At a time when the world is increasingly moving beyond a text-based culture to one that is saturated in images it appears there is a growing need to consider students' visual education. The explosion in the use of visual media and technologies in our times has meant there is a greater need for training visually literate individuals who are capable of critical visual analysis. The use of visual media in learning and teaching is supported by research demonstrating that learner preferences and styles might be more effectively addressed, and that enhanced learning and retention can take place through the use of visual material. This paper explores strategies for encouraging children to be more innovative and adventurous in their thinking when responding to visual images. These strategies have emerged from the findings of a qualitative research study (conducted by the author) that focused on critical and creative engagement amongst Australian primary and secondary students involved in visual arts education. The purpose of the paper is to show not only the benefits of including visual communication in multimodal approaches to learning but also to show the strategies currently being applied in schools to teaching children to effectively decode and encode artefacts of their own visual culture. These strategies should enable them to develop skills as critical and aesthetic responders to forms of visual communication as well as effective visual communicators who create their own images and artefacts.

Quality arts education can produce positive learning outcomes, such as creating positive attitudes to learning, developing a greater sense of personal and cultural identity, and fostering more creative and imaginative ways of thinking in young children (Bamford, 2006; Eisner, 2002; Robinson, 2001). Arts-based processes allow children the opportunity to express their knowledge, ideas and feelings in ways that do not necessarily involve words (Livermore, 2003; Robinson, 2001). Unfortunately, the value of arts-based learning can often be overlooked because of the social and cultural dominance of literal language and written modes of expression (Eisner, 2002; Kress, 2000). Forming models of quality arts education in the early years of primary school can also be a highly problematic task. This has been highlighted in a series of recent national reviews that have investigated the current state of arts education in Australian schools. This national attention has in part focused on the level of preparedness of non–specialist teachers, in teaching the creative arts; music, dance, art and drama.

One of the major new developments in higher education is the growth of virtual universities and eLearning. eLearning comprises all forms of electronically supported learning and teaching but typically requires students to access media and communication with the aide of a computer and the Internet. While this development has definite practical benefits, such as, freedom from constraints of time and geography, there are also disparities that arise between real world and virtual technology-led teaching. Some creative ICT solutions in different disciplines or domains have proved to be successful, however, tertiary visual arts educators still face significant challenges in this new learning environment. Removing face-to-face interaction has implications for creating spaces where pre-service teachers can develop their art practice and knowledge of art pedagogies. This paper explores the specific issues that relate to off campus e-learning in the visual arts domain and presents findings from a study that investigated the attitudes of a group of tertiary students (enrolled in a primary creative arts education undergraduate unit) towards e-learning.

This paper discusses the concept of visual literacy and the problems inherent in regarding images as 'texts'. In large part contemporary understanding of visual literacy has emerged through the work of Kress (2003) and Kress and van Leeuwen (2006). These theorists have helped form a system of visual grammar and syntax that can be used to decipher meaning in imagery. While this creates further insight into the ways in which visual communication works, it rarely reveals 'the whole picture'. In this paper it is suggested that a dichotomy exists between a systemic functional approach to reading images as 'text' in English education and what could be described as an aesthetic approach in art education.

One of the major new developments in higher education is the growth of virtual universities and eLearning. While this development has definite practical benefits, such as, freedom from constraints of time and geography, there are also disparities that arise between real world and virtual technology-led teaching. Tertiary Visual Arts educators face significant challenges in this new learning environment because removing face-to-face interaction has implications for creating spaces where pre-service teachers can develop their Visual Arts practice and knowledge of pedagogies. This paper describes the experiences of a tertiary Visual Arts education academic and presents findings from a small scale study that investigated the attitudes of a group of tertiary students, enrolled in a primary undergraduate unit, towards e-learning.

UNESAP and the Let's Hang It! exhibition is a school-based art project that began over ten years ago (by Dr Frances Alter at UNE). The key goal of the art event is to raise the profile, status and interest in the visual arts in regional and rural schools throughout New South Wales. Each year approximately 600 artworks are submitted to UNESAP from students aged 5 to 18 years of age) studying in regional and rural schools throughout NSW. Approximately 10% (60 works) are selected for the exhibition event at NERAM. These works are curated under the direction of Dr Frances Alter but selection of works for the exhibition involves a panel of experts recruited from both NERAM and UNE. Winning works in the UNESAP prize are acquired by UNE and added to the UNESAP art collection. This is managed by the UNE art curator Ms. Michelle Arens and the UNE Art Advisory Committee. Dr Alter is also a member of this committee.

At a time when the world is increasingly moving beyond a text-based culture to one that is saturated in images, it appears there is a growing need to consider students' visual education. The explosion in the use of visual media and technologies in our times has meant there is a greater need for training visually literate individuals who are capable of critical visual analysis. The use of visual media in learning and teaching is supported by research demonstrating that learner preferences and styles might be more effectively addressed, and that enhanced learning and retention can take place through the use of visual material. This chapter explores strategies for encouraging children to be more innovative and adventurous in their thinking when responding to visual images. These strategies have emerged from the findings of a qualitative research study (conducted by the author) that focused on critical and creative engagement amongst Australian primary and secondary students involved in visual arts education. The purpose of the chapter is to show not only the benefits of including visual communication in multimodal approaches to learning but also to show the strategies currently being applied in schools to teaching children to effectively decode and encode artefacts of their own visual culture. These strategies should enable them to develop skills as critical and aesthetic responders to forms of visual communication, as well as effective visual communicators who create their own images and artefacts.

This paper details aspects of a research project that explored nineteen Australian primary (elementary) schoolteachers' perspectives of Creative Arts education. The study investigated the participants' personal Arts experiences and training, as well as their views of Arts pedagogy. In depth interviews with the participants highlighted the important influence that participants' own interactions with the various Arts disciplines had upon their role as facilitators of Creative Arts education. The findings of this study also identify multiple ways of approaching and facilitating teaching and learning activities. The research not only revealed insights into the educational value each of the teachers ascribed to individual Arts disciplines, but also the level of confidence and preparedness they felt to teach these disciplines. The generalist primary teachers participating in this research study identified a number of issues that they believed compromised their ability to teach the Creative Arts effectively.

This paper illustrates the potential of the visual arts to be an engine that drives creativity and innovation in school settings. It is also reasoned, that the visual arts, as with other creative arts disciplines, will not become important and necessary engines for change in education without a determination to critically review arts pedagogies and to connect curriculum reform to creativity research and innovations occurring in other fields. These themes are explored through a review of literature pertinent to the nature of learning in the visual arts, visual arts and creative pedagogies, and teaching visual arts for creativity. Future directions and considerations are proposed in the final section of the paper.

This study is an investigation into critical and creative thinking in visual arts education. It is often claimed that the development of critical and creative thinking amongst students is a central concern of arts education. Moreover, it is frequently assumed that critical and creative thinking result naturally from arts education because the discipline is innately creative. However, educational research suggests otherwise; namely, a more deliberate teacher-directed approach is required to foster these thinking skills amongst students. While a number of studies have highlighted the value of arts learning in promoting these kinds of higher order thinking skills, little has been documented about the educational approaches or strategies used to foster them. This thesis begins to fill this gap in the research by documenting perspectives and practices associated with critical and creative thinking in the visual arts classroom. The study explores the perspectives and practices of four experienced and competent art teachers and their students. Specifically, ethnographic case study methods are used to gather, analyse and triangulate significant data. Four different cases – two in primary and two in secondary school – are included in the study. Data was collected through observation records and interviews with teachers and students in these case groups. Through field-based data collection and subsequent data analyses, a series of descriptive portraits are created that illustrate different pedagogical approaches to teaching critical and creative thinking through the visual arts. These portraits reflect teacher practitioners' theories and the value they ascribe to training critical and creative thinking through art. In addition, they reflect the ways these teachers' theories and beliefs impact on education practices in their classrooms. While the four case studies could not possibly represent the realities of the broader field of art education, they are able to capture some of the diversity that exists in art teaching practices.