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MAY 8 2011 with REVISED REFERENCES.Pdf (8.975Mb) PLACE AS AN ELEMENTARY ART CONTENT DETERMINANT: ECOLOGICAL ASPECTS OF SUBJECTIVITY AND ADAPTIVITY A Dissertation Presented to the Faculty of the College of Education University of Houston In Partial Fulfillment of the Requirements for the Degree Doctor of Education by Ann Marie Hubbard Waltz April, 2011 TABLE OF CONTENTS Chapter Page I. INTRODUCTION …………………………………………………….. 1 Considering Place as Important ……………………………….. 1 Differences in Place ……………………………………. 3 My Place …………………………………........... 4 Their Places – Three Teachers ……………….. 8 Literature Areas Supporting Aspects of Place ………. 9 Art Education ……………………………………. 11 Object Importance ……………………………… 12 Architectural Environments ……………………. 13 Questions for this Study ……………………………………….. 16 Validating the Questions ……………………………………….. 18 Place Enables Activities ……………………………….. 18 Relationship to Place is Important ……………………. 20 Overview of the Methods ………………………………………. 21 Narrative Inquiry ………………………………………… 22 The Importance of Revealing Researcher Context ……………………………………. 23 Researcher and Teachers Together …………………. 28 Definition of Terms ……………………………………………… 31 II. LITERATURE REVIEW …………………………………………….. 33 Art Education: Objectives ………………………………………. 33 Theories ………………………………………………….. 35 Multiple Ideas ……………………………………. 36 Pedagogy: A Brief History of Art Education ...... 42 Representational Drawing ……………… 42 Formal Elements and Principles ………. 43 Creative Self-expression ………………. 44 Applied Design: Art in Daily Living …….. 45 Art as a Discipline: DBAE ………………. 46 Visual Culture and Integrated Curricula: VCAE ……….. 47 Reggio Emilia Model Schools ………………………….. 49 Foundational Concepts ………………………… 50 Documentation ………………………………….. 52 The Importance of Objects …………………….. 53 Place as a Teacher ……………………………… 55 Elementary Art Classrooms …………………………… 57 Art Education Discipline Lacks Support ………. 58 Necessities in the Classroom ………………….. 59 Material Culture …………………………………………………. 62 Importance of Objects …………………………………... 63 Architecture ………………………………………………. 67 Teacher and Place ……………………………………………… 70 Subjectivity ……………………………………………….. 73 Adaptvitity ………………………………………………… 76 III. METHODS .………………………………………………………….. 78 Narrative Inquiry ………………………………………………… 78 Importance of Complexity ……………………………... 80 The Complex Landscape of Elementary Art Teachers …………………………… 82 Architectural Study Model ……………………………………... 87 Narrative Inquiry Methods ……………………………………... 88 Research Context…………………………………………….…. 90 Participants ………………………………………………. 90 School District …………………………………… 90 Elementary Art Teachers ………………………. 91 Exclusions ……………………………….. 92 Inclusions ………………………………... 93 Procedures ………………………………………………. 93 Initial Meetings …………………………………... 93 First Observation and Second interview ……… 96 Second Observation and Third Interview …….. 98 Third Observation and Fourth Interview ……… 99 Final Meeting: Fourth Observation and Fifth Interview ……….. 99 Validation ……………………………………………………….... 99 Triangulated Narratives ………………………………… 99 Story Constellations …………………………………….. 100 Validating Ecological Narrative ………………………………… 102 IV. NARRATIVES OF ART AND TEACHING ……………………….. 106 Early Art Memories………………………………………………. 107 Lisa Remembers ………………………………………... 107 Margaret Remembers ……………..…………………… 112 Esther Remembers ……………………………………… 117 Early Teaching Memories …………………………………….... 125 Lisa Remembers ………………………………………... 125 Margaret Remembers ……………..…………………… 128 Esther Remembers ……………………………………… 129 Situated Stories of Art and Teaching .……………………….... 132 Art Teaching Content Values ……………………………….…. 134 Lisa‘s Values …………………………………………..... 134 Margaret‘s Values ……………..……………………….. 143 Esther‘s Values …………………………………………. 149 Situated Stories of Art Theory and Practice …………………. 155 V. NARRATIVES OF PLACE ……………………………………..….. 161 Lisa‘s Place ………………..………………………………........ 161 First Impressions ……..…………..…………………….. 163 Right Side Entry and Curtain Wall …………………….. 164 Back Wall with Sink Counter……..……………………... 166 Left Side Gallery, Materials Table, and Teacher Space ………………………………………….. 173 Front of Classroom ……………………………………... 179 Center Sink Area ..……………..……………………….. 186 Kiln Room ..………………………………………………. 187 Storage Room ..…………………………………………. 189 Margaret‘s Place …………………………….…………………. 192 First Impressions ……..…………..…………………….. 193 Front of Classroom ……………………………………... 196 Right Side with Sink Counter ……..…………………... 208 Center Sink Area ..……………..……………………….. 210 Return to Right Side with Sink Counter……………….. 212 Back Wall Storage and Student Computers ………… 213 Left Side Curtain Wall with Art Posters …….………… 215 Storage Room ..…………………………………………. 216 Kiln Room ..………………………………………………. 218 Esther‘s Place …………..…………………….…………………. 218 First Impressions ……..…………..…………………….. 221 Center Sink Area ..……………..……………………….. 223 Right Side Entry and Curtain Wall …………………….. 227 Back Wall with Sink Counter …………………………… 228 Left Side Wall Gallery and Teacher Space …………… 231 Front of Classroom ……………………………………... 235 Storage Room ..…………………………………………. 237 Kiln Room ..………………………………………………. 241 How Lisa, Margaret, and Esther Viewed their Places ………. 243 Relational Subjective and Adaptive Narratives of Place ……. 244 Inadequate Sinks and Spaces ………………………... 248 Inadequate Spaces for Art Making …………………... 256 Inadequate Storage ……………………………………. 258 Inadequate Storage for Student Projects and Portfolios …………………………………………………. 262 Resourcing Art Images and Technological Challenges ……………………………… 266 VI. CONCLUDING REMARKS …………………………………..…….. 271 Expectations and Revelations ……………………………........ 272 Ecological Exchanges Build Teaching Content ..…………….. 277 Sinks, Water, Teachers, and Teaching Content ……... 278 Storage, clay, Three-Dimensional Work Teachers, and Teaching Content ...…………………… 281 Art Image Resourcing and Instruction ..……………….. 284 Place Enables or Limits Teaching Content ………….. 287 Favorite and Least Favorite Teaching Activity in Classroom .. 289 Strengths of the Study .………………………...……………….. 290 Narrative Inquiry Framed as Story Constellations …… 291 Study Challenges ……………………………....……………….. 293 Importance, Implications, and Applications of Research ..….. 295 Future Study …………………………………....……………….. 297 REFERENCES …………………………………………………………………... 300 APPENDIX A RESEARCHER VALUES: THEORY AND PRACTICE …….. 324 APPENDIX B INTERVIEW QUESTIONS AND PROTOCOL ......………….. 337 LIST OF FIGURES Figure Page 1 University children‘s art lab studio ……………………………………….. 4 2 University children‘s art lab motivation area ………………………...…….. 7 3 Gathering places in the classrooms of Lisa, Margaret, and Esther ... ….. 8 4 The elementary art teacher‘s ecological role: theory, experiences, and physical space …………………………………………………………. 29 5 Diana School Floor Plan (Reggio Children, 2002, p. 6) comparing art and general classroom spaces ………………………………………… 57 6 ―Stuff‖ list from the elementary art teacher‘s classroom ……………..….. 61 7 Resources for art images including posters, books, magazines, and textbooks ………………………………………………………………… 83 8 Means to view images include hard copy, overhead projector, LCD projector, Elmo, and Smart Board technologies ……………………. 84 9 Story constellations show relationships …………………………………...102 10 Evidences of connections to Lisa‘s early art memories …………………109 11 Lisa‘s drawing of her most memorable art experience ………………….111 12 Evidences of student products Margaret valued …………………………116 13 Margaret‘s fondest memories of making art with her grandmother …….117 14 Evidences of Esther‘s enjoyment of materials ……………………………120 15 Esther‘s favorite art memory was at the art museum …………………....123 16 Story constellation of situated art and teaching memories ……………...132 17 Compared drawings of selected early art memories of Lisa, Margaret, and Esther ………………………………………………………..134 18 Lisa‘s elements of art, principles of design, art images, and timeline ….137 19 Lisa‘s art textbooks neatly stored on a shelf at the back of the room ….138 20 Lisa‘s interdisciplinary connections to science – posters and a skull ….140 21 Summary of Lisa‘s most highly valued words …………………………….142 22 Lisa‘s values drawing ……………………………………………………….142 23 Margaret‘s elements of art, principles of design, art images, and timeline …………………………………………………………………..145 24 Summary of Margaret‘s associated words ………………………………..148 25 Margaret‘s values drawing ………………………………………………….149 26 Summary of Esther‘s most high valued words …………………………...154 27 Esther‘s values drawing …………………………………………………….155 28 Story constellation situating Lisa, Margaret, and Esther with art theories …………………………………………………………….. 156 29 Floor plan of Lisa‘s art room (759 square feet) …………………………..162 30 View of Lisa‘s art room from entry …………………………………………163 31 Vincent van Gogh gallery on entry wall of Lisa‘s classroom ……………164 32 Lisa‘s right wall with gallery and retractable curtain wall ………………..165 33 Principles of art posted in front of Lisa‘s curtain wall …………………….166 34 NASA space images hung on Lisa‘s curtain wall ………………………..166 35 Overview of back wall in Lisa‘s classroom ………………………………..167 36 Details on left side of back wall in Lisa‘s classroom ……………………..167 37 Changes on left side of back wall in Lisa‘s classroom …………………..169 38 Lisa‘s prepared clay slabs stacked in plastic bags, mask poster, and student masks …………………………………………………………..169 39 Images on the left wall relating to Lisa‘s mummy case lesson …………170 40 Lisa‘s posters on back wall cabinet over sink …………………………….171 41 Right side of back wall in Lisa‘s classroom (2008 - 2009) ……………...172 42 Figure 1. Storage details above and below counter of right side of back wall in Lisa‘s classroom ……………………………………...172 43 Detail of counter on right side
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