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Designed by the Harvard University Project Zero team, Artful Thinking is basically a program that aims to improve students' awareness of art and increase their critical thinking skills by interpreting works of art and discussing them. In this way, students will acquire twenty-first century skills such as critical thinking and aesthetic understanding. The primary objective of this research was to investigate the impact of the Artful Thinking program on the development of critical thinking skills and attitudes towards art in 6th grade students, by implementing it as action research. This study was conducted in a middle school in Gaziantep, Turkey. 23 students and a Turkish teacher participated in the study. A total of twenty-four works of art (paintings, graffiti and ancient mosaics) were shown to students over eight weeks. Students expressed their opinions about each picture for 10-15 minutes. In order to make the students think in higher-order about art, the teacher asked questions prepared by the researcher. Thus, students were enabled to develop critical and higher order thoughts about the paintings. The findings from the students, teacher, and researcher indicated that the Artful Thinking program had a favorable impact on the students' perceptions of art, and that the students' cognitive abilities and capacity for articulation were enhanced by this program.

Contemporary Chinese art has witnessed a transformative evolution in the realm of installation art, particularly in the context of immersive new media installations within urban commercial spaces. This study explores the educational potential of immersive new media art in urban commercial spaces in Dalian City, Liaoning Province, China. The research journey spans various stages of Dalian's installation art development, from its early emergence in the 1980s to the prosperous period in the 1990s and its diversification in the 21st century. Key themes explored include the evolution of artistic expression, the impact on education, and the integration of new media in urban commercial spaces. The research site primarily focuses on Dalian's cultural and commercial landscapes, with a spotlight on the Xiongdong Street project. The study employs a qualitative research methodology, combining field research, interviews, multimedia elements, and data analysis to offer comprehensive insights into the subject matter. Key informants include artists, scholars, and experts within the field of installation art. The research results reveal the dynamic evolution of Dalian's installation art, its educational significance, and its integration into urban commercial spaces. The study suggests that immersive new media art has the potential to enrich art education, engage the public, and foster cultural and commercial development.

The art review is a genre that describes the artwork under discussion, educates its readers, as well as interprets and evaluates the work. It is a genre that plays a crucial role in the art community as it publicizes art, promotes artists, educates the public and enhances their appreciation of art. This study investigates this underexplored genre through the move analysis of a 67,807-word corpus of 70 art review texts collected from online art magazines and online newspapers containing an art review section. The study reveals seven moves and seven steps found in the art reviews in the corpus: heading (Move 1), describing the work (Move 2), providing external information (Move 3), providing the artist's background (Step 3.1), providing general knowledge (Step 3.2), discussing a past event that influences the work (Step 3.3), mentioning quotes (Step 3.4), mentioning other reviews (Step 3.5), interpreting the work (Move 4), judging the work (Move 5), providing evaluative comments (Step 5.1), recommending or disrecommending the work (Step 5.2), expressing general opinions and thoughts (Move 6), and sharing the writer's personal experience (Move 7). The results also show no common move patterns, indicating that the genre allows fluidity and creativity in structuring the content.

In a conventional art course, it is important for a teacher to provide feedback and guidance to individual students based on their learning status. However, it is challenging for teachers to provide immediate feedback to students without any aid. The advancement of artificial intelligence (AI) has provided a possible solution to cope with this problem. In this study, a deep learning-based art learning system (DL-ALS) was developed by employing a fine-tuned ResNet50 model for helping students identify and classify artworks. We aimed at cultivating students' accurate appreciation knowledge and artwork creation competence, as well as providing instant feedback and personalized guidance with the help of AI technology. To explore the effects of this system, a quasi-experiment was implemented in an artwork appreciation course at a university. A total of 46 university students from two classes who took the elective art course were recruited in the study. One class was the experimental group adopting DL-ALS learning, while the other was the control group adopting conventional technology-supported art learning (CT-AL). The results showed that in comparison with CT-AL, learning through the DL-ALS could facilitate students' learning achievement, technology acceptance, learning attitude, learning motivation, self-efficacy, satisfaction, and performance in the art course.

The art of looking is a museum and art gallery teaching tool at the core of the Visual Thinking Strategies, a Harvard School of Education pedagogy initiated as an educational experiment for schools across the United States almost two decades ago. Today, a large number of schools implement this teaching method to increase student engagement in a non-hierarchical setting that promotes inclusive learning experiences. Students analyze works of art basic elements (colors, shapes, and textures) and complexities (meanings and intentions and ties to cultures and emotions) with an inquiry-based approach. Facilitators are central to the process, but not the authoritative source. At a moment in which racial inequality and injustice flood the media, anti-racist intentional teaching is necessary to produce social change. The discomfort generated by magnifying racism through the lens of art moves the participants to explore how racism can deeply shape social, political, and cultural institutions, acknowledging the root causes of racism and identifying the spaces that perpetuate segregation and discrimination on the basis of race beyond stereotypes. Rather than shying away from difficult issues, this pedagogy encourages the audience to address complex topics and combat social issues head-on. This article contains five essays that highlight the beauty of truthful young voices from a multidisciplinary, higher-education setting that call for racism awareness and action through the art of looking.

The current study tested changes in modern/contemporary art valuation among students ages 6-15. Participants rated abstract paintings and conceptual works (and two control categories--traditional Western figurative paintings and everyday objects) on the dimensions of liking and art classification. As we hypothesized, modern/contemporary art was valued lower than traditional paintings. In addition, conceptual works were assessed lower than everyday objects. The relationship between the students' age and the evaluation of contemporary art depended on the genre. Liking and art classification of conceptual works decreased linearly with increasing age. In turn, the relationship between the students' age and abstract paintings' ratings (on both dimensions) was curvilinear because in younger students, ratings increased with age, and in older students, they decreased. Summing up, considered modern/contemporary art genres pose a challenge to students who, without special preparation, do not appreciate their value, even in the older grades.

This paper presents a new art metaverse prototype, constructed using virtual reality technology to create an immersive scene with a specific artistic style and integrate virtual avatar technology to allow interaction with characters in the art painting. Ninety-six college students participated in the study, divided into two groups: the virtual reality group (N = 48), who explored the art metaverse, and the computer group (N = 48), who engaged in traditional art appreciation by viewing artworks on a screen. Both groups then participated in art painting activities. The results showed that the virtual reality group experienced a significantly more positive impact on their art attitude compared to the computer group. Furthermore, EEG attention monitoring revealed that during the art painting activity following the art appreciation activity, the virtual reality group demonstrated significantly higher attention levels than the computer group. This study highlights the potential of virtual reality technology to enhance art appreciation and provides valuable insights for the future development of virtual reality metaverses.

A visual arts education promoted through a lens of visual culture fosters the idea that students can influence social change through their artmaking practices (K. Freedman, 2003a). Instructing through this lens is by far harder than teaching simple artmaking techniques. But Alison Aziz, similar to Kerry Freedman, became an art educator because they believe in the power art holds. The author wanted to take a look at the research on visual culture since K. Freedman's (2003a) article. They have broken this article up across two parts: (1) a discussion of what visual culture has meant in recent years and (2) the importance of teaching art through a visual culture lens. Art education is a rich discipline that simply cannot be overlooked for the importance that it serves to the curriculum. Ultimately, there are different reasons for becoming an art educator; however, the author's hope is that, in this article, an argument will have been made for instructing art through the lens of visual culture.

Art appreciation reflects an initial emotional and intuitive response to artwork evaluation, although this intuitive evaluation can be attenuated by subsequent deliberation. The Dual Process Theory of Autism proposes that individuals with Autism Spectrum Disorder (ASD) have a greater propensity to deliberate and reduced intuition compared to matched controls. Evaluations of high- and low-quality artworks were undertaken by 107 individuals with a diagnosis of ASD and 145 controls. Controls consistently evaluated high-quality artworks to be much better quality than the low-quality artworks, reflecting intuitive processing. The ASD sample showed a reduced difference in evaluations between high- versus low-quality artwork, which reflects reduced intuitive processing and greater deliberative processing and is consistent with predictions by the Dual Process Theory of Autism.

In this study, we investigated whether a colourful design would foster the aesthetic appreciation of Chinese classic poetry, and the role of learners' empathy trait in this process. Middle school students (N = 159) were assigned to one of four conditions in a 2 (Colour Design: Colourful vs. Grayscale) × 2 (Empathy Trait: High vs. Low) between-subject design. Results showed that learners with high empathy attained higher scores on comprehension test and aesthetic appreciation ratings than learners with low empathy. Moreover, a significant interaction of the two factors on aesthetic emotion and evaluations ratings was found, indicating that aesthetic ratings were higher in the high empathy group than in the low empathy group with grayscale learning materials, whereas aesthetic ratings were comparable between the two groups with the colourful design. The results indicated that a colourful design can foster low empathy learners' aesthetic appreciation, and suggested that individual differences should be taken into consideration in instructional design in the multimedia learning of poetry.

This study is an aesthetic inquiry, as part of a middle school visual arts class, from the standpoint of Maxine Greene's aesthetic perspective in education. By adopting Maxine Greene's perspective, affective learning comes to the fore along with cognitive learning, and accentuates multiple realities through the imagination through the research experiences of the artist, in the process of aesthetic inquiry. In this context, a research was carried out within the scope of visual arts education course for an improvement in students' interpretation from multiple perspectives with the understanding of aesthetic inquiry. In their processes of aesthetic inquiry, students' were to examine works of art and it was tried to reveal the different realities of these works depending on their imagination. The purpose of this study is to reveal the improvement in students' interpretation processes from different perspectives through aesthetic inquiry in visual arts course. The study uses action research design, one of the qualitative research designs. It covers a 14-week course at a public middle school. Thematic analysis was used to interpret the data and the research findings were presented. According to the findings, it was determined that the students reflected that which they discerned in the course processes, the connections they established regarding their knowledge, emotions and experiences, the differences forming in their ideas and the development they saw in themselves from their personal perspectives. Students showed empathy by seeing different ideas together during the course process and provided new interpretations from multiple perspectives. Under the guiance of the teacher, the students developed self-confidence in the process, expressed themselves by asking questions about what they were curious about and explaining the reasons for their ideas, and made artistic applications. Thus, through aesthetic inquiries, it was possible to reveal the interpretations of students in which they reflect themselves from multiple perspectives, diversify their ideas and develop a clear perspective on what they can do.

This study aimed to examine the inclination state among selected Filipinos using the Appraisal Theory in evaluating the appreciation level as an advocacy perspective towards the Philippine culture and arts. This study employed a transformative mixed method research design, both quantitative and qualitative views were considered through a survey questionnaire, an interview, and an assessment process conducted at Espiritu Santo Parochial School of Manila, Inc. and the National Commission for Culture and the Arts, Philippines. They were selected through convenience-quota and purposive sampling based on the subjects' basic knowledge and appreciation of Philippine culture and heritage. The data were analyzed using frequency distribution and content analysis. Hake factor analysis was also used to measure the appraisal level in terms of art awareness and appreciation. The results revealed that the respondents grasped a high appraisal of the Philippine culture and arts. This implied progress factors in terms of art as a form of communication, museums as the priority tool for preservation and promotion, and the country's identity and cultural history as to reframe art appreciation. On the contrary, they adapted more to the culture and arts of other countries than to cultural roots due to factors that cause it to deteriorate such as foreign cultures and modern technologies adaptation, lack of knowledge and participation, and the primordialism of ethnocentrism. The researchers assessed that the theory exposed understanding emotions as it is evident that the respondents can reframe others with their beliefs and values towards Philippine culture and arts.

Ambiguity tolerance is an individual trait indicating low aversion to ambiguity that is closely related to creativity. Appreciation and discussion of art are known to improve ambiguity tolerance, but the effects of appreciation and discussion have not been studied separately. In this study, we used haiku poetry with the characteristic of ambiguity to confirm the effect of appreciation by separating it from the discussion. Additionally, we conducted haiku creation to examine the effect of creation. To this end, 137 participants answered the ambiguity tolerance scale at five time points: before and after haiku appreciation and creation, and 1 week later. We also used the Multidimensional Attitude toward Ambiguity Scale, which organizes ambiguity tolerance into three subfactors. These subfactors are discomfort with ambiguity, absolutism, and the need for complexity and novelty, which correspond to the affective, cognitive, and epistemic aspects of ambiguity attitudes, respectively. The results showed that absolutism, which is the cognitive aspect of ambiguity tolerance, decreased after the appreciation and creation of haiku, and this effect persisted after 1 week. This result indicates that cognitive changes such as the acceptance of ambiguity can occur through the appreciation and creation of haiku, which require various interpretations and choices.

In artwork appreciation activities, visiting physical exhibitions in art museums is often limited by time, distance and cost. Thus, conventional teaching is mostly conducted through textbooks, presentation slides or videos. However, by presenting artwork appreciation through a lecture, it is difficult for students to feel the beauty of artworks, and they can hardly develop accurate appreciation knowledge and critical thinking. To tackle this problem, this study proposed an experiential learning-based spherical video-based virtual reality (EL-SVVR) learning approach based on the experiential learning theory to guide students to browse world-famous artworks and experience the features of artwork creation. This study developed an EL-SVVR learning system and adopted a quasi-experimental design to determine whether the EL-SVVR learning approach improved students' performance in artwork appreciation in comparison with the conventional teaching approach. A total of 45 university students from two classes who participated in an elective art course were recruited in the study. One class was assigned to be the experimental group and adopted the EL-SVVR learning approach, while the other class was assigned to be the control group and adopted the conventional technology-supported learning (CTL) approach. The results showed that in comparison with the CTL approach, the EL-SVVR learning approach enhanced students' learning achievement, learning motivation, self-efficacy, critical thinking and performance in digital painting creation during artwork appreciation.

With the recent proliferation of advanced artificial intelligence (AI) models capable of mimicking human artworks, AI creations might soon replace products of human creativity, although skeptics argue that this outcome is unlikely. One possible reason this may be unlikely is that, independent of the physical properties of art, we place great value on the imbuement of the human experience in art. An interesting question, then, is whether and why people might prefer human-compared to AI-created artworks. To explore these questions, we manipulated the purported creator of pieces of art by randomly assigning a "Human-created" or "AI-created" label to paintings actually created by AI, and then assessed participants' judgements of the artworks across four rating criteria (Liking, Beauty, Profundity, and Worth). Study 1 found increased positive judgements for human- compared to AI-labelled art across all criteria. Study 2 aimed to replicate and extend Study 1 with additional ratings (Emotion, Story, Meaningful, Effort, and Time to create) intended to elucidate "why" people more-positively appraise Human-labelled artworks. The main findings from Study 1 were replicated, with narrativity (Story) and perceived effort behind artworks (Effort) moderating the label effects ("Human-created" vs. "AI-created"), but only for the sensory-level judgements (Liking, Beauty). Positive personal attitudes toward AI moderated label effects for more-communicative judgements (Profundity, Worth). These studies demonstrate that people tend to be negatively biased against AI-created artworks relative to purportedly human-created artwork, and suggest that knowledge of human engagement in the artistic process contributes positively to appraisals of art.

The authors provide the reader an opportunity to see how second-grade children can use a twelfth-century painting as historical evidence to identify transportation modes, economic activities, and cultural features of Bianjing, an ancient Chinese city. They compare Bianjing with their community using modern mapping technology. Through this approach, art, history, geography, economics, technology, and civics are integrated into an engaging inquiry lesson.

The research presented here aims to determine how art education influences students' preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students' art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students' preferences for the 20th century art movements. Students reacted positively to each kind of education, as evidenced in the wider acceptance of 20th-century art (abstract, fauvism, cubism, pop art, and surrealism). The type of education did not influence preferences (as much) when it came to classical art and visual works without artistic value. We concluded that puppets and independent creative work should be used more often in art education.

In the contemporary process of teaching fine arts, the students' own creative expression and art appreciation are used to encourage learners towards both perception and reception; consequently, the evaluation and internalisation of works of art play an equally important role. In art education practice, we manage to provide adequate incentives and are able to follow incentives for artistic expression, but pay less attention to developing art appreciation. This research presents the results of a study that monitored the development of art appreciation abilities among 9- and 10-year-old students (4th and 5th grades; n = 2794) in Slovenian primary schools. The level of art appreciation abilities was rather average, but was more developed among older students and girls. In monitoring the school stratum, we did, however, notice a statistically significant difference regarding perception, whereby students in urban schools performed better than their peers in suburban schools.

In recent years, disability has become a site for knowledge and artistic creation. In this study, local governments, universities, art museums and non-profit organisations collaborated from 2019 to 2022 to implement an online art project for people with disabilities during the COVID-19 era. The project's goal was to enhance the identity of people with disabilities, promote their interest in museums and artwork as local resources and engage them in society. The project was conducted in three phases with a sequence of connections using the affirmative model of disability by Swain and French (2000) as the theoretical framework. In Phase 1, we surveyed 370 people with disabilities and their supporters living in Hiroshima Prefecture to clarify the conditions promoting or hindering their appreciation of art exhibitions and the use of digital devices. In Phase 2, we conducted an online interactive appreciation workshop at a museum for seven people with disabilities based on the Phase 1 survey results. In Phase 3, an online exhibition was held using the artwork seen in Phase 2, and words and photographs were used as methods of expression. The interactive appreciation workshop and exhibition was built to provide the participants a safe and comfortable online alternative space, which led to individual empowerment and enhanced collaboration in the disability community. This study advocates the value of coexisting and co-prosperous inclusion rather than inclusion that necessitates people gathering in the same place.

This article addresses issues connected with project-based integrative teaching of visual arts to primary school students attending after-school activities. It explores the pedagogical outcomes of using contemporary art forms and materials for the promotion of collaborative knowledge construction and researches these processes in the classroom from the teacher's perspective. Contemporary art forms, being integrative in their nature, are viewed as a suitable means of introducing students to the varieties of ways for seeing the world around them and using their knowledge acquired in other subjects for the creation of new original artworks through reusing, remediating and bricolaging recyclable materials for the construction of an art installation. The results of this action research prove that such an approach to visual art teaching encourages collaboration and art appreciation and contributes for the development of the student's aesthetic awareness in a world where the visual image is dominating all aspects of our lives.

This research investigates how student cultural enculturation affects student art appreciation. In this research, a model was proposed. Through this model, students' art appreciation can be improved by encouraging the cultural acquisition, cultural merging, and cultural internalization of the students. Data were collected from 585 students representing grades four to six from five elementary schools in the DKI Jakarta province. The students answered cultural enculturation and art appreciation questionnaires. In this research, the structural equation model (SEM) was tested. The results was that student cultural enculturation, through student cultural acquisition, student cultural merging, and student cultural internalization, had predictive effects on student art appreciation described by the variables for The Student Aesthetic Pleasure, The Student Emotional Appreciation, The Student Cognitive Appreciation, The Student Aesthetic Fascination and The Student Art Awareness.

Art is one of the most powerful ways of expressing an individual's internal state, expectations and needs with an aesthetic attitude. Different materials can be used during the expression process including colour, line, sound, movement, word, object and so on. Although the materials used in these branches of art are different from each other, the path followed in the application process and the final results are the same "to reveal an aesthetic product". In order for an artistic practice to mature and reach the beautiful one, the practitioner must have the art education discipline and acquire certain knowledge, skills and understanding of the art field concerned. The art of painting, which is one of the plastic arts, provides the ability to search for beauty through lines and colours on two dimensional surfaces, to create compositions and express the individual's self with this composition, also has its own beauty value criteria. From this point of view, it was aimed to determine the opinions of the prospective teachers studying in the Department of Painting Education in the study about the beauty criteria that should be in the picture. In this study, survey method which is one of the quantitative research methods was preferred. As a data collection tool, a five-point Likert-type scale was developed by the researchers, and 25 items were used. 110 prospective teachers from various grades participated in the study. The results of the research showed that the prospective teachers greatly contributed to the beauty criteria that should be in the picture.

Recent studies in museum education focus on the quality of visitor experience to help engagement. To understand how it occurs when it comes to dealing with young visitors to modern art museums, the researchers studied the esthetic experience of Mark Rothko's masterpiece Untitled (1969) with 678 primary and 335 secondary students. Four dimensions--sensory, emotional, cognitive, and spiritual, are taken into consideration for the development and preliminary validation of a specific instrument to evaluate the so-called "Rothko experience." Based on quantitative data analysis, results suggest that school visitors can experience Mark Rothko's modern art intensely by perceiving changes in its color and other sensory features while making self-references to time and space vanish. Besides, cultural background makes a difference in intensely experiencing Rothko's modern art. Suggestions are made for the development of pedagogical strategies that engage young audience in museum experience of modern art.

This study used reform theory to teach art appreciation to 35 (n=35) students enrolled in a visual communication program, a unit from the graphic design and multimedia program in the first year. In this study, a quantitative research design and methodologies were used. To analyze a group of students' achievements, the researcher employed experimental research--a quasi-experimental design that is a single-group interrupted time series design. The data was gathered using two instruments: a tertiary level visual communication module and five sets of test questions. Means, standard deviations, and percentages were used in the descriptive statistics to determine the students' achievements. Repeated measure inferential statistics ANOVA was used to investigate changes in mean scores over five times period for both five sets of test questions mean scores and lessons (studio art production) mean scores. The findings revealed that the module influenced the quality of students' development of a variety of skills in visual perception and artistic response, historical, cultural, and social context investigations, engaging students in the art-making process and enhancing their critical and aesthetic inquiry for a better understanding, aesthetic appreciation, and an increase in self-expression.The effectiveness of the module using reform theory demonstrated students' improved understanding and fostered proficiency in implementing thinking in their five sets of test questions and lessons (studio art production).

This study investigated the role of expertise and personality in reactions to challenges in contemporary paintings, here operationalized as violations in syntax and semantics. Thirty-eight expert and 56 naïve art viewers appraised 20 paintings (divided into four groups, i.e. no violation, only syntactic or semantic violation, and both semantic-syntactic violations) on scales of valence, activation, sense-making, understanding and appreciation. Viewing time was also recorded and participants filled in questionnaires measuring the Big Five model of personality and Need for Closure. Separate mixed linear models were fit for each outcome variable (rating scales and viewing time) with the type of violations, expertise and personality measures as predictors. It was found that syntactically violated paintings predicted best viewers' reaction to art. Such paintings were viewed longer and evoked reactions modulated by individual differences and expertise. Expertise was found to be a positive predictor of understanding and appreciation of paintings with syntactic violations. Conversely, need for closure turned out to be a negative predictor of sense-making, understanding, and liking those types of art. Similarly, people high in neuroticism liked syntactically violated artworks less. Only openness to experience turned out to be a positive predictor of sense-making and activation in all types of stimuli. The results are discussed in terms of elevated challenge, which syntactically violated paintings present, and different strategies of viewers to cope with this.

Writing about art is a complex task that differs considerably from other forms of writing because it requires detailed understanding and application of certain theoretical frameworks for visual analysis. This has proven to be a major challenge amongst university and college students in Nigeria who grapple with interpreting visuals into text. The objective of this research is to identify the factors that impede students' writing abilities in art departments through literature review, then develop a conceptual guide to art appreciation and criticism for undergraduates and budding art critics. The research demonstrates that emphasis on the aesthetic philosophy of art and the predominant creative pedagogy used for art tutelage in Nigeria is responsible for the poor approach to art writing amongst students. To address this problem, a combination of three theoretical frameworks: "Ekphrasis," "Formal Analysis" and "Iconographic Analysis" are used to develop a new five-step-system for art appreciation. Results show that the juxtaposition of analytical elements from "Ekphrasis," "Formal" and "Iconographic Analysis" leads to the development of a simple but effective theoretical framework for writing about art which covers five key areas of description, analysis, context, meaning and judgement. Having tested this new framework with tremendous success, this research concludes that the application of this five-step-system will improve writing about art in tertiary institutions by acquainting students with the theoretical tools/lexicons to effectively analyse their own works and those of established artists.

Study abroad is recognized as a means to teach global citizenship to students, but little empirical research exists to support the notion. This qualitative research study details how a large, urban, public high school implemented a study abroad program to enrich its Advanced Placement World History course. The diverse school collaborated with a local community college to allow students to participate in a weeklong European study abroad exploring art, architecture, and historic sites. Student interviews demonstrate that study abroad, as a global education enrichment, extended comprehension and enriched classroom learning and could be integrated into many disciplines. Further, the study reveals the value of the program in meeting the needs of 21st century learners and their self-perceptions as members of the global society. The study provides insight for school leaders, study abroad coordinators, and teachers and suggests future research and study abroad implications for the field of global citizenship.

Professional and amateur artists seek inspiration from viewing the works of others to enhance their creativity. This paper focuses on inspiration for artistic creation through art viewing by reviewing psychology studies on what types of artwork promote individuals' inspiration for creation (inspiring artwork) and how they experience inspiration through their art appreciation (the appreciation process). In particular, we claim that a "dual" focus--that is a focus on both evaluating the artworks of others and reflecting on one's own art making--is a core mechanism for inspiration. Further, we present a theoretical framework to explain the types of creative outcomes expected in line with such a dual focus.

When the pandemic temporarily closed U.S. museums in March 2020, it also halted on-site museum tours. Some museums responded by developing or expanding their virtual programs, including online tours. The author, an in-gallery docent at the Smithsonian American Art Museum, trained during the pandemic to give virtual tours. Comparing in-person with computer-mediated art museum tours, she acknowledges that virtual tours are an essential part of museum outreach and education, enabling those who are unable to travel to an art museum to strengthen their critical thinking skills and learn more about American art and culture. But she also advocates for in-person museum-going, arguing that our bodies play a key role in viewing art objects and in experiencing their spatial locations.

The premise of the article is that the history of Western art as taught in most art curricula is fundamentally biased and patriarchal. It was primarily feminist scholars who demonstrated how modernist art paradigms are constructed by gender differences and thus reflect and reinforce gender power relations. My claim is that changing the power relations requires visual literacy skills and a new reading that will broaden or modify the standard visual reading of modernist artworks. The study offers a critical visual reading of two foundational artistic themes, each to be read through dialog between the work of a male artist and that of a female artist, the themes being 'girl before a mirror' and 'the origin of the world'. The cases are taken from a course I teach to undergraduate students in education and art. For each of the themes, I present the development of an alternative critical reading of the artworks. I show how the acquisition of skills in critical feminist visual reading helps to promote the deconstruction of traditional gendered representations and allows students to read the woman as a subject rather than an object.

This study utilized 33 students taking creative communication design 3 in the third year of the graphic design and multimedia program, using an Anderson's model in teaching art appreciation. The quantitative research design and procedures were employed in this study. An experimental research using the quasi-experimental design, a single-group interrupted time series-design was used to examine a group of students' achievement. The research was conducted at the researcher's university, a private higher learning institution. In collecting the data, two instruments were used, namely the new teaching module and three sets questions of tests. The descriptive statistics made use of means and standard deviations to determine students' achievements and inferential statistics, Pearson correlation coefficient to study the relationship between the students' three sets questions of test scores and studio art production scores. The findings exhibited that the 33 students tested have exhibited a moderate developmental progression in their three sets questions of tests. In terms of studio art production, students were able to make the appreciation of artwork with a better understanding. Generally, the correlation between students' test scores and studio art production scores exhibited students have gained a reasonable amount of knowledge through the new teaching module. The effectiveness of the teaching module using Anderson's model exhibited students' good understanding and its ability to foster implementation in cognitive knowledge both in their tests and studio art production.

In the contemporary process of teaching fine arts, children's own creative expression and art appreciation are used to encourage learners towards both perception and reception; consequently, the evaluation and internalization of works of art play an equally important role. In a qualitative empirical research study that takes the form of a case study, we studied the response of children to works of art and their demonstrated communication skills in this. The results have shown that children respond to works of art on multiple levels. With non-standardized narrative group interviews, we observed children's associations. Children perceived and internalized the given artworks and also put their emotions into words. The study has shown that systematic development of art appreciation among pre-school children can have a positive impact on their communication skills.

This article reports on a qualitative, descriptive, and interpretative research intervention case study of English as a foreign language students' construction of perceptions on social issues found in famous works of art. Participants in this study engaged in the practice of critical thinking as a strategy to appreciate art that expresses social issues. The research was conducted at a Colombian public school over ten days. Famous works of art were presented with the purpose of creating a conversation club in which students were expected to identify and discuss social issues implicit in those works of art. Data were collected through direct observation, field notes, and interviews. Findings showed participants' perceptions of works of art while interacting in English conversations.

During The aim of the multi-year study, conducted by the authors of present article, is to reveal the characteristics of social-cultural portrait of 9-16-year-old children, who grow up in the XXI century, along with the influence of modern children's vision of life on their perception of art. In order to solve the problem, the authors used the results of the survey and testing of two types: questionnaire survey and test tasks in the conditions of an in-depth interview. As a result of the study, the authors revealed three types of mutual influence of axiological orientations of the modern social-cultural environment and aesthetical advantages of art perception. The first stage of child's art perception actualizes a relative harmony between author's solution to the work of art and its perception by a recipient. A child perceives an integral content of work and does not contradict its aesthetic essences. In the second type of perception, a child assigns the axiological pathos, therefore narrowing the aesthetic essences of the work but accepting it emotionally. The third type implies the choice of other life values (wealth, career, external beauty), which replace aesthetic essences of the classical art by the mass culture's criteria. The types of social-cultural environment influence on the art perception of children, who grow up in the XXI century, have been revealed for the first time.

This mixed-methods study analyzed data collected from a higher education pilot program intended to foster preparation for greater independence with students with intellectual disabilities (ID). Pearson's Quality of Life Inventory (QOLI) (Frisch, 1994) was administered to five program participants with high functioning intellectual disabilities (ages 18-25 years). Students also responded to interview questions relative to outcome objectives of domain courses including social skills training, fine arts exploration, recreation orientation, life and work skills instruction, and self-advocacy coaching. Data analysis of QOLI and themes from interviews revealed implications of how students perceive their overall quality of life. Also analyzed were the students' perceptions of the following areas of their lives: personal growth and self-esteem, work skills and behaviors, social skills for group activities and significant relationships, skills for functioning independently, and skills for self-advocacy and making choices. The goal of sharing these findings is to assist others in the design of future transition programs for this population.

This article addresses ways that museums can strengthen programming for audiences who are blind or partially sighted. Through the development and study of a tour for people who are blind or partially sighted conducted at the Calouste Gulbenkian Museum -- Modern Collection, in Lisbon (Portugal), the author examines other possibilities of access that go beyond the physical and communicative access considering, namely, the importance of the aesthetic experience for this audience access an art work. She argues that aesthetic access is crucial to the reconfiguration of blindness in art museums, leading to a closer relationship between the people who are blind or partially sighted and visual arts.

This article takes its direction from notable educators such as John Dewey and Elliot Eisner who argue in favour of endorsing uncertainty and related responses within educational practice. The argument is a push­back against current emphasis on standardization, with its accompanying focus on single right answers that don't do justice to the complexities inherent in our daily lives. The dual nature of uncertainty is exemplified in the depiction of one person's interactions with two famous paintings. To provide the reader with a parallel encounter with uncertainty, the article includes a short video and concludes with an ekphrastic poem in response to the video, to illustrate the points being made.

Visual literacy was a stated learning objective for the fall 2009 iteration of a first-year seminar course. To help students develop visual literacy skills, they received formal instruction throughout the semester and completed a series of carefully designed learning activities. The effects of these interventions were measured using a one-group pretest-posttest study design where students were asked to look at two different--but stylistically similar--paintings and write a response to the following two questions: what do you see and what do you think it means? Students' responses were analyzed based on the visual evidence they recorded and the strength of their arguments using Toulmin's argument model. After instructional interventions, paired t-tests indicate that students made significantly more basic (t(15) = 4.291, p < 0.001) and advanced observations (t(15) = 2.440, p = 0.014), offered more supporting visual evidence for their best-supported claims, and made stronger connections between their claims and the visual evidence.

Since Bourdieu, it has been argued that art appreciation requires "knowledge". The focus of this qualitative study was to examine art appreciation as a learned competence by exploring two different groups of museum visitors: art specialists and art non-specialists. The research was conducted at Moderna galerija in Ljubljana. Twenty-three adults were recruited and accompanied during their visit to the museum. Participants were requested to "think out loud", which meant to talk about what they saw, thought, and felt about the artworks. There was a short interview conducted with each participant before entering the museum to gain insight into their art-related and museum-visiting experience. The analysis of the data revealed that some processes of art appreciation were similar within the two groups. Both art specialists and art non-specialists interact with museum objects physically and intellectually; they see contents and formal qualities as a whole; they respond emotionally to artworks; appreciation includes their personal experience; they search museum interpretation/information for their understanding. Some noticeable differences were found. Art specialists respond to artworks with more understanding and are willing to put more effort into art appreciation, whereas art non-specialists respond with less understanding and put less effort into art appreciation. This paper focuses on the differences between the two groups; reflective and spontaneous appreciation of art, objective and subjective appreciation of art and the effort put into art appreciation. The paper ends with a discussion of the implications of the study for the teaching of art and museum education.

We consider the phenomenon of social interactions within the art museum, arguing that even the bare possibility of meeting others or intruding into their gaze can have a profoundly detrimental effect on art experience. This is done by tracing a finding from our previous studies in which we considered three museum galleries--each with the same artist's paintings and basic layout; the only major difference being design elements within one space encouraging social interaction and in turn causing repressed enjoyment, negative emotional experience and negative art evaluation. We use this example as a frame for introducing a model of the psychological impact of social interaction on the behavioral and cognitive experience of art, considering its implications for education--which often focuses on the social--as well as implications for personal or introspective art engagement. We also consider a number of measures and aspects that relate to this model and which might be considered by educators in their planning and art study. We conclude with a followup study of the same gallery, after its physical renovation to minimize social interactions within the space, and showing significant increases in pleasurable or rewarding outcomes as well as increased positive evaluations of the same art.

This paper is based on an inquiry carried out among a small group of children between the ages of 10 and 12 years, who, in the framework of an art-workshop, attended two theatrical performances of the same subject, Homer's Odyssey, but of quite different directorial approaches: the first performance had a narrative character following the basic principles of the dramatic model, while the second one belonged to the postdramatic paradigm that tends to subvert all traditional concepts about the structure and the content of a theatrical act. The conversation that followed showed that children have only to gain by their approach to unconventional artworks, as they get stimulated to think in new and diverse directions. As an informed instructor on philosophical and theoretical art-matters is a prerequisite, this paper aims at the construction of a fundamental theoretical framework for the postdramatic model and at the examination of the possibilities of postdramatic performances to function both as carriers of information and as stimulators of new kinds of aesthetic experiences, in an educative manner.

In a world that is becoming increasingly more visual, there is a greater need to educate children to better understand images. A school subject that deals directly with image understanding is visual arts. This article discusses an interdisciplinary approach to promote art understanding, within a multimodal environment that combines art and music. The approach was tested with pre-service elementary school teachers (experimental and control group). The target group is of special interest because, in many countries, generalist-teachers and not art-specialists teach art in elementary schools. The findings indicated that when art viewing was accompanied by musical stimulus (experimental group), viewers/listeners were able to exhibit a variety of art appreciation skills and to move to elaborated responses to the artworks. The findings have implications for teacher-training courses as they suggest ways of enhancing future teachers' art-appreciation skills and set a framework for developing multimodal educational material for art viewing activities.

The main purpose of this study was to examine the multi-functional relationship among pre-service teachers' art appreciation, attitude toward science, technology acceptance, creative convergence competency, and teaching competency in STEAM education. Data were collected from 238 pre-service teachers in Korea and were analyzed using structural equation modeling. The results indicate that pre-service teachers' art appreciation, attitude toward science, and technology acceptance had a significant effect on their creative convergence competency. In particular, their attitude toward science had the greatest effect on the creative convergence competency, which had a significant effect on the teaching competency in STEAM education. In addition, individual characteristics (i.e., art appreciation, attitude toward science) had indirect effects on the teaching competency in STEAM education mediated by the creative convergence competency. Overall, the results of this study show the criticality of supporting pre-service teachers to develop positive attitudes toward art appreciation and science to foster creative convergence skills. In conclusion, we suggest that the current fragmented approach with strict disciplinary boundaries at teaching education institutions does not adequately prepare pre-service teachers to be competent in teaching STEAM education. More holistic and systemic approaches are necessary to support the trajectory of pre-service teachers' development of STEAM teaching competency.

This article analyses the problem of reception and interpretation of contemporary art exhibition in the context of "Besucherschule" ("Visitors' School") invented by Bazon Brock: German philosopher, art historian and a follower of Theodor Adorno. He implemented this practice for the first time on "documenta 4" in Kassel (1968) and organised such schools of reception until "documenta 9" (1992). The aim of the "Visitors' School" was to explain works of contemporary art on display to the public. Brock understood this process as 'mediation' in aesthetic education, arguing that dependence on theory was no less problematic for contemporary art perception than the lack of traditional art form. The main symbolic task of art -- 'claim for reality', was demonstrated by Brock in two ideas: 'new image-war' and 'speaking image'.

Through the participation of local communities in the arts, Community-Based Arts Education (CBAE) raises awareness of ecology and the environment, and also facilitates the search for and establishment of a socio-cultural identity. It provides students with specific forms of experiential learning involving out-of-classroom experiences. Since 2003 the Education Bureau in Hong Kong has promoted learning arts in the community in an informal arts educational context. To suit the needs of CBAE, since 2011 the Leisure and Cultural Services Department has offered four successful community-based arts educational schemes to local primary and secondary students. The aim of the schemes is to enrich students' knowledge of arts and culture and strengthen their capacities to learn arts appreciation and criticism. Between 2011 and 2013, over 30,000 primary and secondary students participated in the schemes. This article reports on a study of the schemes which aimed to identify key elements of good practice in CBAE from students' and teachers' perspectives. In this larges-cale study, a total of 15,430 students between Primary 1 and Secondary 6 (age 6 to 17) and 1,306 teachers who participated in the schemes were invited to take part in surveys and focus group interviews. The results show that the three central tenets of self-determination theory, namely, competence, autonomy and relatedness, are the key elements of good practice in CBAE. It is hoped that the research findings will enrich existing knowledge of and provide a new research direction for CBAE.

Dada, an art movement that became well known in the late 1910s and early 1920s, challenged traditional notions of art and aesthetics. Dada artists, for example, tossed colored scraps of paper into the air to compose chance-based collages, performed sound poems devoid of semantic value, and modeled a headpiece fashioned of sardine cans. To most art historians, Dada remains a culturally contingent expression of World War I trauma, nihilism, political disillusionment, and an aggressive attack on the moral bankruptcy of Western culture. The author suggests that this negative interpretation originates from art history's methodological blindness to the importance of play, not only to creative and artistic endeavors, but to human identity itself. Dada is characterized by an effervescent love of improvisation, curiosity, novelty and an unselfconscious exploration of the phenomenal world; it emphatically professed to be "anti-art" and "a state-of-mind." When considered from the perspective of play research and positive psychology, Dada emerges as an early and visionary milestone in understanding play as a fundamental expression of humanity almost a century before academia would take adult play seriously. (Contains 4 figures and 73 notes.)