic relationships and the making of intelligent visual aesthetic judgments
• collaborating efforts between the
• expanding technology throughout the art curriculum in both content and pedagogy
The
· NASAD’s practice-oriented program - minimum 9 credit hours art education
EMU’s program has a 10 hour art education core
· NASAD’s practice-oriented program – minimum 15 credit hours in studio, art history, or additional art education
EMU’s program has 14-20 hours of art electives and/or cognates
· NASAD’s “…philosophy of art education and contemporary problems in art education”.
EMU’s program has a 10 hour art education core
FA 505 Curriculum Development/Art Education
FA 507 Studio Connections/Art Education
FA 508 Research in Art Education
FA 591 Special Topics
FA 694 Seminar in Art Education
· NASAD’s “…contemporary needs and developments in art and art education”.
EMU’s program has 14-20 hours of art electives and/or cognates
FA 505 Curriculum Development/Art Education
FA 506 ARTAG (Art for Talented and Gifted)
FA 591 Special Topics
FA 694 Seminar in Art Education
· NASAD’s “…final project indicating achievement within a specialized area of inquiry”.
FA 508 Research in Art Education
FA 691 Thesis
FA 698 Independent Study
· NASAD’s “…some graduate level courses of seminars in art history, criticism, or aesthetics”.
EMU’s program has 14-20 hours of electives and/or cognates
FA 504 Aesthetic Education
FA 694 Seminar in Art Education
In addition, the
a. Professional Organizations and Accrediting Agencies
• National Art Education Association
•
• The Getty Foundation
b. National educational goals that acknowledge that the Arts are important to the education of all students
• Goals
2000: Educate
• National Standards for Arts Education (2001) published by a Consortium of National Arts Education Associations (Music, Dance, Theatre, and Visual Arts)
c. State of
• Goals and Objectives for Arts Education (Revised 1990/1995/2001)
d. Department Committees
• Art Education Curriculum and Instruction Committee
• Assessment Committee
The knowledge base statement for the Master of Arts (Art
Education) program is based on the general knowledge base statement for the
Teacher
candidates have in-depth knowledge of the subject matter that they plan to
teach as described in professional, state, and institutional standards. They demonstrate their knowledge through
inquiry, critical analysis, and synthesis of the subject.
The Graduate Student should be able to:
· communicate at a proficient level in visual art. This includes knowledge and skills in the use of the vocabularies, materials, tools, techniques, and intellectual methods of each DBAE discipline.
· communicate proficiently in the four DBAE disciplines, including the ability to define and solve artistic problems with insight, reason, and technical proficiency.
· have an informed knowledge of exemplary works of art from a variety of cultures and historical periods, and an understanding of historical development in the arts disciplines, across the arts as a whole, and within cultures.
The Graduate Art Education Program follows the philosophy adopted by the State of Michigan Department of Education called Discipline-based Art Education (DBAE).
DBAE has four components, Art History, Art Criticism, Art Production and Aesthetics.
Each of the three objectives above support the DBAE philosophy.
Graduate students in the Art Education Program are expected to effectively communicate their knowledge of vocabulary, materials, tools, techniques, and intellectual methods of the four DBAE principles.
The primary purpose of teaching students to manipulate the material of art is to help them acquire a feel for artistic design and to grasp ideas that will serve them well in their future commerce with art- in short, to cultivate in students an educated capacity for the appreciation of aesthetic excellence (Heberholz and Heberholz vii).
The artistic process by its very nature involves a concern for analytical thinking, development of technical skills, recognition of the diversity in art forms as well as the commonalties and universal themes. The Graduate Art Education Program reinforces students’ ability to express ideas and solve problems through the artistic process. This process reviews the acquisition of values and skills for graduate students to develop personal teaching philosophies that originated in the undergraduate studies.
Art is a language that requires study that is both active and interactive. “Artistic expression is like putting works together to represent human thought in a visual dimension (Linderman 3).” The art observer engages in analyzing and hypothesizing about works to which they are exposed and the creative process involves the conscious manipulation of form to convey meaning. This artistic process of development which refines and elaborates the ability to visually execute ideas in a given medium or combination media encourages the use of higher order thinking skills. Through it’s consummation and interpretation by an audience, art influences and affects.
Art reflects, records and influences history and cultural development. The study of art allows students to recognize and evaluate connections with their own cultural values and beliefs. Through art education, graduate students can continue to assess and analyze these beliefs. Stephen Mark Dobbs, in The General Characteristics of DBAE, states:
(The DBAE) approach represents an emancipation, whenever possible, from the old boundaries of cultural thinking about sources for artists, works of art, and artistic traditions. For example, aesthetics offers a fertile context for understanding and appreciation multiculturalism. By examining the purposes and the philosophies of art in various societies, students can begin to see the rich mosaic of the world from many perspectives (Dobbs 60).
Through art education, graduate students can continue to assess and analyze these beliefs. This study also provides students with a sense of continuity and connection to our common heritage. The study of art can develop aesthetically literate students who understand civilization. Students can then recognize the commonalties shared by a variety of cultures. This leads eventually to the appreciation for differences within cultures.
· The student will communicate at a proficient level in the vocabulary of art. (1E)
· The student will use art tools and materials proficiently. (1E)
· The student will have command of art techniques. (1E)
· The student will utilize the intellectual methods of each DBAE discipline. (1E)
· The student will define and determine artistic problems. (1E)
· The student will solve artistic problems with insight and reason. (1E)
· The student will be able to identify exemplary works of art from a variety of
cultures and historical periods. (1D, 1E)
· The student will evaluate historical development in the arts disciplines. (1D, 1E)
· The student will construct historical connections across the arts as a whole
and within cultures. (1D, 1E)
Bersson, Robert. Worlds of Art.
Buser, Thomas. Experiencing Art Around Us.
Battin, Margaret P., John Fisher, Ronald Moore and Anita
Silvers. Puzzles about Art: An Aesthetics Casebook.
Blandy, Doug and Kristin G. Congdon, Editors. Art in a Democracy.
Canaday, John. Mainstreams of Modern Art.
Chapman, Laura. Art: Images and Ideas.
Cooper, David E. Aesthetics: The Classic
Dobbs, Stephen Mark. Research readings for Discipline-Based Art
Education: A Journey Beyond Creating.
Efland, Arthur D. A
History of Art Education: Intellectual and Social Currents in Teaching the
Visual Arts.
Feldman, Edmund B. The Artist: A Social History.
Gilbert, Rita. Living With Art. Fifth Edition.
Goldstein, Ernst and Jo D. Kowalchuk and Robert J. Saunders
and Earl W. Saunders. Understanding and Creating Art.
Gray, James U. “A Seventy-five Percent Solution for the Success of DBAE”. Art Education, vol.40, no.5 (September 1987): 46-52.
Grieder, Terence. Artist and Audience.
Herberholz, Barbara and Lee Hanson. Early Childhood Art. Fifth Edition. Dubuque: Brown and Benchmark Publishers, 1995.
Herberholz, Donald and Barbara Herberholz. Artworks For Elementary Teachers: Developing Artistic and Perceptual Awareness. Seventh Edition. Dubuque: Wm. C. Brown Publishers, 1994.
Hobbs, Jack A. Art In Context. Fourth Edition. San Diego: Harcourt Brace Jovanovich Publishers, 1991.
Horowitz, Frederick A. More Than You See: A Guide to Art. Second Edition. Orlando: Harcourt Brace Jovanovich College Publishers, 1992.
Hubbard, Guy. Art in Action. Chicago: Granado Publications, 1986.
Hubbard, Guy. Art For Elementary Classrooms. New Jersey: Prentice-Hall, Inc., 1982.
Hurwitz, Al and Michael Day. Children and Their Art: Methods for the Elementary School. Sixth Edition. New York: Harcourt Brace Jovanovich, Inc., 1995.
Janson, H.W. and Anthony F. Janson. History of Art: Volume II. Revised Fifth Edition. New York: Prentice Hall, Inc., 1997.
Kaelin, E.F. An Aesthetics for Art Educators. New York: Teachers College Press, 1989.
Kissick, John. Art: Context and Criticism. Second Edition. NewYork: McGraw-Hill Companies, 1996.
Leshnoff, Susan K. “Art, Ambiguity and Critical Thinking” Art Education vol. 48, no. 5 (September 1995): 51-56.
Linderman, Marlene Gharbo. Art in the Elementary School. Chicago: Brown & Benchmark Publishers, 1997.
Neill, Alex and Aaron Ridley. Arguing About Art: Contemporary Philosophical Debates. New York: McGraw-Hill Inc., 1995.
Nemett, Barry. Images, Objects, and Ideas: Viewing the Visual Arts. Fort Worth: Harcourt Brace Jovanovich College Publishers, 1992.
Ocvirk, Otto and Robert O. Bone and Robert E. Stinson and Philip R. Wigg. Art Fundamentals: Theory and Practice. Fifth Edition. Dubuque: Wm. C. Brown Publishers, 1985.
Preble, Duane and Sarah Preble. Artforms. Third Edition. New York: Harper and Row Publishers, 1994.
Richardson, John Adkins. Art: The Way It Is. Fourth Edition. New York: Harry N. Abrams, Inc., 1992.
Slatkin, Wendy. Women Artists in History: From Antiquity to the 20th Century. Third Edition. Englewood Cliffs: Prentice Hall, 1997.
Squires, William T. Art, Experience and Criticism. Massachusetts: Ginn Press, 1991.
Smith, Ralph A. Readings In Discipline-Based Art Education: A Literature of Educational Reform. Reston: National Art Education Association, 2000.
Smith, Ralph A. The Journal of Aesthetic Education. Volume 21. Number 2. Summer 1987. University of Illinois Press.
Smith, Ralph A. Excellence in Art Education. Reston: National Art Education Association, 1986.
Strickland, Carol. The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post Modern. Kansa City: Andrews and McMeel, 1992.
Thistlewood, David. Critical Studies in Art and Design Education. Portsmouth: Heinemann Educational Books, Inc., 1991.
Townsend, Dabney. An Introduction to Aesthetics. Oxford: Blackwell Publishers Ltd., 1998.
Wachowiak, Frank and Robert D. Clements. Emphasis Art: A Qualitiative Art Program for Elementary and Middle Schools. New York: Addison Wesley Longman, Inc., 2001.
Wilkins, David G. and Bernard Schultz. Art Past Art Present. Englewood Cliffs: Prentice-Hall, Inc., 1990.
Teacher
candidates reflect a thorough understanding of pedagogical content knowledge
delineated in professional, state and institutional standards. They have an in-depth understanding of the
subject matter that they plan to teach, allowing them to provide multiple
explanations and instructional strategies so that all students learn. They present the content to students in
challenging, clear, and compelling ways and integrate technology appropriately.
The Graduate Student should be able to:
· develop and present complex analyses of works of art from structural, historical, and cultural perspectives, and from combinations of those perspectives.
· relate various types of art knowledge and skills within the art discipline. This includes mixing and matching competencies and understandings in art making, history and culture, and analysis in any art-related project.
· create nurturing, developmentally appropriate environments for a diverse setting. This includes adapting learning for special needs and individual learning styles.
The study of art requires students to think, reason, question and imagine, resulting in outcomes and benefits for the maker. These include developing: originality, fluency, flexibility. It also expands the student’s capacity to redefine and reorganize while refining their ability to abstract, synthesize and evaluate. Critical thinking and problem solving are inherent in the artistic process.
…creative ability is the ability to produce a variety of ideas, both verbal and nonverbal, and to allow a free flow of associations related to ideas and thoughts (fluency); to explore various ways of approaching problems or solutions and looking at situations from many different perspectives (flexibility); to have a new or novel idea or to produce something unique, to put a new stamp on something that already exists (originality); and to embellish or extend thoughts and ideas, to add detail or finishing touches (elaboration) (Edwards 30).
The study of art builds on prior knowledge. Students expand their verbal and visual language as they study artists and their works, world cultures, social values, political issues and life forces.
… people posess a dynamic range of communicative and expressive talents for meaning-making and expression. While each communicative form illuminates it’s own particular means for conveying a message, there are unlimited possibilities for joining language with the arts to create a hybrid or combined product that is more that the sum of it’s parts.
These skills help students to be independent thinkers and choose wisely for themselves. Students learn to take more ownership of and responsibility for their own education (Piazza 3).
These skills empower students to be independent thinkers and choose wisely for themselves. Students learn to take ownership of and responsibility for their own education
The Graduate Art Education Program values the wisdom the graduate student’s gain from practical expreience. Eastern Michigan University’s Art Education graduate students are teachers at the elementary, middle school and high school level. Through field experience, these teachers are able to combine theory with practice which enhances their coursework and pedagogical knowledge.
The Art Department’s Graduate Art Education Program embraces authentic assessment. Authentic assessment favors strategies that require students to engage in long term, complex, and challenging projects that reflect real life situations. This form of assessment is an effective means of assessing the development of students with diverse learning styles and special needs. These strategies involve integrated, complex, and challenging tasks that can measure individual student progress and the higher level thinking skills (Zimmerman 14-24). Authentic assessment requires thoughtful teacher observation of the student work and measures progress over time. Through this process, authentic assessment provides a clear picture of student learning.
(Parenthesis reference the College of Education’s outcomes on page 1.)
· The student will analyze works of art based on structural, historical and
cultural perspectives. (1B, 1D)
· The student will express their analysis of works of art. (1B)
· The student will synthesize art production, history, criticism and aesthetics. (1B)
· The student will create nurturing, developmentally appropriate environments for a diverse setting. (1C,1D)
· The student will adapt learning environment for special needs. (1C, 1D)
· The student will consider individual learning styles. (1C)
Bibliography
Armstrong, Thomas. In Their Own Way. Los Angeles: Jeremy P. Tarcher, Inc., 1987.
Battin, Margaret P., John Fisher, Ronald Moore and Anita Silvers. Puzzles about Art: An Aesthetics Casebook. New York: St. Martin’s Press, 1989.
Chapman, Laura. Approaches to Art in Education. New York: Harcourt Brace Jovanovich, Inc., 1978.
Chapman, Laura. Discover Art. Worcester: Davis Publications, 1985.
Diepeveen, Leonard and Timothy Van Laar. Art With a Difference: Looking at Difficult and Unfamiliar Art. Mountain View: Mayfield Publishing Company, 2001.
Dobbs, Stephen Mark. Research readings for Discipline-Based Art Education: A Journey Beyond Creating. Virginia: The National Art Education Association, 1988.
Edwards, Linda Carol. The Creative Arts: A Process Approach for Teachers and Children. Second Edition. New Jersey: Prentice-Hall, Inc., 1997.
Eisner, Elliot W. Educating Artistic Vision. New York: The Macmillan Company, 1972.
Eisner, Elliot W. “The Role of Discipline-Based Art Education in America’s Schools.” Art Education, vol. 40, no.5 (September 1987): 6-26, 43-45.
Gardner, Howard. The Arts and Human Development. New York: Basic Books, 1994.
Gardner, Howard. Multiple Intelligences: Theory and Practice. New York: Basic Books, 1993.
Gardner, Howard. To Open Minds. New York: Basic Books, 1991.
Gardner, Howard. “Zero-based Arts Education: An Introduction to ARTS PROPEL” Studies in Art Education, vol. 30, no.2 (1989): 71-83.
Herberholz, Barbara and Lee Hanson. Early Childhood Art. Fifth Edition. Dubuque: Brown and Benchmark Publishers, 1995.
Herberholz, Donald and Barbara Herberholz. Artworks For Elementary Teachers: Developing Artistic and Perceptual Awareness. Sixth Edition. Dubuque: Wm. C. Brown Publishers, 1990.
Hobbs, Jack A. and Jean C. Rush. Teaching Children Art. New Jersey: Prentice Hall, Inc., 1997.
Hubbard, Guy. Art in Action. Chicago: Granado Publications, 1986.
Hubbard, Guy. Art For Elementary Classrooms. New Jersey: Prentice-Hall, Inc., 1982.
Hurwitz, Al and Michael Day. Children and Their Art: Methods for the Elementary School. New York: Harcourt Brace Jovanovich, Inc., 1991.
Hutchens, James and Marianne Suggs, Art Education: Content and Practice in a Postmodern Era. Virginia: National Art Education Association, 1997.
Kellogg, Rhoda. Analyzing Children’s Art. California: National Press Books, 1970.
Kellogg, Rhoda and Scott O’Dell. The Psychology of Children’s Art. California: CRM-Random House Publication.
Koster, Joan Bouza. Bringing Art into the Elementary Classroom. California: Wadsworth/Thomson Learning, Inc., 2001.
Leshnoff, Susan K. “Art, Ambiguity and Critical Thinking” Art Education vol. 48, no. 5 (September 1995): 51-56.
Linderman, Marlene Gharbo. Art in the Elementary School. Chicago: Brown & Benchmark Publishers, 1997.
Lowenfeld, Viktor and W. Lambert Brittain. Creative and Mental Growth. London: The Macmillan Company, 1970.
Mayesky, Mary. Creative Activities for Young Children. Sixth Edition. Delmar Publishers: International Thomson Publishing Company, 1998.
McFee, June King and Rogena M. Degg. Art, Culture, and Environment: A Catalyst for Teaching. California: Wadsworth Publishing Company, Inc., 1977.
Neill, Alex and Aaron Ridley. Arguing About Art: Contemporary Philosophical Debates. New York: McGraw-Hill Inc., 1995.
Olson, Janet L. Envisioning Writing: Toward an Integration of Drawing and Writing. Portsmouth: Heinemann, 1992.
Piazza, Carolyn L. Multiple Forms of Literacy: Teaching Literacy and the Arts. New Jersey: Merrill, Prentice-Hall, 1999.
Read, Herbert. Education Through Art. New York: Pantheon Books, 1956.
Richardson, John Adkins. Art: The Way It Is. Third Edition. New York: Harry N. Abrams, Inc., 1986.
Rowe, Gaelene. Guiding Young Artists: Curriculum Ideas for Teachers. Melbourne: Oxford University Press, 1998.
Simpson, Judith W., Jean M. Delaney, Karen Lee Carroll, Cheryl M. Hamilton, Sandra I. Kay, Marianne S. Kerlavage, Janet L. Olson. Creating Meaning through Art: Teacher As Choice Maker. New Jersey: Prentice-Hall, Inc., 1998.
Szekely, George. The Art of Teaching Art. Needham Heights: Simon and Schuster Publishing, 1998.
Szekely, George. From Play to Art. Portsmouth: Heinemann Educational Books, Inc., 1991.
Schirrmacher, Robert. Art and Creative Development for Young Children. Third Edition. New York: Delmar Publishers, 1998.
Smith, Ralph A. Readings In Discipline-Based Art Education: A Literature of Educational Reform. Reston: National Art Education Association, 2000.
Smith, Ralph A. The Journal of Aesthetic Education. Volume 21. Number 2. Summer 1987. University of Illinois Press.
Smith, Ralph A. Excellence in Art Education. Reston: National Art Education Association, 1986.
Townsend, Dabney. An Introduction to Aesthetics. Oxford: Blackwell Publishers Ltd., 1998.
Wachowiak, Frank and Robert D. Clements. Emphasis Art: A Qualitiative Art Program for Elementary and Middle Schools. New York: Addison Wesley Longman, Inc., 1997.
Zimmerman, Enid. “Assessing Students’ Progress and Achievement in Art” Art Education vol. 45, no. 6 (1992): pp. 14-24.
Professional and Pedagogical
Knowledge and Skills
Candidates
reflect a thorough understanding of professional and pedagogical knowledge and
skills delineated in professional, state, and institutional standards, as shown
in their development of meaningful learning experiences to facilitate student
learning for all students. They reflect
on their practice and make necessary adjustments to enhance student learning. They know how students learn and how to make
ideas accessible to them. They consider
school, family, and community contexts in connecting concepts to student’s
prior experience, and applying the ideas to real- world problems.
The Graduate Student should be able to:
·
develop personal philosophies that guide
planning and curriculum design
· through both modernist and postmodernist strategies, acquire and further
develop knowledge in classroom management, developmental stages, learning styles, multiple intelligences, and assessment/evaluation.
· implement effective communication and technology application across the curriculum.
Students in the Art Education Graduate program are asked to develop personal philosophies though research of relevant concepts and theories, self-reflection, and their own professional experience. Students then incorporate these philosophies into their day to day planning as well as curriculum design.
… to cope with these problems we should try to find connections between the diverse visual arts, the principal modes of classroom instruction, the different types of learning, the changing needs of society, and the ideal goals we seek. Which means that our language of theory and generalization should seek the level of educational practice. If not, it could become a kind of aesthetic object- something to be admired but, alas, not used (Feldman 3).
There is evidence that a learner best comprehends, processes and remembers information in a preferred way. It is necessary for the teacher to understand the learner’s preference.
We try to …broaden the array of resources that are brought to bear on topics students study. Varied resources that provide different kinds of opportunities for youngsters with different proclivities enable them to secure forms of understanding that would not be available to them without those resources (Hurwitz and Day 10).
The teacher’s methodology and delivery need to match the learner’s modality for successful learning to take place. Trends in education have given the educator several new methods/strategies to present information while addressing the different learning styles. Trends such as cooperative learning, block scheduling, looping, multi age classrooms, and teaming are designed to enhance the learning environment. With these current educational approaches, opportunities are provided for educators to better reach all learners in the classroom.
Graduate students enrolled in the art education program need to be effective communicators using a wide variety of forms.
Making use of the synergistic relationship between art and other subjects creates a learning climate that maximizes the odds of students truly understanding a shared concept. Enormous amounts of information can be connected in a way that makes sense to learners. Information can be synchronized, allowing concepts to be synthesized and learners to think (Simpson et al 317)…
In this information age, knowledge of communication tools is also essential for effective teaching. Howard Gardner asks us to:
… use the most recent technology to motivate students of different levels, to allow self-paced interaction with a well-informed device, and to make possible an ever- expanding exploration of a field of knowledge (Gardner 233).
It’s an educator’s responsibility to empower students to obtain, evaluate and communicate information. Implementing effective communication strategies and knowledge of technological tools are important components of Eastern’s art education program.
(Parenthesis reference the College of Education’s outcomes on page 1.)
· The student will develop a personal philosophy. (1B, 1C, 1D, 1E)
·
The student will integrate their personal
philosophy into their planning and curriculum design. ( 1B, 1C, 1D, 1E)
· The student will apply modernist and postmodernist strategies in their teaching delivery to refine their classroom management. (1A, 1C)
· The student will apply modernist and postmodernist strategies in their teaching delivery to meet the needs of diverse student populations. (1A, 1C, 1D)
· The student will apply modernist and postmodernist strategies to assessment and evaluation. (1A, 1B, 1C, 1D, 1E)
· The student will implement effective communication across the curriculum. (2F)
· The student will implement effective technology application across the curriculum. (2H)
Chapman, Laura. Approaches to Art in Education. New York: Harcourt Brace Jovanovich, Inc., 1978.
Bates, Jane K. Becoming an Art Teacher. California: Wadsworth/Thomson Learning, 2000.
Calo, Carole Gold. Writings About Art. Englewood Cliffs: Prentice Hall, 1994.
Diepeveen, Leonard and Timothy Van Laar. Art With a Difference: Looking at Difficult and Unfamiliar Art. Mountain View: Mayfield Publishing Company, 2001.
Edwards, Linda Carol. Affective Development and the Creative Arts: A Process Approach to Early Childhood Education. New York: Macmillan Publishing Company, 1990.
Edwards, Linda Carol. The Creative Arts: A Process Approach for Teachers and Children. Second Edition. New Jersey: Prentice-Hall, Inc., 1997.
Feldman, Edmund Burke. Philosophy of Art Education. New Jersey: Prentice-Hall, Inc., 1996.
Fehr, Dennis Earl. Dogs Playing Cards: Powerbrokers of Prejudice in Education, Art and Culture. New York: Peter Lang, 1993.
Gardner, Howard. Multiple Intelligences: Theory and Practice. New York: Basic Books, 1993.
Gardner, Howard. “Zero-based Arts Education: An Introduction to ARTS PROPEL” Studies in Art Education, vol. 30, no.2 (1989): 71-83.
Gardner, Howard. Art, Mind and Brain: A Cognitive Approach to Creativity. New York: Basic Books, 1982.
Herberholz, Donald and Barbara Herberholz. Artworks For Elementary Teachers: Developing Artistic and Perceptual Awareness. Sixth Edition. Dubuque: Wm. C. Brown Publishers, 1990.
Hobbs, Jack A. and Jean C. Rush. Teaching Children Art. New Jersey: Prentice Hall, Inc., 1997.
Hurwitz, Al and Michael Day. Children and Their Art: Methods for the Elementary School. New York: Harcourt Brace Jovanovich, Inc., 1991.
Hurwitz, Al and Michael Day. Children and Their Art: Methods for the Elementary School. New York: Harcourt Brace Jovanovich, Inc., 1991.
Hutchens, James and Marianne Suggs, Art Education: Content and Practice in a Postmodern Era. Virginia: National Art Education Association, 1997.
Katzer, Jeffrey and Kenneth H. Cook and Wayne W. Crouch. Evaluting Information: A Guide For Users of Social Science Research. Fourth Edition. New York: McGraw-Hill, Inc., 1998.
Kellogg, Rhoda. Analyzing Children’s Art. California: National Press Books, 1970.
Lamott, Anne. Bird By Bird: Some Instructions on Writing and Life. New York: Anchor Books, Doubleday, 1994.
Lowenfeld, Viktor and W. Lambert Brittain. Creative and Mental Growth. London: The Macmillan Company, 1970.
McFee, June King and Rogena M. Degg. Art, Culture, and Environment: A Catalyst for Teaching. California: Wadsworth Publishing Company, Inc., 1977.
Olson, Janet L. Envisioning Writing: Toward an Integration of Drawing and Writing. Portsmouth: Heinemann, 1992.
Papalia, Diane E and Sally Wendkos Olds. Human Development. Third Edition. New York: McGraw-Hill Book Company, 1986.
Papalia, Diane E and Sally Wendkos Olds. Human Development. Third Edition. New York: McGraw-Hill Book Company, 1986.
Rowe, Gaelene. Guiding Young Artists: Curriculum Ideas for Teachers. Melbourne: Oxford University Press, 1998.
Schirrmacher, Robert. “Talking With Young Children About Their Art”. Young Children (July 1986): 3-7.
Simpson, Judith W., Jean M. Delaney, Karen Lee Carroll, Cheryl M. Hamilton, Sandra I. Kay, Marianne S. Kerlavage, Janet L. Olson. Creating Meaning through Art: Teacher As Choice Maker. New Jersey: Prentice-Hall, Inc., 1998.
Szekely, George. The Art of Teaching Art. Needham Heights: Simon and Schuster Publishing, 1998.
Szekely, George. From Play to Art. Portsmouth: Heinemann Educational Books, Inc., 1991.
Schirrmacher, Robert. Art and Creative Development for Young Children. Third Edition. New York: Delmar Publishers, 1998.
Smith, Ralph A. The Journal of Aesthetic Education. Volume 21. Number 2. Summer 1987. University of Illinois Press.
Wachowiak, Frank and Robert D. Clements. Emphasis Art: A Qualitiative Art Program for Elementary and Middle Schools. New York: Addison Wesley Longman, Inc., 1997.
Zimmerman, Enid. “Assessing Students’ Progress and Achievement in Art” Art Education vol. 45, no. 6 (1992): pp. 14-24.
Candidates
work with students, families, and communities, reflects the dispositions
expected of professional educators as delineated in professional, state, and
institutional standards. Candidates
recognize when their own dispositions may need to be adjusted and are able to
develop plans to do so.
EMU Program Theme:
Eastern Michigan University teacher preparation programs develop knowledgeable professionals who are caring, reflective decision-makers in a culturally diverse and technological society.
The Graduate Student should be able to:
·
apply their professional, pedagogical, and
sociocultural knowledge to support the development of everyone involved in the
art learning experience to create caring communities that promote learning and
child advocacy in a diverse setting.
·
work collaboratively with colleagues, students,
and parents through the exchange of intellectual ideas, conversations, and
research in a professional manner.
·
increase their knowledge bases as committed
professionals who are continually changing and growing through development and
lifelong learning. This includes
opportunities and activities where graduates develop their skills related to
diversity, technology, critical reflection, and performance-based assessment.
· assume leadership roles in professional organizations and policy making. This includes an obligation to be culturally responsive, and to the profession and practice of art education.
· adhere to professional ethics such as demonstrating conduct including confidentiality and honesty.
· assume responsibility for their actions. This includes regular attendance, promptness, and reliability when making commitments.
· be receptive to constructive criticism. This includes responsiveness to professional feedback.
According to Eastern Michigan University’s Teacher Education Assessment and Rubrics: Professional Dispositions, 7/3/01:
Teaching is more than knowing the content or being able to plan effective lessons. In addition to these vital skills and knowledge, teachers must also have the attitudes, values, and habits-of-mind that will allow them to be successful caring professionals. This entails more than loving children. Teachers must have the ability to develop positive relationships with students, parents, and colleagues and to serve as models of mature adulthood to the students in their charge. They must be able to work effectively in a collaborative school environment with students and adults from diverse backgrounds.
The Graduate Art Education area in the Art Department believes that graduate students continually expand and change their ideas through professional development. Practice, modeling, and self-assessment allow them to gain knowledge of academic content and professional dispositions, which will increase their effectiveness as teachers. In doing so, they are also expected to have positive attitudes and continue to be curious learners for a lifetime in the profession.
To encourage responsible, professional behavior, Eastern acknowledges the importance of professional ethics to include confidentiality, honesty, reliability and responsiveness to constructive criticism.
(Parenthesis reference the College of Education’s outcomes on page 1.)
· The student will apply their professional knowledge to ensure student success in a diverse population. (1C, 1D, 1E, 2I)
·
The
student will apply their sociocultural knowledge to ensure student success in a
diverse population. (1C, 1D, 1E, 2I)
·
The student will collaborate with colleagues,
students and parents in a professional manner. (2G)
· The student will participate in professional development throughout their career. (2K)
· The student will participate in professional organizations and policy making. (2G, 2J, 2K)
· The student will adhere to professional ethics. (2I)
· The student will assume responsibility for their actions. (2I)
· The student will be receptive to constructive criticism. (2G, 2I, 2J)
Bates, Jane K. Becoming an Art Teacher. California: Wadsworth/Thomson Learning, 2000.
Chapman, Laura. Approaches to Art in Education. New York: Harcourt Brace Jovanovich, Inc., 1978.
Dewey, John. Art As Experience. New York: Capricorn Books. 1958.
Feldman, Edmund Burke. Philosophy of Art Education. New Jersey: Prentice-Hall, Inc., 1996.
Hobbs, Jack A. and Jean C. Rush. Teaching Children Art. New Jersey: Prentice Hall, Inc., 1997.
Katzer, Jeffrey and Kenneth H. Cook and Wayne W. Crouch. Evaluting Information: A Guide For Users of Social Science Research. Fourth Edition. New York: McGraw-Hill, Inc., 1998.
Lamott, Anne. Bird By Bird: Some Instructions on Writing and Life. New York: Anchor Books, Doubleday, 1994.
Lowenfeld, Viktor and W. Lambert Brittain. Creative and Mental Growth. London: The Macmillan Company, 1970.
McFee, June King and Rogena M. Degg. Art, Culture, and Environment: A Catalyst for Teaching. California: Wadsworth Publishing Company, Inc., 1977.
Papalia, Diane E and Sally Wendkos Olds. Human Development. Third Edition. New York: McGraw-Hill Book Company, 1986.
Papalia, Diane E and Sally Wendkos Olds. Human Development. Third Edition. New York: McGraw-Hill Book Company, 1986.
Pirsig, Robert M. Zen and the Art of Motorcycle Maintenance. New York: Bantam Books, 1974.
Schirrmacher, Robert. “Talking With Young Children About Their Art”. Young Children (July 1986): 3-7.
Simpson, Judith W., Jean M. Delaney, Karen Lee Carroll, Cheryl M. Hamilton, Sandra I. Kay, Marianne S. Kerlavage, Janet L. Olson. Creating Meaning through Art: Teacher As Choice Maker. New Jersey: Prentice-Hall, Inc., 1998.
Zimmerman, Enid. “Assessing Students’ Progress and Achievement in Art” Art Education vol. 45, no. 6 (1992): pp. 14-24.