This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.

This two-part study included a content analysis of an AP art history text and a survey together with interviews with AP art history teachers that embraced both quantitative and qualitative research methodologies. The first phase of the study examined one of the more popular art history survey texts in the AP art history program, Gardner’s Art through the Ages, in terms of how inclusive it is in addressing issues of sexual orientation and, particularly, same-sex perspectives. In addition, the text was examined for evidence of sexual orientation ignored – particularly same-sex perspectives ignored and for heteronormative hegemonies. The second phase investigated the understandings and opinions of AP art history teachers toward the inclusion of sexual orientation and same-sex perspectives in their curriculums and classrooms. Recent recognition of gay, lesbian, and same-sex perspectives in the study of art history has challenged art educators and art historians to begin to consider opening up their curriculums and writings to include these perspectives. These ignored perspectives produce important understandings that enrich and deepen the discourse of art history. The inclusion of gay and lesbian content and same-sex perspectives to the study of AP art history, not only effectively serves the needs of AP art …

This is an enterpretivist cultural study on how the lively idea of assessment is enacted by the art teachers, students and administrators in Denton school art education, North Texas, the United States. This ethnographic research aims to extend understanding on assessment as vivid cultural and social dynamics that both reflects and enlivens varied and interconnected values promoted and shared among the people involved. Through a perspective of the culture of assessment, this study is expected to facilitate insights on art education as lived, purposeful experience bearing suggestions on a certain social environment and historical implications. Such insights as sought further illuminate specific understandings on art education in different cultural societies, such as China. From a Chinese native viewpoint, the researcher broadens her horizons on connection and independence important for informative performance of art education in the discourses of modern nation and schooling, as well as globalization. It is hoped that this study will interest other art educators, teachers, and researchers to make multiple and continuous efforts in further exploring the culture of assessment with cultural and historical consciousness and knowledge.

At least half of the art objects in the public trust are currently in need of conservation today. In consideration of this crisis, a posthuman version of art conservation curriculum is proposed to transgress current limitations of the field. Through applying Michel Foucault's genealogy and archaeology to art conservation and its education, Anthropocentric motivations undergirding conservation are revealed. Foucault's death meditation inspires my narrativization of a fire event that incites a re-visioning of my over 25 years of conservation and teaching experience. By re-contextualizing theorist Ted Aoki's works, art conservation curriculum becomes a reflective and affective site for reciprocal healing of self and other, incorporating the lives of conservation students and art objects. Reconsidering art conservation curriculum in light of Aokian notions of curriculum as plan and curriculum as lived, provokes the curricular potentialities of new materialism, along with quantum physics' entanglement, intra-agency and intra-activity for the field. Art conservation and its curriculum are radically reimagined as indwelling between humanist priorities of the Anthropocene and posthumanist possibilities towards more caring, ethical and sustainable futures for both human and nonhumans' coexistence on this planet.

This descriptive study uses a qualitative, content analysis to examine the middle school visual arts and core Texas Essential Knowledge and Skills (TEKS) to determine the potential common learning activities that can be aligned between the two. By performing an alignment of the potential common learning activities present in the middle school visual art TEKS and the middle school core TEKS, I demonstrate that there is a foundation for curriculum integration in the Texas middle school visual arts classroom.