DIFFERENTIATED VISUAL ARTS EDUCATION FOR GIFTED INDIVIDUALS IN VISUAL ARTS

International Handbook of Research in Arts Education

The world of Visual Arts developed basically from the practice of art creation. From the practice of art creation, the method is increasingly advanced, revealed new concepts and approaches in art creation that are unique. Certainly from the work of the artists and designers, will later arise theories that support the process of new art creations. The studies of Arts appeared after the Art itself created. After there are works, a study of the works or the process of artwork is carried out. There is a need to introduce the arts to the wider community, bridging the gap between the expressions complexities of the artists and people's appreciation. There are also interests of the education field to pass on the knowledge to students or develop new approaches in art education. This understanding of the visual perspectives will also support other sociocultural research. Earlier studies on Visual Arts are generally carried out in the framework of History, and Art Criticism. As the sciences of humanities increasingly developed, the nature and form of art studies became more varied, becoming more interdisciplinary. The study of Visual Arts and Design may involve an analysis of contemporary culture, the media, and society. The cultural activities produce images that are important in understanding the dynamics of society. This special issue, "The Arts and Humanities" covering research topics in the field of Visual Arts and Design, encompasses a diverse range in Visual Art and Design study areas as well as different objectives of the writings. Written by scholars that also practitioners in the field of Visual Arts and Design from a variety of disciplines, the creative and critical research findings problematize critical issues based on art practices, policies, productions, and the aesthetic aspect of the art itself.Most of the topics discussed the fields of "science" which had formally been part of the discourse disciplines in Visual arts schools: Fine Arts, Design, and Crafts, while two of them explored issues in visual culture context that were part of the performing arts and culinary arts. These varied research topics and approaches show the many interests in Visual arts studies, especially in Indonesia.Madia Patra Ismar (2020) with Rayahu Pertiwi (2020) discussed the artistic gaze of two Papuan choreographers; Visual Perspectives Rooted in the Oral Traditions of the Kamoro and Asmat Tribe. Those choreographers based their work on their traditional roots and the choice of visuals and dramatic bodily expressions created by them was based on their deeply ingrained roots as indigenous Papuans. Sonya Indriati Sondakh (2020), realized that when food is served in high-end premises or special places for tourism purpose, the visual aspects become an interesting marker to read. She explores the visual perception in Indonesian food, discusses the negotiation of the visual and gustatory perception.The following three articles select topics around textiles and fashion works, with a gender perspective on the discussion. Lucky Wijayanti (2020) has done research on the resilience of Sasak women. This research concludes that art activities functioned as a 'liberation room' for Sasak women to express themselves. Adlien Fadlia (2020) researched the tradition of making batik in the Rifa’iyah community in the village of Kalipucang Wetan, Batang, Central Java. Batik with a characteristic motif of the Rifa’iyah can be sustainable until now because of the role of women in regenerating batik skills. Mangesti Rahayu (2020) also explored the clothing custom in Indonesia. She found that hijab is also part of the Muslim warriors identites in the era of Indonesia independence struggle. Hijab also had its role in fighting for the dignity of women at that time.

Because the first definitions for the gifted students having high level of skill, motivation and creativity focused on academic achievement, it was believed in that students who are academically successful would succeed in the field of art. It caused problems to use the identification tools for the purpose of identifying the cognitive (academic) skills but also for identifying the gifted students in the field of visual arts. Identification of the gifted students in the field of art differs from the identification of cognitive skills due to different features and requires use of different identification tools. Absence of any publication in Turkey about determination of gifted student in the field of visual arts makes this study important. In this study that was performed by using review method, it is discussed the identification of students required to take different educations in the field of art. In this study, requirement of process observation as well as product assessment and consideration of multiple-criteria became prominent to determine the gifted students in the field of visual arts. It is also concluded that criterions such as art education notes, academic notes, slides or video examination data, informal tools, performance and portfolio examination, interview and observation must be considered during the period of candidacy.

The paper aims to explore the potential of research by design in architecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similarities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university programs in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the intention to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared?

The research conducted aimed to analyze the textbook Ser protagonista: Linguagens e suas Tecnologias: culturas: ensino médio, distributed to public schools through the National Textbook and Teaching Materials Program (PNLD), with an emphasis on the field of Visual Arts. The methodology employed was documentary analysis to investigate the textbook and other regulatory documents in the educational field. In addition to documentary analysis, research methodologies in art education were used to broaden the scope of the investigation. Considering that every art educator must also be a researcher and an artist, carrying out a practical activity involving research and artistic creation constitutes an important step, both in the self-referential formative process and in the research process in visual arts education. In this sense, the contribution of this work lies in the aspect of teacher training, as well as in artistic production within a pedagogical context, also contributing to the construction of knowledge through reflections emerging from the dialogue between theory and practice.

Visual art was originally measured by viewing and appreciating graphic works, and there was no previous research into ways to improve the quality of visual art. With the rapid development of visual arts and technology, the question of how to improve quality has become an urgent one. As the most cutting-edge and hottest concept in the international arena today, the development and application of metaverse technology has widely drawn the close attention of various industries, including management, economy, education, and art. However, there is no in-depth and clear research on the concept of metaverse in the field of art, especially in the field of visual art. We believe that the creation of visual art in the context of metaverse will be an important direction for art development in the future, and can also greatly contribute to the improvement of the quality of metaverse visual art presentation. Therefore, we focus on the issue of visual art quality assessment in our research, and propose a theory and method of metaverse-oriented future visual art quality assessment. The method focuses on the G1-entropy value method to calculate the weights in visual arts, combines qualitative research with quantitative research, and proposes the improvement path and countermeasures for visual arts. In summary, our research aims to address the theoretical approaches to the design of the metaverse field architecture and the assessment of art quality for the future introduction of the metaverse. The main contributions of our research are focused on the following three aspects: 1. The construction of the visual art field architecture draws on the functional requirements analysis method of system science simulation, considering that the entire visual art metaverse field architecture is constructed at three levels: the bottom data support layer, the middle technical support layer and the upper technical application layer. 2. The G1-entropy combination weighting method is used to derive the importance ranking of visual art quality indicators and identify key factors, and to derive suggestions for quality improvement based on the key indicator factors. More importantly, we also build a field architecture for future-oriented visual arts in this study, which bridges the gap in the structural design of visual arts after the introduction of the future concept. Our present study makes a great contribution to the application of visual art quality enhancement, focusing on the analysis of new concepts and the improvement of old methods, building a new scene of organic combination of new technologies and traditional visual art, with practical research theoretical support for the promotion and progress of the disciplinary field.

Visual arts and design education is an important area in higher education, and artificial intelligence (AI), which can provide personalised learning experiences, plays a pivotal role in facilitating the learning process and student creativity within it. This chapter provides an insight into the current use of AI technologies in the teaching of visual arts and design, highlighting their impact on student engagement. Through the integration of current research findings as well as detailed case studies, it reveals how AI can be effective in fostering creativity and meeting specific pedagogical needs in the field of visual arts and design. In addition, the article explores the role of AI in visual arts and design education and highlights the ethical issues encountered when integrating technology into educational frameworks. Finally, the chapter looks at future research trends and calls for further studies to improve the quality of teaching and learning in visual arts and design education and to prepare students for a technology-led future.

The integration of the United Nations Sustainable Development Goals (SDGs) into education has become a global priority, yet empirical research on their implementation within arts education remains scarce. While both international and Lithuanian policy documents emphasize the role of culture and the arts in promoting sustainable development, less is known about how arts educators perceive and apply SDG-related themes in their daily practice. This study addresses this gap by examining the attitudes, practices, and perceived competences of arts educators, drawing on a quantitative survey of 164 respondents representing music, visual arts, and other artistic disciplines. The theoretical framework highlights the intersection of sustainable development, cultural policy, and art education. Global strategies such as the European Green Deal and UNESCO’s Framework for Culture and Arts Education underscore the transformative potential of artistic practices for sustainability, while Lithuanian national documents emphasize the integration of sustainability competences across educational sectors. Pedagogical paradigms such as ecopedagogy, art-based environmental education, and the STREAM/STEAM concept provide a rationale for linking creative practices with ecological, social, and ethical dimensions of sustainability. Empirical findings reveal that sustainable development themes are integrated across artistic fields, though with varying emphases. The most frequently cited goals were SDG 3 (Good Health and Well-being), SDG 12 (Responsible Consumption and Production), SDG 4 (Quality Education), SDG 16 (Peace, Justice, and Strong Institutions), and SDG 6 (Clean Water and Sanitation). Music educators tend to associate their practice with health, well-being, and social engagement, reflecting the affective and community-building nature of music. Visual arts and ceramics educators emphasize ecological awareness, responsible use of materials, and environmental concerns, while educators in other fields such as theatre, dance, and media arts combine both approaches through interdisciplinary projects. When asked about artistic means used to integrate sustainability themes, educators most frequently mentioned movement, dynamics, symbols, metaphors, and rhythm. These artistic tools illustrate the potential of the arts to communicate abstract ideas and evoke emotional engagement. Visual and compositional means such as space, structure, and color were also widely employed, particularly among visual arts educators. These findings underline that the integration of sustainability through the arts is closely linked to the specific expressive logic of each discipline. Educators’ self-assessment of their knowledge related to sustainable development was mostly moderate to high, with the majority rating themselves between three and four on a five-point scale. Only a small group (6.8%) considered themselves experts, while a notable minority felt insufficiently prepared. This indicates a broad base of awareness but also a clear need to strengthen practical competences. The main professional development priorities identified were enhancing media and artistic skills, expanding project-based and interdisciplinary teaching, and improving pedagogical methods for sustainability-related themes. At the same time, educators face significant challenges. The most frequently reported obstacles include a lack of knowledge and practical competences and limited funding for sustainability-oriented projects. These challenges are directly related to educators’ requests for methodological assistance, institutional collaboration, and financial resources, identified as the most urgent needs. Such findings demonstrate that systemic support—methodological, institutional, and financial—is crucial for sustainable integration in arts education. Qualitative responses further emphasize educators’ awareness of their unique role in fostering values, critical thinking, empathy, and social responsibility. Many participants highlighted the capacity of the arts to make sustainability themes accessible, experiential, and personally meaningful through creative exploration. However, they also stressed that without systematic support, such initiatives risk remaining fragmented and short-term. In conclusion, this study demonstrates that arts educators in Lithuania perceive themselves as active agents of sustainability education, already engaging with sustainable development themes through diverse artistic means. Their practices reflect the logic of their disciplines, yet they share common needs for professional development, resources, and institutional support. Bridging the gap between policy aspirations and classroom realities requires targeted training, stable funding mechanisms, and stronger partnerships with cultural and civil society organizations. The findings mark an initial stage of a broader research agenda, providing a foundation for future longitudinal studies on the intersection of arts education and sustainability.

The job market in the field of visual arts has taken a relatively recent form since the middle of the twentieth century at the globallevel, so there are important roles such as artistic values, museum management and marketing, to name just a few. Thus, the locallabor market for visual arts needs some development to keep pace with regional and international standards at the present time,in order to create a balanced work environment that accommodates graduates of various artistic programs with their skills andvarying levels locally, and to expand the circle of beneficiaries regionally and internationally. That is why the importance of thisstudy lies in limiting the courses to be added to the curricula in the business administration major in the field of visual a rts, inpossession of the leading international colleges in this specialization. Which paves the way for researchers in the near future towork interdisciplinary studies between the fields of business administration and visual arts to study ways to provide the needs ofthe labor market professionally and in pursuit of sustainable development in that field.

The article considers choices and opportunities to access the arts in the contemporary UK, connecting these to engagements in culture in relation to position in social space. The reflection is informed by the ESRC funded investigation of the Cultural Capital and Social Exclusion project, CCSE, which assessed the applicability to Britain of Pierre Bourdieu's work in Distinction (1984), 40 years after his original French study. While exploring the broader thesis the project probes and disagrees with many elements of Bourdieu's arguments. This article outlines the main thesis about how cultural capacity affects the structure of social inequality and explores how this takes shape in the current British context. After considering the broader picture emerging from the interplay of various cultural fields, based on Multiple Correspondence Analysis, the discussion focuses on the field of visual art. This has the aim to reflect about the links that this field has with broader cultural processes in the UK and its specificities. The field of visual art appears as one of the most distinctive fields of cultural practices, and one where the intensity of participation is highly relevant for social position. The engagements of individuals indicate powerful tensions in the ways people conceive visual art. Cultural capital is relevant for the kind and level of involvement in this field with individuals being positioned predominantly according to possession of cultural capital, but with inflections linked to particular demographics where divisions of gender, age and ethnicity, as well as biographical patterns are significant. These are mixed in different ways as resources for social position in the field of visual art.

The relationship between arts education, museum education and drama education in elementary education

The relevance of the study is driven by the advancing development of artificial intelligence (AI), which presents new prospects for the creative education of students on Art educational programs. The research problem lies in the current challenges to traditional art learning practices, which are losing relevance due to changes and the potential integration of artificial intelligence (AI) technologies. The aim of the research is to review the creative learning process of art students to identify: criteria for forming competencies in the fields of visual arts with the application of AI technologies, AI tools for teaching students in the field of visual arts, key competencies in working with virtual tools for students and teachers in the field of education and art, and to define recommendations for the implementation of AI in the art students’ learning process. The methodological framework is based on interdisciplinary examination of researchers' works in education and art. Research methods include overview-theoretical, art-historical, methodological-pedagogical analysis, as well as comparative and case–study approaches. The theoretical significance of the research lies in reviewing the trajectories of education in the field of neural networks and providing scientific–theoretical justification for the application of AI technologies in the creative learning process of students enrolled in visual arts programs. The practical value offers recommendations for the formation of modern and efficient educational strategies in the field of art at the student level, including the specification of concepts and terms, defining curricula with new educational methodologies and personalized educational practices, adaptation to changing labor market demand, and laying the groundwork for further research. Implementing the research findings will enable the systematization and optimization of methodologies and approaches to the creative learing process of students on Art educational programs through AI tools, virtual, and augmented reality.

In visual art education, researchers has to be aware that it is necessary to explore the position of an image, within the time period’s cultural, sociological, technological conditions that effect the image, in order to achieve a full understanding of that very image or visual composition. In that sense, setting a sample study that mirrors “how and under which effects a sign changes throughout time?” is worth investigating. The aim of this study is to explore the traces of symbolic existence of peripheral circumstances in a visual composition and as well as reflect that the composition is structured by these circumstances. In that sense, a brief review of the history of woman image has been chosen to set a sample study to search for the above mentioned dynamic. In order to trace the links in between meaning making and meaning reading processes, with the basic assumption that any sign’s meaning differs according to its position among surrounding signs “woman image” offers continuity of existence throughout history which constitutes the bases for a comparative research. Continuity, in comparative analysis of an image may constitute a solid base in order to increase the level of cognation of students in the field of visual arts.

The aim of this study was to search for oculomotor correlates of expertise in visual arts, in particular with regard to paintings. Achieving this goal was possible by gathering data on eye movements of two groups of participants: experts and non-experts in visual arts who viewed and appreciated the aesthetics of paintings. In particular, we were interested in whether visual arts experts more accurately recognize a balanced composition in one of the two paintings being compared simultaneously, and whether people who correctly recognize harmonious paintings are characterized by a different visual scanning strategy than those who do not recognize them. For the purposes of this study, 25 paintings with an almost ideal balanced composition have been chosen. Some of these paintings are masterpieces of the world cultural heritage, and some of them are unknown. Using Photoshop, the artist developed three additional versions of each of these paintings, differing from the original in the degree of destruction of its harmonious composition: slight, moderate, or significant. The task of the participants was to look at all versions of the same painting in pairs (including the original) and decide which of them looked more pleasing. The study involved 23 experts in art, students of art history, art education or the Academy of Fine Arts, and 19 non-experts, students in the social sciences and the humanities. The experimental manipulation of comparing pairs of paintings, whose composition is at different levels of harmony, has proved to be an effective tool for differentiating people because of their ability to distinguish paintings with balanced composition from an unbalanced one. It turned out that this ability only partly coincides with expertise understood as the effect of education in the field of visual arts. We also found that the eye movements of people who more accurately appreciated paintings with balanced composition differ from those who more liked their altered versions due to dwell time, first and average fixation duration and number of fixations. The familiarity of paintings turned out to be the factor significantly affects both the aesthetic evaluation of paintings and eye movement.

The research deals with the factors affecting the performance of academic women artists in universities, to enrich scientific research in the field of art and design, through the analysis of a number of previous studies to determine the factors affecting the performance of academic women in visual arts, related to scientific research based on artistic work, and a review of standards and procedures for the production of works. Art for the purpose of experimental scientific research in the field of arts in universities. The research also deals with the study and analysis of a sample of artworks by academic women artists, which are the product of art exhibitions theorized as scientific research in the field of visual arts, through the analysis of visual plastic elements, philosophical trends, and techniques used for the sample of works. The research also deals with collecting information through the design, arbitration, and distribution of a questionnaire to a number of academic artists in the fields of art and design in Jordanian and Egyptian universities, in order to determine the factors affecting the performance of academic artists in scientific research based on art exhibitions and design projects. The importance of the role of art galleries as a basis for applied scientific research in the field of art and design.