You searched for Assessment - The Art of Education University https://theartofeducation.edu/ Professional Development for Art Teachers Fri, 13 Dec 2024 14:55:26 +0000 en-US hourly 1 https://theartofeducation.edu/wp-content/uploads/2023/02/cropped-aoe_logo_mark_rgb-32x32.png You searched for Assessment - The Art of Education University https://theartofeducation.edu/ 32 32 How to Build a Better Art Portfolio with Your Students https://theartofeducation.edu/2024/12/dec-how-to-build-a-better-portfolio-with-your-students/ Mon, 23 Dec 2024 11:00:42 +0000 https://theartofeducation.edu/?p=465784 As art teachers, we all know art portfolios are a great idea for our students. But do we really know why? A strong portfolio is a vital tool that captures growth and showcases proficient skills, techniques, and processes. Students can store their artwork in a physical portfolio folder or digitally in a virtual portfolio presentation. […]

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As art teachers, we all know art portfolios are a great idea for our students. But do we really know why? A strong portfolio is a vital tool that captures growth and showcases proficient skills, techniques, and processes. Students can store their artwork in a physical portfolio folder or digitally in a virtual portfolio presentation.

photographing work

Consider the benefits of art portfolios so you can intentionally integrate portfolios into your teaching practice.

Portfolios help students in K-12 and beyond.

Students of all ages benefit from building their own portfolios. Younger learners gain confidence by witnessing their progress and revisiting past lessons. It’s a fun way to make them feel like an artist! As students advance, portfolios become essential tools for high school courses like AP Art and Design or IB Visual Art where they demonstrate skill development and conceptual exploration. For all students, portfolios can serve as an inventory of their artwork and ideas over time. 

Furthermore, portfolios cultivate essential reflection and presentation skills relevant to all aspects of life. Whether applying for jobs, pitching ideas to clients, preparing for college or competitions, or even crafting a compelling social media presence, the ability to effectively showcase one’s accomplishments is crucial. Introducing portfolio development early helps students cultivate these skills incrementally, avoiding the last-minute scramble.

Portfolios reveal effective teaching.

Portfolio reviews offer a valuable opportunity for assessment and reflection, allowing you to evaluate your own teaching practice. By examining your students’ collected works, you gain insight into how your curriculum shapes their artistic development and reflects your own artistic viewpoint. Consider getting a fresh perspective by doing a portfolio swap with a colleague. Seeing work collected in another art teacher’s classroom can help you discover concepts, techniques, or approaches to explore in the future.

Portfolios reflect a strong curriculum.

Starting with a robust K-12 curriculum like FLEX Curriculum will make it easier to develop strong portfolios students will be proud of! A strong curriculum will meet your students’ needs and your state and district standards. It can be time-consuming to make or find resources to meet the varying levels of your students. FLEX helps you differentiate support for students with organized, sequenced content and filters to find instructional materials that meet state and district standards. The FLEX library is always growing so you can continue to add and change materials based on your students’ needs.

A solid curriculum will keep you and your students’ artwork focused because you’ll have clear concepts, terminology, techniques, mediums, and standards to follow. FLEX has well-composed learning objectives ready to copy and paste into any document or presentation. There are several options for each lesson for you to pick and choose from and then customize as needed. Additionally, FLEX has grade-level and media-based curricula to ensure your students are learning at a steady pace with a logical progression of skills. This directly translates into consistent growth which in turn results in more compelling portfolios!

Portfolios are a great advocacy tool for your art program.

Anything that art teachers are already doing in their art room that can promote their program and the visual arts is a win-win! Administrators love to see art portfolios because they capture the vibrant learning that happens in your art program. When tied to objectives and standards already provided in FLEX, it shows relevance. Because they capture growth over time, it can be a great way to demonstrate student learning objectives.

For secondary students who submit their portfolios for outside evaluation, the scores can highlight the strengths and successes of your program, school, and district. Leverage high scores to showcase the power of the visual arts and advocate for more funding for your program.

landscape

Gain resources to build better art portfolios so you can level up your students’ artmaking practice.

Set goals for a focused portfolio. 

A portfolio is not everything an artist created. Instead, it is a showcase of an artist’s best work. To determine what belongs in a portfolio, start by thinking about the goal. Are you trying to showcase expertise across a variety of media and subject matter or focus on mastery of a particular skill? Is it about the student’s personal growth and self-expression or the curricular standards? Do you want pieces that show a deep exploration of a concept or pieces that show technical proficiency? 

A strong collection will have a balance of commonality and variety. What unifies the collection will depend on your students’ age and your curriculum. Younger students’ portfolios tend to be more about exploring a variety of materials and methods. Older students’ portfolios are usually more conceptually driven.

Choose a route to success.

As creative professionals, we know there is no single solution to fit all learners and all circumstances. The same is true for portfolios! There are many formats to choose from, depending on your goals, student needs, and resources. In addition to the suggestions below, watch the Student Portfolio Basics Pack in PRO Learning for even more portfolio options!

Traditional Portfolio

Students fold a large sheet of construction paper and then glue or tape the sides to build a pocket to hold their collection of masterpieces. Check out the Personal Portfolios Lesson in FLEX for a simple plan to help students make beautiful custom portfolios tied to objectives and standards. If your budget allows, upgrade the paper portfolio by investing in hanging file folders.

Student Curated Exhibition Portfolio

Give students a large poster-sized sheet of paper or a yard of bulletin board paper to affix their best pieces on. Write brief artist statements using FLEX’s ready-made student-facing guides about why they are proud of these particular works to prompt reflection. This method gets pieces ready to hang for your art show ahead of time—all you need to do is hang one large sheet per student instead of thousands of artworks. 

DIY Photobook Portfolio

Fold and cut a large sheet of paper to make a small booklet. Students select their most prized artworks from the year. Take photos of students holding each artwork. Print the photographs for students to glue in their booklet, along with short artist statements about why they are proud of each work. Don’t forget to check FLEX for student-facing resources to guide students as they write about their work.

photobook

Process Journal Portfolio

Document the creative process with sketches, experimentation, and reflection. Journals provide valuable insight into artistic development and showcase problem-solving skills and a growth mindset. This is a more informal way to capture the “behind-the-scenes” work over a long period of time. The Reflect and Select Growth Portfolio Lesson in FLEX gives a step-by-step plan to build a portfolio documenting processes with artifacts.

Interactive Hyperdoc Portfolio

Slides are great for portfolios because students can embed more than just photographs. Students can include audio recordings of artist statements, as well as video or animation work. Students can also link to other resources such as artists who inspired them!

digital portfolio

Career Portfolio

Challenge students to think about an art-related career that interests them. Brainstorm a list of skills that their career requires. Put together a portfolio of their artwork that demonstrates those skills. This method also points out any gaps in their skill set, which can direct future work. 

Continue developing portfolios.

A portfolio is a living document. As lifelong learners, students will grow and their portfolios should grow along with them. Encourage students to continue developing their portfolios beyond the classroom. They can add new pieces, reflect on their growth, and explore different mediums and styles. This ongoing process fosters a lifelong love of art and provides a valuable tool to highlight their skills and accomplishments in future endeavors.

balloon dog artwork

Portfolios offer tremendous benefits to both you and your students. They help everyone reflect on the artwork and process and pinpoint strengths and areas of improvement. Strong student portfolios are indicative of a strong art curriculum and can be an invaluable advocacy tool for your art program. There are many portfolio options so choose one that meets your classroom needs. Support your students now with FLEX Curriculum’s download-ready portfolio resources so you can build better portfolios and watch your students’ artistic growth and your art program thrive!

How do you use portfolios in your classroom and beyond?

What is one thing you will implement this year to level up your portfolio practice?

To continue the conversation, join us in The Art of Ed Community!

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Back to Basics: Do We Need to Grade Everything in the Art Room? https://theartofeducation.edu/2024/12/do-we-need-to-grade-everything-in-the-art-room/ Wed, 18 Dec 2024 11:00:40 +0000 https://theartofeducation.edu/?p=464886 The stacks of artwork, bellringers, and artist statements pile up fast, and it can be challenging to keep up! You may have wondered, Do I need to grade everything? If you’ve asked yourself that question, you’re not alone! The good news is that there are several avenues to assess learning in meaningful ways. Let’s demystify assessment […]

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The stacks of artwork, bellringers, and artist statements pile up fast, and it can be challenging to keep up! You may have wondered, Do I need to grade everything? If you’ve asked yourself that question, you’re not alone! The good news is that there are several avenues to assess learning in meaningful ways. Let’s demystify assessment and determine if we need to grade everything in the art room. 

What’s the difference between assessing and grading?

Both assessment and grading gather information about students’ knowledge and progress. Assessment provides insight into the skills, understanding, and creativity students demonstrate. Grading assigns a simplified score to complex learning. Both are extremely important in the art room for your students’ growth as artists and your growth as an art teacher. 

coil base

What are your goals?

The first step in solid assessment practices is to determine your goals. What do you want your students to learn? Oftentimes, these goals are predetermined by national or state standards or district scope and sequences. You may also have your own goals you want students to achieve while they’re in your class. Whatever your goals are, ensure they are clear and specific. The goals should be about the skills and concepts students will learn and not just the finished product or how students behave.

For example, in a clay unit, your learning goals may include:

  1. Understand the importance of planning before creating.
  2. Demonstrate the coil technique and use the slip-and-score method to build structurally sound pieces.
  3. Explore 3D design principles through hands-on creation.

clay sketches

What is the evidence of learning?

Now that you have your goals, it’s time to make them measurable. For each goal, think about the evidence you’d need to see to know the students’ learned and achieved mastery. Students may need to turn in a final artwork, show their process, or articulate their choices.

Let’s tie the same clay goals to evidence of learning:

  1. Understand the importance of planning before creating.
    Sketchbook pages with three brainstorm thumbnail sketches, one detailed final sketch from three different angles, and a timeline of due dates for each clay stage.
  2. Demonstrate the coil technique and use the slip-and-score method to build structurally sound pieces.
    8-inch sturdy ceramic coil vase with decorative coils and smooth areas.
  3. Explore 3D design principles through hands-on creation.
    6×6 inch ceramic tile with a surface design that emphasizes one element and one principle of art.

clay snail

How will you let students respond?

Student learning and assessment are not “one size fits all.” Each student artist is unique, with different learning styles and preferences. There are multiple ways to assess students and gather feedback and data on their learning. Offer students multiple ways to show their learning. Flexibility in assessment can make a massive difference in student engagement, communication, and final work.

Here are some ways to offer varied responses for a finished artwork:

  • Verbal Sharing
    Present their work to the class (or the teacher in a one-on-one conference), explaining their process and reflecting on their challenges and successes.
  • Written Reflections
    Offer the option of writing about their work, including explanations about their decisions and reflections on the artmaking process.
  • Project Displays
    Display the final artwork and consider how the viewer will interact with their piece. Accompany the artwork with a curatorial rationale explaining the exhibit choices and how those choices support the artwork.

teacher at computer

Do you need to rethink the grade book?

Number or letter grades are a way to systematize the abstract concept and process of learning. Grades are also helpful to provide measurable data over time for individual students or a class as a whole. For some families and students, grades can be a very motivational factor in learning and pursuing post-secondary education.

Specific feedback can be just as helpful as a number or letter grade. Meaningful feedback provides concrete takeaways for students to apply to future learning. It can also be more encouraging and gentler when a student is feeling discouraged or anxious.

Try pairing grades with feedback for a balanced approach. For example, jot down notes on a project rubric for areas the student excelled at and a skill they can refine. They’ll end up with a final rubric grade plus examples from the artwork that exemplify their score.

Whatever form of assessment you implement, remember to make it regular, timely, and relevant. When you give feedback on a consistent basis, it encourages students to get into a reflective habit and gives them many chances to practice receiving constructive criticism. When grades and feedback are immediate and relevant, it provides students with an opportunity to make changes before the next assignment or project is due. When grading and assessment are a two-way open conversation, students are more likely to be honest and ask for help as well as more motivated to apply themselves to their work.

Do we really need to grade everything?

After this dive into assessment versus grades, the new question is, Do we need to assess everything? At the end of the day, you probably don’t need to grade every single assignment. However, your district or school policy may indicate how many grades you are required to enter per week. As far as assessing, art teachers naturally assess everything! We are continually observing, providing feedback, reflecting on how a demonstration or assignment went, and having chats with students to check in. We have a good handle on where learning is in the art room—including ours!

If you want to grow in your assessment practices or you’re just an art teacher who geeks out about assessment, check out the following resources:

Whatever your district or school grading policies are, you have the power to make a culture shift in your art studio that prioritizes artistic growth. Actively assess your students and their work by setting clear, measurable goals tied to standards and evidence of learning. Provide multiple ways for students to demonstrate their learning so you get their best work. Consider how you can pair customizable feedback with grades to spur motivation and improvement. With these methods, your students will not only produce beautiful artwork but will also blossom into strong artists who value reflection and constructive criticism.

Do you grade everything in your art room? 

How do you provide regular, timely, and relevant feedback to each of your students?

To continue the conversation, join us in The Art of Ed Community!

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Beyond Grading: 11 Unexpected Ways Art Teachers Can Use Rubrics https://theartofeducation.edu/2024/12/oct-beyond-grading-11-unexpected-ways-art-teachers-can-use-rubrics/ Mon, 16 Dec 2024 11:00:40 +0000 https://theartofeducation.edu/?p=465391 Assessing creative work can be extremely difficult. While math and science will often have one correct outcome, art is open-ended and more subjective. There are innumerable pathways to success and every student will produce unique work. That is why art teachers love a good rubric! Rubrics can streamline assessments, provide clear expectations, and help students […]

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Assessing creative work can be extremely difficult. While math and science will often have one correct outcome, art is open-ended and more subjective. There are innumerable pathways to success and every student will produce unique work. That is why art teachers love a good rubric! Rubrics can streamline assessments, provide clear expectations, and help students understand areas for improvement. But did you know that rubrics can be more than a grading tool?

Leverage rubrics in 11 unexpected ways to enhance student learning, foster meaningful dialogue, and refine your teaching practice.

what else thought bubble

There are many ways to use rubrics but where do you start if you don’t know how to write a solid rubric? The first resource you won’t want to miss is the Plug n’ Play Rubric from FLEX Curriculum. This rubric is customizable to any art project and will create consistency in your curriculum. Save more time with the many other rubrics and assessments in FLEX—simply select the Assessment tab and filter by grade level and medium to find what you need.

1. Guide parent-teacher conferences.

A rubric provides a clear framework for discussing student progress with parents. It moves conversations beyond letter grades and highlights specific areas of strength and growth tied to learning objectives. This shared understanding helps you collaborate effectively with parents to support students’ artistic development.

2. Support reflection, self-assessment, and artist statements.

Rubrics provide a structured format for students to reflect on their creative process and articulate their artistic goals. Turn the rubric criteria into prompts to kickstart reflection. This will result in more thoughtful self-assessments and more insightful artist statements.

marker drawing with rubric

3. Focus critiques.

Similarly, structure critiques around the rubric to provide students with focused feedback. Tying feedback to the rubric criteria helps students provide constructive comments based on the artwork. It pulls the attention off the artist and onto the work. This approach also encourages students to more deeply analyze artwork and develop their critical thinking skills in a supportive environment.

4. Check in with students.

Integrate rubrics into student check-ins to foster a sense of ownership and encourage self-reflection. Students can use the rubric to monitor their own progress and identify areas where they excel or need additional support. This process promotes self-awareness and empowers students to take an active role in their learning. Using rubrics in this way also guides the feedback conversation in a way that feels predictable and comfortable for students.

5. Plan future projects.

Analyze rubric data to identify trends in student performance and areas where students consistently succeed or struggle. This information informs future lesson planning and helps you tailor instruction to meet the specific needs of your students. By using rubrics to identify knowledge gaps, you can differentiate instruction more effectively.

6. Build research skills.

Provide students with rubrics designed to evaluate the credibility and relevance of research sources. Students will gain critical research skills as they identify reliable websites, videos, and other resources. It will help them to assess the accuracy, authority, and objectivity of information, which is crucial in an age of digital media.

source rubric

7. Decrease student questions.

We’ve all heard the question a thousand times—”Am I done yet?Create a rubric for students to reference to determine if their work is complete. List hallmarks of completion, such as filling in negative space and putting their name on the work. Laminate the rubric and hang it where students put their completed work. This way, they can check it before turning their project in.

8. Monitor studio habits.

Establish clear expectations for studio habits and encourage responsible behavior with a studio rubric. Be sure to outline specific criteria for maintaining a clean and organized workspace. This promotes a productive learning environment and instills ownership in the art room. It develops organizational skills, attention to detail, time management strategies, and respect for shared resources.

clean workspace rubric

9. Evaluate your lessons.

A rubric can also assist you with assessing your teaching strategies and identifying areas for improvement. This reflective practice encourages continuous growth and helps you refine your instructional approach to better meet the needs of your students. The specificity of a rubric will clearly tell you if it’s the clarity of learning objectives, the engagement of activities, or the overall impact of your lessons. You can even give your students a rubric for scoring your lessons to tell you which are the most interesting and impactful!

10. Encourage engagement.

Rubrics can assess how students work and conduct themselves in the classroom. Think about the skills you want students to demonstrate, such as listening quietly when others speak, asking good questions, sharing relevant connections, revising work, and seeking feedback for improvement. Make a rubric with examples to define these soft skills.

11. Prompt deeper discussions.

Rubrics equip students with a shared vocabulary and a common framework for discussing art. This shared understanding facilitates more meaningful conversations about artistic choices, techniques, and the creative process. Using a rubric, students can engage in more focused and productive critiques of their work and the work of others.

discussion rubric

Ultimately, rubrics empower both teachers and students beyond grading art projects. Clear and specific rubrics foster transparency, encourage self-reflection, maintain an orderly classroom, and promote meaningful dialogue about art. By embracing these unexpected rubric applications, you can cultivate a more engaging and enriching learning environment. Watch teaching and learning flourish and students develop a deeper understanding of their artistic potential!

How else do you use rubrics in your classroom?

What other tools are helpful for student feedback?

To continue the conversation, join us in The Art of Ed Community!

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How to Become a National Board Certified Art Teacher: Steps & Benefits https://theartofeducation.edu/2024/12/september-how-to-become-a-national-board-certified-art-teacher-steps-benefits/ Wed, 11 Dec 2024 11:00:50 +0000 https://theartofeducation.edu/?p=464883 Reflection is a key part of the artmaking process and having a growth mindset. It helps you be the best artist and art teacher you can be! Just as we assess students and prompt them to be reflective learners, the National Board provides the same opportunity to us as teachers. Working toward National Board Certification […]

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Reflection is a key part of the artmaking process and having a growth mindset. It helps you be the best artist and art teacher you can be! Just as we assess students and prompt them to be reflective learners, the National Board provides the same opportunity to us as teachers. Working toward National Board Certification will help you increase your depth of art history knowledge, art interpretation, cultural connections, art media, and instructional methods. Becoming more deliberate about your teaching will lead to increases in student engagement, student achievement, and personal satisfaction with your job.

Learn why National Board Certification is respected and how it can help you grow in your art education career.

certificate

The National Board for Professional Teaching Standards (NBPTS) is a non-profit organization that aims to advance the quality of teaching and learning. It does this primarily by offering National Board Certification, a rigorous, voluntary assessment process that recognizes accomplished teachers. National Board Certification is the gold standard in teaching and signifies excellence and commitment to the profession. Becoming an NBCT will help you be a more effective art teacher and advocate for your art program.

National Board Certification will prompt your professional growth.

The greatest benefit of the National Board process is that it will help you to become more thoughtful and deliberate about every aspect of your practice. As you analyze your teaching practices, gather evidence of student learning, and engage in rigorous assessment, you’ll gain valuable insights into your strengths and areas for improvement. This reflective process will empower you to refine your instructional strategies, enhance your assessment methods, and deepen your understanding of how students learn in the context of art education. You’ll emerge from the certification process with renewed confidence, a refined skillset, and a heightened commitment to lifelong learning—all of which translate to a more impactful and fulfilling teaching experience.

National Board Certification will increase student learning and achievement.

As you improve your teaching practice, you will notice your students’ attention and skills improve. As you create the rigorous lessons required for certification, your students will become more versed in critical thinking, problem solving, collaboration, and communication. These are crucial skills that will set them up for success for the rest of their lives. The National Board also encourages teachers to create a supportive and inclusive learning environment. As you model these traits and demonstrate your commitment to building a culture of learning, you will notice students naturally following suit!

students painting

National Board Certification will help your community. 

The first thing that draws a lot of teachers toward National Board Certification is the financial incentive. Many districts offer a stipend or step increase as a reward for those who meet the rigorous standards. Districts recognize that National Board Certified Teachers provide a tremendous benefit to the community!

Many districts also offer recognition at school board meetings or similar public events. This can elevate your visibility among administrators, enhance your credibility, and make advocacy for your art program more impactful. Repurpose the required writing component into informative flyers to accompany student work displays, foster community engagement, and increase understanding of the value of art education. Ultimately, the skills you hone in articulating the impact of your educational practice will equip you to be a powerful advocate for your program, ensuring its continued growth and success for the benefit of your students and the community as a whole.

Discover the four components of National Board Certification and tips to tackle the process with confidence!

Know the four components of National Board Certification.

Teaching is a complex job. Just as effective teachers segment instruction and provide clear criteria for success, the National Board helps teachers to focus on different aspects of their job to target growth. In order to become an NBCT, you will need to create a portfolio demonstrating your proficiency across four key components.

Here’s a snapshot of the four components:

  1. Content Knowledge
    This component assesses your understanding of the subject matter you teach and your ability to convey it effectively to students. It typically involves a computer-based assessment.
  2. Differentiation in Instruction
    This component focuses on your ability to adapt your teaching to meet the diverse needs of your students. You’ll need to provide evidence of how you differentiate instruction to support all learners.
  3. Teaching Practice and Learning Environment
    This component evaluates your classroom management skills, your ability to create a positive and engaging learning environment, and your use of various instructional strategies to promote student learning.
  4. Effective and Reflective Practitioner
    This component focuses on your ability to reflect on your teaching practice, analyze student learning data, and make adjustments to improve student outcomes.

Each component requires you to submit evidence of your teaching practice, such as video recordings, student work samples, lesson plans, and written reflections. Many people tackle the certification process by segmenting it and focusing on two components per year.

Set yourself up for success.

Trying to tackle all four components at once can be overwhelming. Instead, take your time. Most teachers find it manageable to tackle two components per year. Familiarize yourself with the requirements early and often, paying close attention to the evidence needed, including photographs and videos, so you can plan ahead. When writing your submissions, prioritize the rubric over style. Structure your writing to mirror the rubric, using keywords followed by concise statements of evidence. This approach may feel disjointed, but it ensures clarity and facilitates efficient scoring.

to do list

Get parental consent right from the start.

You will need to record lesson videos to submit as evidence. While the video should focus on you and your instruction, it’s a good idea to think through privacy concerns. Strategically select a class with minimal or no students on your school’s media denial list to streamline the consent process. Parental consent forms are always necessary and it is generally easier to obtain them from parents who have already consented to the school’s media policy. 

Study a little every day.

Content Knowledge can be one of the most intimidating components. Art history encompasses basically all of human history from around the world including artifacts that predate recorded history. On top of that, art teachers need to have knowledge of materials and methods for artistic production. If that feels overwhelming, remember that the test is not about trivia. It is aimed at assessing whether you know enough to do the job well. 

Most of the information you need to know is stuff that you likely already know. Still, studying and learning will help you feel more confident. Review PRO Learning’s Packs on art history and media to grow your repertoire of artists and vocabulary. These Packs provide a quick and deep dive into various topics with short, engaging videos.

Take advantage of free learning resources.

One free resource is podcasts! Listen to podcasts during your commute to and from school. Art Ed Radio has hundreds of episodes to help you gain new insights into all aspects of the art teacher profession. Shows like ArtCurious and Who ARTed can help you not only learn facts from art history but also hear how others analyze and describe pieces. You can also go on a free virtual museum tour with smARTeeThere are some wonderful YouTube channels, such as Great Art Explained, which tackle a fair amount of depth in 15 minutes. 

Be intentional with how you respond.

It’s inevitable that some students will do something unexpected. The evaluators understand this reality. It’s okay if a student blurts something out without raising their hand or behaves inappropriately on camera. It’s how you respond that matters the most! Respond appropriately to re-direct and get things back on track, then reflect accordingly in your writing.

Along the same lines, you may need to write about an artwork you have never seen before. Remember the purpose of the essays is to evaluate how you respond to art. If you have no background knowledge of the specific piece, take a formalist approach. Describe the elements as you see them, then share connections and inferences. As long as you provide evidence to support your ideas, you’ll do fine!

laptop with website

Artists and art teachers are always looking for ways to grow and improve. If you haven’t considered National Board Certification, now’s a great time to think about it! Working toward National Board Certification will refine your teaching practices and philosophy, boost student engagement, and help you advocate for your art program. Break the journey down into two years and focus on two components per year. Plan ahead, get parental consent, and study as you go to make the most of this art teacher adventure. Your commitment to excellence will leave a lasting impact and empower the next generation of artists and thinkers.

What advice would you give to an art teacher working on National Board Certification?

What questions do you still have about the NBCT process?

To continue the conversation, join us in The Art of Ed Community!

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Riding the Struggle Bus (Ep. 447) https://theartofeducation.edu/podcasts/riding-the-struggle-bus-ep-447/ Tue, 10 Dec 2024 11:00:31 +0000 https://theartofeducation.edu/?post_type=aoeu_podcast&p=465930 Janet Taylor joins Tim today to talk about some of the challenges we are facing in the art room–the things that have us riding the #StruggleBus. Taking suggestions and advice from the Art of Ed Community, the discussion covers art teacher struggles with art history, assessment, organization, teaching Gen Alpha, and more. Listen as Tim […]

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Janet Taylor joins Tim today to talk about some of the challenges we are facing in the art room–the things that have us riding the #StruggleBus. Taking suggestions and advice from the Art of Ed Community, the discussion covers art teacher struggles with art history, assessment, organization, teaching Gen Alpha, and more. Listen as Tim and Janet discuss these topics and the importance of finding solutions, sharing ideas, and building connections with other educators so we can feel less alone in navigating these challenges.

Full episode transcript below.

Resources and Links

Transcript

Tim:

Welcome to Art Ed Radio, the podcast for art teachers. This show is produced by the Art of Education University, and I’m your host, Tim Bogatz. We’ve been talking a lot about the Art of Ed community here. And just over the past few months here, and it’s been an amazing experience to be part of that Art of Ed community, and it’s one of my favorite places to hang out on the internet. And today’s conversation, which will be with Janet Taylor, will be about a great few posts and discussions that have been taking place in the community. I want to continue that conversation. A couple of weeks back and Janet had a series of posts about the challenges that we are all facing, and what we are struggling with. Or specifically what makes us feel like we’re riding the #strugglebus.

And teachers in the community were sharing so many of their own issues, whether it be with organization or assessment or art history or teaching Gen Alpha. But along with sharing our struggles, people are also sharing the ways they solve those problems, and they’re offering help and suggestions and some great stories. So this episode is going to be all about finding solutions and sharing practical advice, not just from us, but from the art teacher community. Art teachers across the country, we’re hearing from them and hoping that what they share can help you feel a little more confident and a little less alone. So we’ll highlight some of those conversations because we’re all dealing with a lot of similar issues. There are those times when we are riding the Struggle Bus. So whether you’re looking for some ways to solve your problems or you just want to commiserate a little bit, this is a discussion that might be worthwhile for you. Let me bring on Janet now. Janet Taylor is joining me now. Janet, welcome back. How are you?

Janet:

Hey, Tim. I’m okay. How are you?

Tim:

I’m doing well actually. So things are good. I am literally about to leave on an airplane to go interview Carrie Mae Weems for our Now Conference for the Keynote Presenter, so I could not be more excited about that. So in general, life is good. We’re going to record this podcast.

Janet:

I was going to say, yeah.

Tim:

I’m driving straight to the airport, so I’m looking forward to it.

Janet:

Yes. It’s a great day for you,

Tim:

And it really is. I’m looking forward to it very much. I need to ask you though, we are having the podcast here related to riding the Struggle Bus, and it is early December. You are teaching high school. Are you on the Struggle Bus right now?

Janet:

I feel like I’m always on the struggle bus.

Tim:

Okay, fair. Okay.

Janet:

Okay. Not really. Not really. That’s not fair to say. That’s not fair. Okay. Yeah, you said it’s December. So here’s the thing. I don’t know how that happened, but it did. It was actually December. And Thanksgiving was late, so that break was late. And then all of a sudden, it was literally December when we came back. And then the way winter break lines up, I literally said to my kids yesterday, I was like, “Hey guys, we have a week and a half of solid work time left, and we still haven’t even done an entire unit. And we have the art show next week.” So yeah, we’re doing great. We’re doing great.

Tim:

Okay, good. No, it’s wild to come back from Thanksgiving and then all of a sudden you’re like, “Oh, finals week is two weeks away.”.

Janet:

Yes. Oh my gosh. There’s so cleaning of the studio and prepping, you know what I mean, to close out this semester too.

Tim:

Yeah. Yes.

Janet:

We’ll get there.

Tim:

It’s a lot. But yes, we always do. We always do. Okay, so I talked in the intro about how much I loved reading, just all of the conversations that came along with Struggle Bus Week on the community. And so I wanted to go through all of those with you. And I figured that you and I could talk a little bit about each of the topics and what we struggle with. And then I’d love to share some community ideas too. So if I can just start with the art history one. That may have been the first one posted. It was the one I was most excited about because I always love talking about art history. So let me ask you, Janet, to start, what do you struggle with when it comes to teaching art history?

Janet:

Everything. Oh my gosh. Okay. So I love art history. I have always been super fascinated by it. I love how it’s like when we were in college, and funny enough, Tim, remember when we were in college together and took classes probably in the same, and Tim and I didn’t even know each other at that time, but we went to school at the same time.

Tim:

We should tell everybody this. We were both at the University of Iowa at the same time, never knew each other.

Janet:

Both making art.

Tim:

But then what, 20 years later, we start working together at the Art of Education and find out that yeah, we actually went to school together. Still can’t place each other in any classes. We were theoretically there at the same time, taking the same classes.

Janet:

And had same professors. Yeah, weird. But do you remember that intro class that was like, what was it? Western art history of the Western world or whatever that was? Yeah, that survey course where you had to memorize… They’re just like, here’s a slide, here’s a slide, here’s a slide.

Tim:

Yes. Those slides that you had to memorize. Yeah.

Janet:

Okay. That is my experience, and that I feel like was my experience in history growing up. Everything was just about names and dates and tying all those things together. Now I’m, as an adult, I’m like, “Oh my gosh, this is so cool.” And I still somehow my brain cannot retain that information. It’s like a sieve. It’s a sieve. So I struggle with it. I’m always on the struggle bus. But can I tell you my current issue actually with-

Tim:

Yes, please do.

Janet:

Okay. So my current issue that is ongoing for me is that I teach mostly jewelry metals, metalsmithing, and it is very difficult to find contemporary artists or metalsmiths, who do conceptual work. Because when you search in Google or Pinterest or whatever.

Tim:

Is it all Etsy? Is it just people with Etsy shops come up?

Janet:

It’s Etsy or it’s mass-produced horrible enamel pins.

Tim:

Oh goodness.

Janet:

So it’s very, very difficult for me to connect contemporary artists into my metalsmithing classes. So that’s a real struggle bus for me right now.

Tim:

Yeah, for sure. I have not even thought about that. But yeah, that seems like just the biggest pain. It needs some alternative avenues. I would say that art history has never really been a struggle for me just because I love it so much, and that’s how my brain works. I can remember this. My brain does a pretty good job of retaining that information. But I would say my struggle is related to what you talked about is how to teach it and how to make it exciting. Yes, I get excited about it, but how do you present it to kids in a way that’s exciting? So they’re not feeling like they have to memorize slides and memorize dates. And you just need to put some thought into how are kids going to connect with this? How would you relate it to what you’re doing in class?

But I think if you put some thought into that, it comes pretty naturally to most of us. So I don’t think that’s too big of a struggle. And then when you get excited about, or there are always new artists that you want to find that you want to share with your students, but then you get into the struggle of if I’m going to put this artist into the rotation of who I teach about, who has to leave? So we’re not just overwhelming them with a giant list. So those can be tough decisions sometimes, but generally I just get excited about new artists and then just out of nowhere, like, “Hey, everybody, have you seen this artist?” And just show them out of nowhere, and that’s fine too.

So whatever works. But a few really good comments from the community I wanted to share and see if anything resonated with you or gave you any thoughts. So Dylan Trumbull said their struggle was which artist to spotlight. Michelle LaRocque said, “Choosing from the unlimited list.” So I feel that for sure. Ashley Hinton, along the same lines said the overwhelming amount of options. And then Jessica Stuver said, “I don’t know if it’s a struggle as much as a constant concern, but I always wanted to make sure I’m teaching art history that shares a lot of diversity.” And I applaud her for thinking about that. I think a lot of us take that perspective as well, just making sure that we show a diverse set of artists. I remember one of the first podcasts we ever did was called No More Dead White Guys, and just talking about getting away from those “Canons of art history.” Because it’s such a broad spectrum of artists that are out there. And there are so many more that you can share. So anyway, Janet, thoughts on any of those comments from the community?

Janet:

Yeah, totally. And again, as somebody who struggles with retaining all that information, I often will toss out multiple artists per unit that connect with what media or the technique or whatever it is. And really just let the students analyze, compare, contrast, et cetera. But then pull what they want to connect with from that artist. And I think that helps me so that I don’t feel like I have to necessarily focus on an artist. I don’t want my kids copying an artist, but also I’m exposing them without feeling like I’m limiting or constraining that amount as well. So I don’t know, that’s one way that has helped me. And I’ll tell you nother person that has on your, I was going to say on your Struggle Bus, but not your Struggle Bus, your rocket ship or whatever to art history. It was Kyle Wood.

Tim:

He’s great.

Janet:

Yeah. Yeah, exactly. And he talked in the community a little bit about his arts madness, and I always love that, how he approaches that. Yeah.

Tim:

Very cool way to introduce a lot of artists, but I love that idea of showing a lot of different people and just let the students drive that and let them figure out what they’re interested or what resonates with them. And so giving them those options. All right. Any other thoughts? Are you ready to move on to topic number two?

Janet:

Well, can I give a quick little teaser about one of our presenters for the Now Conference?

Tim:

Please do.

Janet:

Okay. So we have Ruth Byrne coming back for the NOW conference, and I’m super excited. She’s just a brilliant teacher and a lovely person, but she’s actually going to provide us a way to help students connect with and analyze artwork. So if that’s something that you struggle with, with the conversations around the artists or around the artwork, she really makes it really accessible for young, all the way up through high school. I could see it definitely using it in mine too.

Tim:

Yeah, she gives a great framework that you can work from, and I think it will be a very helpful presentation. So I’m excited for everybody to see that one. Okay. Moving on to conversation or topic number two on the Struggle Bus. And I think this is the one where you excel. Janet, what do you struggle with when it comes to assessment?

Janet:

Nothing, obviously. No.

I’m just kidding. I’m just kidding.

Tim:

No, you’re the go-to expert for this podcast when it comes to assessment. So I feel I’m asking [inaudible 00:13:05]. But no, what do you struggle with when it comes to assessment?

Janet:

No, everything we do is always a challenge. Nothing is easy. But I would say time is always a concern for everybody. It’s a concern for me when everybody’s like, “It takes me so long. How do you do it?” And I was like, “Yeah, me too.: It just is. Things take a while to deal with. So time to grade, timely feedback to get that stuff back to students. I still have some grades I’m still working on. All of that. So I don’t know. Again, maybe, I don’t know if this is really an assessment issue or more of just a general lack of time in the day issue because I feel like everything is treading water. But like I said, I’m on the Struggle Bus. That’s how we started this podcast, so might as well continue on that.

Tim:

No, for sure. It’s tough. And there’s pressure because we hear all the time about how important it is to give timely feedback. But on the same level with that, when do I have time to give that timely feedback?

Janet:

Exactly.

Tim:

Finding the hours in the day is really tough. And I would say that’s my biggest struggle too, is just staying on top of everything. When I taught elementary art, I luckily didn’t have to do much. I just had an overwhelming number of kiddos and people understood. And so we just have end of quarter grades and that’s all we had to do. And that was not bad. But when you’re in secondary and you’re still seeing hundreds of kids and all of these projects, finding the time is always an issue. And I think a lot of people talked about that in the discussion we had.

One thing that I really love doing with my advanced classes is just sitting down for one-on-one conferences with kids in the middle of projects at the end of projects. And just being able to do an assessment via conversation, just face-to-face talking about what’s going well, what’s not, just whatever the rubric may be. And those are incredibly helpful. But you need to have decent classes that allow you to do that. You need to have small enough classes that you have the time to do that. And so I realized that’s not going to work for everyone, but I would just say anytime you can make some time during class to give some feedback or give some assessment, that can be an incredibly helpful.

And I would say when we’re looking at this conversation from the perspective of the community, I think the theme that we saw along the time was the difficulty of dealing with rubrics, especially if you have hundreds of students. So Matt Weidman, Frank Montaz, they mentioned specifically having time to grade or finding time to grade. And I want to highlight a really good comment from Frank. He said, “One thing I learned after almost 10 years was that if I catch myself writing the same thing as part of my feedback, it should be part of my rubric. I rarely write anything anymore, but I highlight and underline a lot. It’s a sign of a well-written rubric if you can just circle where you are in there.” That’s good. And then Frank said, “Finally, I will say that my mid-process check-ins are more beneficial to students than final assessments.” Which is a great point. So a lot to digest there, but anything that you want to comment on?

Janet:

Yeah, just that’s like a mic drop moment that he said all that. But another thing that I have learned too is that if I can’t give timely feedback back to my students, if I’m doing exit slips or bell ringers or any of that, and I am not getting the information back to them, or it’s not informing my instruction, because I can’t read it fast enough or whatever, then I don’t do it. What is the purpose of that? That’s not fulfilling the purpose that it’s meant to do. So stop putting more work on yourself and focus more on the, you said conferences, but I feel like we are doing individualized feedback and talking to students all the time.

Tim:

Yeah. For counseling.

Janet:

Yes. And so that is the feedback loop. That’s assessment right there. And so I think just shifting the focus off of the paperwork end of things and more on the interaction feedback I think is a big way to save time and focus that, like Frank said, your rubric. If you underline, circle, if you put that work up in the front that your rubric is solid, that takes a little bit of time. But in the end, you’re not sitting there writing a ton or having to give all that feedback to the students.

Tim:

Yeah. No, I appreciate the idea of the mindset shift that you just mentioned, where we need to think about it less as the paperwork and more of this thing that we are consistently doing with our students. And another thing, I feel like we’re off to a whole different podcast here that we could be talking about with all of these topics, but one thing that I’ve learned from you, Janet, when it comes to assessment, is just the importance of those in process, midpoint critiques, midpoint feedback, not only for students like Frank said, but for us as teachers to modify or to supplement what we are teaching. And they are super important, and like I said, not only beneficial for students, but for us as teachers as well. Because they can inform our instruction in so many different ways. And so I think if we worry less about what we’re doing at the end and a little bit more about the consistent interactions, consistent feedback that we are giving and getting, that can really transform how we think about assessment, I think that can be really helpful.

So like you said, a lot of really, really good points there, and we could talk a lot more about that. But let me go ahead and move us on. Our next topic for the week was organization. So what do you struggle with the most when it comes to physical organization? I will give you a second to think about that, because I struggle with all of it. But I want to give a genuine shout-out, Michelle Parvin and Robin Murphy from the community. They’re like the extreme type A people. They have that all figured out. Michelle had a day in the life video with AOEU that shows off her classroom organization. Probably worth watching if you need some inspiration, you need some ideas, we’ll link to that. But yeah, I always admire those people who have all of the organization things figured out because that has been a lifelong struggle for me. So what about you, Jan? Where are you when it comes to organization?

Janet:

Okay, this is where I am constantly on the struggle bus. Truly. Yeah. So I’m a piler, I pile things, I have sticky notes, I pile the sticky notes. It’s really, really bad. But I have to say, so I walked into my classroom last year. Brand new classroom, beautiful. It just was amazing. And you get in there and you realize even though it looks perfect, not everything always works for you and your students, right?

Tim:

It’s not always functional for what you need in an art room. Yes.

Janet:

So I do really actually enjoy coming up with systems and figuring out what’s going to work best for them, seeing what works, what doesn’t. I also really love getting feedback from my students about what is working and what is not. So I changed it up this whole way. I did tool delivery, set up whatever in my classroom, and something didn’t seem quite right. And then my students were like, “Oh, yeah, I didn’t like it this way. I liked it that way.” And I’m like, “Okay, then let’s figure out something in between that’s going to work for both of us.” Or whatever it is.

So I get it. It’s really, really hard and it’s a constant battle, and there’s always so much mess, and there’s always so many pieces of artwork laying all over the place. And oh my gosh, like I said, this is the time of my art show coming up next week. And it’s like I just walk in my classroom and it’s just piles and piles and piles of stuff everywhere. So I don’t know, Tim, are you? I’m a little bit of a hoarder when it comes to materials and things.

Tim:

I would say at the beginning of my career, I was a hoarder. Just like you never know when these toilet paper rolls are going to come in handy, better keep all of them. Oh, this might be a great project someday. Then as I got into further into my career, like, “Hey, I’ve been here a decade and haven’t used [inaudible 00:22:17]. Probably don’t need to keep them around anymore.” So that helped once I realized that I could get rid of things. And I’ve talked about this ad nauseam on the podcast, but just labeling everything, pictures on everything, helping kids be self-sufficient when it comes to getting materials out, putting them away is probably the biggest game changer for me with organization. I would say just judging by community responses, storage space was a huge one. Jessica Stuber, Jennifer Jasper, Ruth Byrne, they all mentioned finding storage space for 3D projects.

Heather Hacker and Amber Maddock both mentioned supplies, especially when you’re out of space or if you have multiple classes working with different materials. And it’s tough though, because you can’t really give any blanket advice for that because everyone’s room is different. And I was lucky enough to have cabinets with space on top of them, and I could just store everything on top of the cabinets. And I’m tall, I can reach it, whatever. It’s not a problem. But then I realized, “Oh, that doesn’t work for everyone. And everyone has these different spaces, and it is really, really difficult to figure out how everyone can do that. So I would just say, if you’re listening to this and you have any great hacks on storing 3D projects or other in-progress works that you want to share, please head on over to the community and toss that into the chat. We would really appreciate hearing all of those. So Janet, any more thoughts on organization before we move on to our last topic?

Janet:

No, because like I said, I’m on that Struggle Bus every day.

Tim:

Can’t give any advice because I’m busy unpiling my sticky notes right now.

Janet:

Seriously as I’m jotting it down. No, it feels nice that we’re not alone though, doesn’t it? That’s the thing about the struggle bus. It’s not all the time, but also we’re not the only ones. It’s an ongoing issue.

Tim:

Yes. Absolutely. I said that at the beginning of the episode. Maybe you’re looking for advice in this episode, maybe you just want to commiserate and [inaudible 00:24:24]. This is tough for me too, so I can appreciate that. Our final topic of the week was Gen Alpha. And that is a fun one, so love for you to think about what you struggle with when it comes to teaching Gen Alpha. The first thing, which I think was probably my favorite comment from the community was from Jessica Stewart again, who said “Probably their continued obliteration of the English language.”

Janet:

Okay, so can I tell you? I was driving with my daughter the other day and her friend. And I said something like, “What’s up with the Skibidi Toilet thing?” And they just started cracking up. And I was like, “I still don’t know where this came from, what it means.” And they just couldn’t answer either.

Tim:

No, okay, this is my problem with Gen Alpha slang. I could rant about this, but I’m just going to leave it quick. I appreciate Gen Z slang because it makes sense and they can explain it quickly. Gen Alpha is the most nonsense stuff that you’ve ever heard.

Janet:

It’s like surrealism.

Tim:

It is.

Janet:

Data.

Tim:

Just a terrible use of slang. And then you ask them, where did that even come from? And they have no idea.

Janet:

They don’t know what it means either. It’s like they don’t know where it came from or-

Tim:

But it’s fun to say, so go with it.

Janet:

Hopefully I pronounced that correctly.

Tim:

I believe Skibidi Toilet was correct. But beyond the slang, what else are you struggling with when it comes to Gen Alpha?

Janet:

Okay, this is a biggie for me. So these kids are digital natives. That’s all they do is digital. It’s an attachment. An additional appendage is their device. But they don’t know how to type on a keyboard or change the size of an image without it being distorted on a slide. It just blows my mind that they cannot do these very simple basic computer tasks.

Tim:

Yes, okay. So, oh my goodness, the typing. It’s crazy to me. These kids are on devices all the time. And when it comes to typing, they have to hunt and pack with their two fingers. And it’s fascinating to watch. And I don’t know, my default thought on that is like, “Oh my God, how do they not know?” But at then the same time I realized that we as adults just assume they know because they are digital natives. And I think everyone in their life has just assumed, “Oh, they know how to do that. They’re on devices all the time, but nobody’s ever taught them.”

And so I think it is a weird disconnect between they’re on there all the time, so we assume they know how to do everything, but yet because we assume they have not been taught. And so it’s a weird setup. Again, I feel like that’s another discussion that we could have that could take a while. And I would say one comment that I saw in the community that kind of resonated with me, I don’t teach Gen Alpha, but with volunteering and coaching, the thing that I always see is the constant touching of each other. They always have to have their hands on each other.

Janet:

Oh my gosh.

Tim:

I do not get it. And so we’re always having conversations about, “Hey, without permission, you cannot touch people. And you have to give people space.” And you just talk about that constantly. And oh, it’s difficult.

Janet:

I teach high school. It is a real problem. So I was thinking about this the other day because of course, I was like, “Stop touching, hands to self.” I’m like, “Gosh, what is the problem with? This is seniors.” But okay, so this is my little soapbox theory, whatever you want to call it. I wonder if it’s a pendulum swing from having social distance during COVID where they do not know how to socialize at all. And now they’re socializing, but it’s just, I don’t know. Sometimes I’m like, is this some weird developmental milestone that they missed out on? And so now it’s got to show up before they become adults. So we might have this for a little longer. I don’t know.

Tim:

There are a lot of teaching moments there, and we probably need to take advantage of those teaching moments. That’s a good point. I do want to highlight, though, beyond the nonsense that we’re talking about, there are actually some really serious points, really good conversation in the community about that. And I would say just the ones that really stood out to me or the themes that stood out to me consistently. Just the of Gen Alpha’s apathy, their work avoidance, a lot of middle school and high school teachers commenting that students never read directions anymore, and they’re almost helpless if you’re not holding their hand every step of the way. And that seemed to be a huge source of frustration for a lot of teachers. Robin Murphy talked about how her resources that used to work so well, all these things that she spent all the time putting together, these teaching resources, basically don’t work at all anymore. Todd Liebman, he put this very succinctly when he said, “Students are spending more energy avoiding the work than it would take to actually complete the work.”

Janet:

Oh my gosh, yes.

Tim:

Yeah, yeah.

Janet:

Yes.

Tim:

No, that was a very, very good point and very well said. Dawn Krueger said that Gen Alpha is struggling with self-regulation in general, volume control in particular. Lee Gorton also said volume and impulse, but then she also said, “I got to say I’m a huge fan of their weirding of the language. And I’m in love with the brain rot, and I’m here for it.” So I appreciate that.

Janet:

Full circle.

Tim:

I need to more to that mindset and kind of be entertained by the language rather than annoyed by it. So I appreciate that perspective. And then Deidre Forgione said, “My freshman boys cannot keep their hands off each other. It gets a bit inappropriate at times.” Like we said, with these teaching moments, she said lots of reminders about personal space and consent. So again, it’s annoying to have to remind them constantly about that, but it is something that we need to do. So any of those things that you want to chat about a little bit more, Janet?

Janet:

I think the not following directions, the apathy, the work avoidance, I feel like yes, those things still kind of wrapping together. And I don’t know, I felt like things were finally getting better. But there’s still, I don’t know, what do you want to say? Snags groups. There’s always a few that is still really stuck in that place. And it’s just a really disheartening part of teaching them right now. You know what I mean? The other stuff, it’s annoying, it’s ridiculous. I can laugh about it and roll my eyes or pull my hair out a little bit, but sometimes I think that just the apathy or that lack of motivation is just the hardest to really manage. Because it’s like I’m doing a tap dance and you’re still not entertained. What else can I do to get you to do the work? And these kids are just not, and this is a generalization. This group of kids that I’m saying that are struggling with this specifically are not motivated by grades or not motivated by credits.

Tim:

Not to be too flippant, but not motivated by anything. Yeah.

Janet:

It used to be, okay, I can do these fun things, let’s do it. Whatever. But sometimes I feel like I am working really hard for you to pass my class. And I’m not sure why I’m working so hard for you to not work at all.

Tim:

Yes. Well, I think that’s the difficulty we all face, because it’s fun to laugh at slang and worry about kids touching each other too much. But those are really on the periphery of what we do. But then when it comes down to why we’re really there, doing the learning, doing the work, putting in the effort, and no matter what we do, you’re not making a lot of headway there. That can get frustrating. That can be a struggle that’s really difficult. And again, we don’t have the answers. This is new to so many of us. And the things that we’ve learned and things we’ve done before are not necessarily working. And so that’s why I appreciate being able to have these conversations, being able to share these ideas and just seeing we obviously don’t have the solutions, but if we’re all putting our heads together, we’re all having conversations within this community, I think it’d be helpful for a lot of people.

Janet:

Yeah, it’ll be really interesting. Because that kind of stuff is the things that we worry about really I feel like are the long-term implications of that lack of motivation or apathy. What is going to happen when the students are not students anymore? What is the next generation of our workers and people?

Tim:

Yeah, for sure. And again, that’s another one that we could dive into a ton. But no, it’s something to think about and to reflect on, and I think that’s why a lot of us worry about these things. So I think it’s good to put it out there and to have those conversations, but we can leave it there for the day.

Thanks to Janet for coming on. I hope you enjoyed the conversation, and we hope you enjoyed hearing from the community. And if you are not there yet, we would love for you to join us. It is, like I said, an amazing online space. It’s filled with positivity and professionalism, great conversation, great ideas. I love the discussions are happening. I love the connection. So if you have some time, please come check it out. We’ll link to the community in the show notes, or you can find it at community.theartofeducation.edu. I hope we see you there.

Art Ed Radio was produced by the Art of Education University with audio engineering from Michael Crocker. Please be sure to subscribe so we can join you again. And if you love the show, please jump over to Apple Podcasts or Spotify or wherever you listen. Give us a five star rating, maybe even leave us a review. We are also taking questions now for the January mailbag. If you have any questions about what to do after break, how to start a new semester, how to reset your classes after break, or anything else that you want advice on, we would love to hear them. Email Timothy Bogatz at theartofeducation.edu or podcasts at theartofeducation.edu with any questions you may have. We are looking forward to reading them.

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Balance Tradition & Innovation: A Deeper Look at Common Grading Practices https://theartofeducation.edu/2024/12/dec-balance-tradition-innovation-a-deeper-look-at-common-grading-practices/ Wed, 04 Dec 2024 11:00:08 +0000 https://theartofeducation.edu/?p=465375 Note: Adhere to your district and school’s grading policies. It is imperative to get permission, support, and buy-in from your administration before implementing any changes. Grading practices vary widely across states, districts, and schools. It often sparks debate among teachers, parents, and students because grades can carry a lot of weight. The impact of grades […]

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Note: Adhere to your district and school’s grading policies. It is imperative to get permission, support, and buy-in from your administration before implementing any changes.

Grading practices vary widely across states, districts, and schools. It often sparks debate among teachers, parents, and students because grades can carry a lot of weight. The impact of grades can extend beyond report cards and influence student motivation, teacher effectiveness, and parental perceptions of education. Traditional approaches to grading have long-standing roots in educational systems. However, there is growing interest in finding new methods that better reflect student learning and foster equity and consistency. This is especially true in the art room where assessing artistic growth can sometimes be challenging to capture with a numeric grade or through an established grading ritual.

Let’s investigate common grading scenarios to refine our assessment practice in the art room.

raise hand

Extra Credit: Boost Engagement or Inflate Grades?

Benefits

Extra credit can motivate students to engage more deeply with the material, offering them a chance to go beyond basic requirements and improve their grades. For students who struggle with formal tests or assignments, extra credit can provide an opportunity to recover and demonstrate their learning. If you’re collecting supplies or need tasks completed, it can be a huge help to your budget and classroom and build ownership in the art room.

Considerations

Extra credit may also pose equity concerns, as students with more resources, such as time or finances, are better positioned to complete extra assignments. It can also be tricky to be consistent across classes and grade levels, creating possible misunderstandings. There’s a risk of artificially inflating grades and potentially masking the true level of student understanding.

Further Investigation

Align extra credit with meaningful enrichment activities connected to learning objectives to keep grades more reflective of content proficiency. Also, remember that extra credit should not be extra work for you, the art teacher! Challenge your students to take ownership of their learning and come up with their own extra credit assignments.

extra credit list

Open-Note Tests: Promote Real Understanding or Encourage Laziness?

Benefits

Open-note tests can mirror real-world scenarios where individuals use resources to solve problems. It can shift the focus from rote memorization to the application of knowledge. Open-note tests reduce test anxiety, allowing students to demonstrate understanding without the pressure of cramming.

Considerations

Open-note tests may lead students to rely too much on their notes, neglecting thorough preparation. In subjects where critical thinking and recall are essential, open-note assessments may not fully capture students’ mastery of content.

Further Investigation

Combine open-note questions with analytical tasks that require deeper engagement. Let’s say you just finished a unit on the elements and principles of art and guided your students through art analysis. It’s their turn to show what they’ve learned! Give students an artwork they’ve never seen before. Allow them to use their notes to reference the definitions of each element and principle. Ask them to apply the information to identify examples in the artwork.

blank sketchbooks

Pop Quizzes: Grow Consistent Study Habits or Cause Unnecessary Stress?

Benefits

Pop quizzes can motivate students to stay up-to-date with the material and learning objectives. It can encourage regular review and preparation and keep students on their toes. Pop quizzes provide teachers with immediate feedback, allowing for adjustments in instruction.

Considerations

The unpredictability of pop quizzes can cause significant stress, especially for students who already experience test anxiety. There is also the potential to penalize students who may have valid reasons for being unprepared on a given day, such as an excused absence.

Further Investigation

A more low pressure way to capture real-time feedback is to build a habit of doing exit tickets before students leave. Students will appreciate the consistency in routine and the accountability in learning that period. Switch up the activity by doing questions, games, drawings, or tasks!

writing on paper

Participation Grades: Foster Engagement or Penalize Introverts?

Benefits

Grading participation is often used to encourage active engagement in class. Participation can take many forms, such as attending classes, contributing to discussions, being on time, and demonstrating attentiveness. It aims to foster a dynamic learning environment and build communication skills.

Considerations

However, grading participation can be subjective and favor more visible contributions over substantial ones. It may disadvantage introverted students, absent students, or those with anxiety. If participation is not explicitly linked to a learning objective, it may not accurately reflect a student’s understanding. 

Further Investigation

Offer multiple ways students can participate. Students can write or type responses and submit them for you to read aloud anonymously. Break the class into smaller groups or pairs with guiding prompts for more comfortable discussions. If you do have a required whole class discussion or large presentation, give students advance notice so they can prepare and ask questions ahead of time.

grading participation
Image Source

Homework: Reinforce Learning or Burden Students?

Benefits

Homework provides an opportunity for students to practice and reinforce skills learned in class. It also teaches life skills like time management and responsibility. Depending on the assignment, it can invite families to participate in their student’s learning. It can also provide a way for students to catch up if they don’t have enough time during class. 

Considerations

Homework can present equity issues, as not all students have access to resources like a quiet workspace or internet at home. Many students may not have the time, energy, or attention to adequately focus on homework at home due to other responsibilities. Excessive homework can lead to burnout and take away from quality family time.

Further Investigation

Use homework as a formative tool for practice and offer flexible completion options. Adjust deadlines or try a “ketchup” day in class for students to catch up on any assignment. Additionally, try optional assignments to do at home that are fun and foster a love for creativity!

drawing at home

Curved Grading: Level the Playing Field or Mask Performance Gaps?

Benefits

Curved grading can be helpful for adjusting scores on challenging tests, ensuring fairness in assessment. It may also create a sense of competition that motivates students to perform well. 

Considerations

It can foster an unfair comparison among students, where one student’s performance impacts another’s grade. Curving may also obscure gaps in understanding and give a false sense of achievement.

Further Investigation

Try curved grading if you give an assessment that ends up being more difficult than expected for your students. Alternatively, focus on creating fair assessments that measure learning objectives. If you’re looking to level up your assessment practice, enroll in Assessment in Art Education or watch the Designing Effective Assessment Practices Pack in PRO Learning.

scantron test

Grading practices are essential to the educational system but come with inherent challenges. There may be many common grading rituals that we’ve done for years without thinking much about them. It’s important to keep evaluating why we do things and refining how we do them so we will continue to grow as art educators. From pop quizzes to curved grading, each practice has benefits and considerations for our students. With the guidance of your district and school administration, investigate your grading practices and take steps to find a solid balance between tradition and innovation in your art room. 

Which grading practice are you investigating further in your art room?

Is there a common grading practice you’d add to this list?

To continue the conversation, join us in The Art of Ed Community!

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How to Assess for Growth and Transform Your Art Classroom https://theartofeducation.edu/2024/12/september-assess-for-growth-and-transform-your-art-classroom/ Mon, 02 Dec 2024 11:00:20 +0000 https://theartofeducation.edu/?p=464882 Art teachers, by nature, are creative individuals. If you get excited about the creation aspect of teaching but you’re not so thrilled with the assessment part, you’re not alone. The key is to shift your mindset and remember that assessment is not a tedious process of scoring and record keeping. True assessment is providing feedback […]

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Art teachers, by nature, are creative individuals. If you get excited about the creation aspect of teaching but you’re not so thrilled with the assessment part, you’re not alone. The key is to shift your mindset and remember that assessment is not a tedious process of scoring and record keeping. True assessment is providing feedback in order to help students grow. When you use assessment as a tool for learning, it demystifies art for students and gives them clear ways they can succeed in your art room.

Shift your mindset from grading to assessment and tackle how to use assessments as a tool for artistic growth.

rubric and artwork

What are the different types of assessment?

Assessments generally fall into two categories: formative and summative. A formative assessment gathers data to determine current skill levels. Use it to help you gauge where students are at and when they’re ready to move on. Formative assessments tend to be lower stakes and are often carried out during a lesson. For example, while your students are studying value, a formative assessment would be a bellringer requiring students to create a value scale or shade a sphere. Their level of success in these quick drawing activities will indicate whether they are ready to tackle more complex forms or if they need some guided practice to review the basics.

Summative assessments come at the conclusion of a lesson or unit. The purpose of the summative assessment is to determine the student’s level of mastery. Summative assessments can take many forms, including tests, artist’s statements, and portfolio reviews. Summative assessments can often feel higher stakes as they are often more heavily weighted in the grade book. 

rubric

What should I put in my rubric?

Rubrics aren’t just for art projects! You can use rubrics to evaluate any objective or standard, including activities like bellringers, drawing exercises, small group discussions, or presentations of artwork. Whatever the purpose, a good rubric provides clear and specific criteria for success. Focus on observable skills aligned to your curriculum and state or national standards. 

Rubrics can take a good amount of time to make if you’re starting from scratch. Save time and mental energy by using any of the numerous assessment tools in FLEX Curriculum. FLEX offers hundreds of student-facing resources including checklists, compare and contrast graphic organizers, reflections, project rubrics, and feedback sentence stems. One of the most flexible and customizable rubrics is the Plug n’ Play rubric. Click the Assessment tab on the lefthand navigation bar and filter by Grade Level, Medium, or Assessment Type—it’s seriously that simple!

How can I keep my assessment data organized?

There are a lot of ways to track student progress. Many districts provide an online grade book which may have features to track data and grades. For those without a digital grade book platform, digital spreadsheets can work just as well. Still, the most valuable data is the evidence you observe in student artwork, reflections, and skill demonstrations—not just the number from a rubric. 

Consider photographing student projects in a digital portfolio or virtual gallery. It may sound time consuming, but even elementary students can handle it by themselves. A class gallery is a wonderful tool to see learning trends across the board and provide you with insights about your teaching. 

take a picture slide

Creating digital portfolios and virtual galleries is simple. For a class-wide gallery, create a slide deck and number each slide. Share the slide deck with your students. They will snap a photo of their artwork and post it to their numbered slide. Individual portfolios allow for student privacy and show students their growth over time. Similarly, create a slide deck to use as a template. Notate spots on each slide for their artwork and artist statement. Share the slides using a forced copy link. Encourage students to have fun customizing their slide decks and share them with you! Consider linking each student’s deck in one spot so it’s easier to access.

reflection questions slide

What do I do with the assessments?

If the goal of assessment is to help students grow, you must share the assessment data with your students. This will look different depending on your grade level. Young students won’t benefit from looking at a bunch of numbers on a rubric, but they will learn a lot if you give them each a one-minute “glow and grow” mini-conference. The important thing is that you provide students with timely feedback in words and a format they can understand.

What is my students’ experience with assessment? 

Sometimes assessments can create pressure and anxiety for students. Many students get nervous thinking about everyone looking at and judging their work! Give students a voice in the assessment process to reduce anxiety. Talk to them about your goals as a teacher and ask them about their goals as artists and learners. When you are assessing students or discussing your observations with them, give students the opportunity to self-assess first with a rubric, artist statement, or conversation prompts. Often, they will be harder on themselves than you and it will provide space to give plenty of encouragement. 

rubric

Assessment has a negative reputation but it can be a helpful tool for artistic growth and student connection. It’s important to assess students regularly to check for understanding of current concepts, determine what students are ready to learn next, and pinpoint areas of mastery. Shift the culture from grades to open feedback to relieve pressure and anxiety and promote excitement around discovery and development. Use ready-made resources from FLEX Curriculum to keep your rubrics clear, observable, and objective, while saving so much time. Embrace your newfound view on assessment to create a supportive learning environment that celebrates each stage in the artmaking process!

How do you track your students’ artistic growth?

What’s a successful way you share feedback with your students?

To continue the conversation, join us in The Art of Ed Community!

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How to Create Ethically Responsible Digital Surrealism with AI for the K-12 Art Room https://theartofeducation.edu/2024/10/ai-dreams-exploring-surrealist-art-through-digital-imagery/ Mon, 14 Oct 2024 10:00:06 +0000 https://theartofeducation.edu/?p=464344 Note: Be sure to follow district and school policies regarding AI. It is your responsibility to check on these policies often because they can change quickly. Be sure to review all resources and preview all artists before determining if they are appropriate to share with your students. In a world buzzing with AI headlines—from ominous […]

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Note: Be sure to follow district and school policies regarding AI. It is your responsibility to check on these policies often because they can change quickly. Be sure to review all resources and preview all artists before determining if they are appropriate to share with your students.

In a world buzzing with AI headlines—from ominous predictions to promises of overcoming human limitations—AI is the topic on everyone’s lips. No matter where you stand on the topic, it’s inevitable that our students will encounter and use it. It’s important to be proactive and teach our students how to use AI responsibly as a tool. We want them to harness AI to unleash their creativity rather than replace it! Use the steps below to guide them through vital AI discussions centered around an art lesson idea they will thoroughly enjoy.

Unlock creativity with this captivating lesson idea that merges Surrealism with AI!

Get started with AI and learn about popular platforms. It’s important to note considerations when bringing AI into the K-12 art room. Then, discover ways to streamline your planning and assessment! If you’re looking for even more ways to dive into the transformative role of AI in teaching art, enroll in AI in Art Education.

1. Connect with art history.

Before diving into AI and digital tools, it’s important to put them in the broader context of art history. This helps students connect past lessons to new media. The Surrealist movement, known for its disjointed and dreamlike qualities, naturally complements AI’s strengths in generating unexpected and imaginative imagery. Just as Salvador Dalí pushed the boundaries of reality with imaginative concepts, AI can assist students in exploring and transforming visual elements to create innovative art. By delving into this connection, students will see how modern technology continues the Surrealist tradition of pushing creativity and challenging perception. 

Use Salvador Dalí’s artist bio in FLEX Curriculum to support learning. Each artist bio includes an image of the artist and/or artwork, quick facts, a list of famous works, and a brief history of their life and career. Artist bios make great screen-free resources for students to read about an artist! 

artist bio

Once students have a basic understanding of Surrealism, focus on specific pieces that exemplify it. Key pieces can include The Persistence of MemoryThe Son of Man, or Europe After the Rain, II. Give students time to examine the artwork and compile a list of everything they see. Take those observations to the next level by asking why the artist may have made those choices and what the “big idea” may be. This process helps students connect their observations to the underlying meaning of the piece. Additionally, ask students to note where they see the melding of reality and dreams to set the stage for their artmaking prompt.

2. Plan with keywords.

Brainstorm relevant keywords to input into an AI image-generating tool. Encourage students to list five or more hobbies and interests, followed by five or more adjectives to describe their dreams. This helps gain student buy-in by leveraging what they like while also creating a link to Surrealism. Remind students not to use copyrighted images, personal identifying information, and celebrity names.

brainstorming

3. Understand AI technology.

Before letting them loose with AI technology, take the time to discuss what AI actually is. While many students may have heard of AI (or even used it!), they may not fully understand how it works or the implications of using it. AI systems use data from various online sources and analyze patterns to make predictions and create outputs. For instance, platforms such as Dall-E can transform keywords into visuals, making the artistic process exciting and interactive. Consider reviewing and using a student agreement for the appropriate use of AI tools in the art room.

4. Generate images.

In the AI image generator of your choice, students will enter their keywords as a descriptive sentence. For example, if they love soccer and ice cream, and their dreams are often foggy and involve water, they might input something like, “Playing soccer while eating ice cream in a foggy, water-filled world.” As they explore the images AI generates based on their commands, prompt them to adjust their instructions to experiment with filters and rearrange or swap words. Students will save several images to select their favorite.

generate images

5. Explore image editing tools.

It’s time to dive into image editing tools! While processes will vary depending on the platform you select, key tools to review include text, drawing, layering, and transparency. Discuss the concept of ownership and require students to incorporate their AI image as only one element of their artwork, rather than relying solely on it. The final piece should reflect personal artistic choices.

6. Get hands-on!

The final step is what will truly unlock creativity. Students will step away from the computer and get their hands dirty! Print the final artwork and manipulate it in some way. Students can cut their image into strips and weave it, paint or draw layers on top, rip it up and rearrange it into a new collage, or stitch a design through the composition. This tactile approach allows students to further explore and enhance their artistic expression beyond the digital realm. It emphasizes the use of AI as part of a holistic process and not a means of generating a product.

hands on

Much like a paintbrush, AI can be another tool in your students’ art kits. Just as the artist controls the brush, students can learn how to responsibly use AI to reflect their unique artistic vision. Integrate AI into art projects a little at a time to expose your students to cutting-edge technology and new ways of self-expression. Infuse Surrealism to add a dose of art history and foster art observation and analysis skills. Combine traditional artistic methods and materials with modern AI platforms to create a rich and relevant learning experience to bridge the past and future of art. 

How do you integrate AI to push creative boundaries?

What other art movement lends itself to AI image generation?

To continue the conversation, join us in The Art of Ed Community!

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Texas Art Education Association (TAEA) Conference 2024 – Art Education Professional Development & Workshops https://theartofeducation.edu/events/texas-taea/ Tue, 08 Oct 2024 19:34:14 +0000 https://theartofeducation.edu/?page_id=465010 The post Texas Art Education Association (TAEA) Conference 2024 – Art Education Professional Development & Workshops appeared first on The Art of Education University.

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TAEA • November 14 – 16 • Galveston, TX

See You Next Year!

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On-demand K-12 standards-aligned art curriculum that helps educators discover what to teach.

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Art-specific professional development videos that support educators in delivering impactful visual arts instruction.

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🎨 Meet Your New Favorite Place! 🎨

The Art of Ed Community makes connecting, sharing, and growing easier than ever before. This dedicated, professional online space for art teachers aims to positively impact educators’ professional growth and find joy in teaching. Available on desktop or mobile apps.

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Florida Arts Seal https://theartofeducation.edu/florida-arts-seal/ Tue, 08 Oct 2024 14:28:14 +0000 https://theartofeducation.edu/?page_id=464749 The post Florida Arts Seal appeared first on The Art of Education University.

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AOEU Supports the Florida Seal of Fine Arts

The Art of Education University is proud to support Florida’s mission to celebrate art education. The Florida Seal of Fine Arts empowers students by recognizing their dedication and passion for the arts. AOEU provides insights and strategies to help educators align their programs with Seal criteria, building confidence for both teachers and students.

Significance of the Florida seal of fine arts

Art Students
  • Art Students
  • Art Teachers
  • District Art Departments
  • Community Partners & Arts Associations

Earning the Seal of Fine Arts offers recognition for college applications, scholarships, and graduation honors. Success comes from a strong art program that fosters:

  • Recognition for college applications, scholarships, and graduation honors
  • Development of diverse art-specific skills, personal voice, and academic success skills
  • Positive community impact
  • College- and career-readiness with well-rounded academic skills

Teachers whose students achieve the Seal of Fine Arts may experience benefits such as:

  • Increased student interest and program recruitment
  • Opportunities to refine curriculum and boost success skills
  • Alignment with evaluation tools as performance evidence

Seal of Fine Arts achievements lead to these trends for district administrators:

  • Greater support for art programs
  • Stronger alignment with district strategic plans
  • Improved teacher retention and recruitment
  • Potential for increased art program funding
  • Reduced loss of art program units

As the Seal of Fine Arts gains recognition, art community partners and associations may see:

  • More partnerships with school districts
  • Growth in citizen advocacy and membership
  • More contributions, donations, and sponsorships
  • Stronger political advocacy

Plan Your Year of Success

How FLEX + PRO Align With Florida’s Goals

How Can FLEX Encompass Essential Success Skills?

A Sampling of Ways FLEX can Support

  • Manipulate media through experimentation: Rethinking Media Lesson Plan
  • Explore multiple techniques to solve creative problems: Sketchbook Scramble Lesson Plan
  • Hypothesize how media choice conveys ideas: Testing a Material Hypothesis Lesson Plan
  • Enhance creative risk-taking practices: Experimentation, Practice, and Persistence Rubric Assessment
  • Explore personal themes and messaging in work: What’s the Message? Assessment
  • Build a personal and meaningful portfolio: Curatorial Rationale Writing Guide Writing Support
  • Practice visual literacy within personal works and critiques: What is Visual Literacy Anchor Chart
  • Research and investigate to plan: Artistic Investigation Worksheet
  • Practice Growth Mindset: Growth Self-Assessment & Action Plan Reflection
  • Embrace curiosity as a learning strategy: A Recipe for Stop Motion Lesson Plan
  • Discuss Creative Careers: Photojournalist (6-12) Career Profile
  • Connect creative challenges with growth opportunities: Planning My Artistic Growth Lesson Plan
  • Discuss/create Public Art: Public Art Process Anchor Chart
  • Discuss Art/Art History and Cultural impact: Artist Bios/AP Art History List
  • Celebrate Artist Diversity: Teresita Fernandez: Florida Artist Artist Bio
  • Practice arts advocacy strategies: Personally Relevant Art Advocacy Reference
  • Micro Labs in the Secondary Art Room
  • Creating with Unexpected Materials
  • Advanced Approaches to Still Life
  • Mixed Media Basics
  • Intermediate Acrylic Techniques
  • Digital Drawing Basics
  • Innovative Ceramics Methods
  • Advancing Students’ Visual Literacy Skills
  • Advanced 2D Portfolio Driven Courses
  • Ideation and Sustained Investigation
  • Helping Students Create a Body of Work
  • Crafting Meaningful Artist Statements
  • Methods for Analyzing Art
  • Promoting Experimentation, Practice, and Persistence in the Art Room
  • Planning for Choice at the High School Level
  • Readying Students for College and Careers
  • Teaching for Creativity
  • Growth Mindset in the Art Room
  • Infusing Design Thinking
  • Service Learning in Secondary Art
  • Partnering With Your Local Art Community
  • Growing Your Art Program
  • Contemporary Art in the Secondary Classroom
  • Art History in the Secondary Art Room

Teachers Flex

Jamey Williams

Art Teacher Aldine Independent TX

FLEX has become an indispensable tool in my daily teaching routine. Whether I need simple handouts or comprehensive lesson plans, FLEX has it all. Its extensive library supports and enriches every medium I teach, offering a plethora of resources from vocabulary aids to engaging warm-up activities. Utilizing their complete lesson plans has certainly lightened my workload.

Erika Chapman

VAPA Arts Coordinator Manteca CA

With FLEX, the lesson format and materials have made it super easy to refresh our curriculum, which keeps art teachers engaged. If art teachers are bored, students are bored.

Julie Levesque

Visual Arts Coordinator Pinellas County School District FL

“The big difference with the FLEX Curriculum is the quality of the lessons. Our district is very studio based. It’s all about projects and hands-on learning. It’s doing, creating, making—it’s a very artistic mindset type of learning. These FLEX lessons really lend themselves to what we’re trying to do, and we feel that it really helps our new art teachers.”

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How to Support English Language Learners In Writing Powerful Artist Statements https://theartofeducation.edu/2024/09/elevating-ell-voices-the-power-of-artists-statements-in-the-art-room/ Mon, 16 Sep 2024 10:00:00 +0000 https://theartofeducation.edu/?p=464016 Artist statements are a valuable part of the artmaking process; however, approaching them can be uncomfortable, especially when you have English Language Learners (ELL). Writing artist statements can be a challenge for any student, but for ELL students, the challenge is twofold: they must grasp both the content and the language. Having a class with […]

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Artist statements are a valuable part of the artmaking process; however, approaching them can be uncomfortable, especially when you have English Language Learners (ELL). Writing artist statements can be a challenge for any student, but for ELL students, the challenge is twofold: they must grasp both the content and the language. Having a class with varying literacy and language levels can be all the more reason to embrace writing artist statements on a regular basis! Incorporating more artist statements will build confidence, reinforce learning, and provide additional outlets for expression and communication.

Unlock WIDA levels to support ELL students, build language skills, and communicate complex ideas through powerful artist statements.

label artwork

There are six categories of skill levels for English Language Learners. Educating yourself on the skills expected for each level can help you tailor your support for students when they read and write in your art room. WIDA is a consortium of state education departments that provide research-based tools and resources for K-12 multilingual learners. WIDA provides standardized frameworks so learning outcomes are consistent across adopting states, districts, and schools. Ask your administrator, mentor teacher, or professional counselor to show you where to access your students’ levels.

Understand the six levels below to unlock key strategies for helping your ELL students:

  • Level 1: Entering
    Students at this level are beginning to use English in very basic ways. They may understand and use a few common words and phrases. They often rely on visual aids and gestures for comprehension. Focus on building foundational vocabulary and simple sentence structures.
  • Level 2: Emerging
    Students in this category are starting to form simple sentences and understand basic English. They still struggle with complex language structures and vocabulary. They can participate in conversations but may need additional support to grasp content.
  • Level 3: Developing
    These students can create more complex sentences and understand basic English. They may still struggle with academic language and more abstract concepts. They can engage in discussions and express ideas, but they may make errors when it comes to more sophisticated language.
  • Level 4: Expanding
    Students at this level demonstrate a good command of English and can use it in various contexts. They may still need support with specialized academic language and idiomatic expressions. They can engage in detailed discussions and write more complex texts.
  • Level 5/6: Bridging/Reaching
    These students are nearly proficient in English. They can perform most tasks and understand most content in English. They may still need occasional support with very specialized or advanced language but can function effectively in an English-speaking environment.

Even if you don’t know the specific levels of each of your students, knowing different ways to scaffold reading and writing is helpful. Plus, it can be beneficial for all students—even those who know English but struggle with literacy. We’ll look at some prompts and activities below and break them down by level with examples.

Another helpful tip when assessing reading and writing is to remember what’s most important. Are you assessing reading and writing, such as pronunciation, grammar, spelling, and sentence structure? Or, are you assessing the art content they are trying to communicate, such as vocabulary terms, art materials, techniques, processes, and ideas? Prioritize your learning objectives and ensure they match your assessment outcomes.

Focus on these five areas with your ELL students to write artist statements with ease!

1. Home Language Expression

You are most comfortable when you’re in your own home—and so are your students! Make your classroom feel like their “home away from home” by allowing them to speak in their home language. This can be a great first step in writing an artist statement. Much like a “brain dump,” it provides a crucial foundation for processing and articulating their raw, honest thoughts. From here, students can take key information and incorporate it into their final statement, either in their home language or in English.

Prompt: I made… 

  • Level 1: Entering
    Students use simple phrases or words in their home language. For example, they may say, “I made a house” in their home language while pointing to their drawing.
  • Level 2: Emerging
    Students compose 1-2 basic sentences in their home language. They may share, “I made a tree because I like nature.”
  • Level 3: Developing
    Students write a few basic sentences in their home language. For instance, “I made a painting of a sunset. I used bright colors to show how happy I feel when the sun sets.”
  • Level 4: Expanding
    Students provide a short paragraph in their home language and emerging English. They may write, “I made different shades of blue and orange to represent the transition from day to night.”
  • Level 5/6: Bridging/Reaching
    Students compare and contrast their artwork with other works in their home language and in English. They may share, “I made abstract shapes like Picasso but I used a different color palette of blue and orange.”

2. Vocabulary

Vocabulary acquisition is an important building block in forming and comprehending sentences. Just like with all of your students, it is your job to teach key art vocabulary, like the Elements and Principles. In addition, students will need to learn other art terms most students already know, such as pencil, scissors, fold, and sculpture. Introduce vocabulary and repeatedly reinforce it with a variety of visual aids.

Activity: Show me an example of…

  • Level 1: Entering
    Use labeled pictures with key vocabulary words, such as the colors yellow, orange, and red with the text “warm colors.” Students match a label to the correct corresponding spot on their artwork and practice saying the words aloud.
  • Level 2: Emerging
    Provide cards with images, vocabulary words, and simple definitions. Students match cards to the correct corresponding spot on their artwork and practice reading the cards aloud.
  • Level 3: Developing
    Introduce vocabulary with a word bank and encourage students to use them in sentences. For example, for Show me an example of warm colors, the student may write, “My clothes are warm colors to match the sun.”
  • Level 4: Expanding
    Continue to provide a word bank with more complex terms and descriptive language. They may write, “I used warm colors for my outfit to match the sun. It contrasts with the cool colors in the background. It helps me stand out!”
  • Level 5/6: Bridging/Reaching
    Students use advanced vocabulary and art terminology in their statements. For example, “I used warm colors on the subject matter to contrast with the cool, dark background. I wanted the person to stand out and look like they were running away from the background which is eerie and moody.”

labeled supplies

3. Sentence Structure

Take the bulk of the guesswork out of writing so students can focus on the content. Set up sentence stems and prompts so all students have to do is fill in the blank. These also help students organize their thoughts and provide immediate structure for final artist statements.

Activity: Pick a prompt and fill in the blank.

  • Level 1: Entering
    I drew a… or This is a…
  • Level 2: Emerging
    I used… colors to show…
  • Level 3: Developing
    The… in my artwork represents… because…
  • Level 4: Expanding
    In my artwork, I used… materials to illustrate… or I used… technique to create…
  • Level 5/6: Bridging/Reaching
    In this piece, I used… technique because… and It supports my concept of… by… 

4. Sharing & Labels

Sharing artwork is scary, especially in front of the whole class and especially when you aren’t confident with speaking the same language as everyone else. Build up to sharing in front of the whole class by starting small. Allow students to select their partner or assign partners based on who you see students comfortable with. Provide labels with key vocabulary words and blank sticky notes to support communication.

Activity: Select a partner and share your artwork with them using labels.

  • Level 1: Entering
    Students share their artwork with a partner using gestures and simple words. They can label their artwork with sticky notes that have pictures and basic words.
  • Level 2: Emerging
    Students can share their artwork with a partner using short sentences. They label their work with sticky notes that include pictures, vocabulary words, and simple phrases.
  • Level 3: Developing
    Students describe their artwork to a partner using complete sentences and labels. Encourage them to write a few sentences on sticky notes about specific elements of their work.
  • Level 4: Expanding
    Students provide detailed explanations to their peers and use sticky notes to label their artwork with more complex terms and descriptions.
  • Level 5/6: Bridging/Reaching
    Encourage students to engage in in-depth discussions about their artwork with peers, using sticky notes for detailed labels and explanations that reflect their advanced understanding.

label artwork

5. Scaffolding

You can also scaffold support by breaking down the artist statement structure. Take sections of the artist statement and do each of them together as a class or group. Within each of the five steps below, provide prompts based on each skill level for students to expand on. Feel free to tie in other previously mentioned tips, such as word banks, labels, and sticky notes, to maximize student success.

Activity: Write an artist statement step-by-step.

1. Identify the subject matter.

  • Level 1: Students match images with words.
  • Level 2: My art is…
  • Level 3: My artwork is about…
  • Level 4: My painting captures…
  • Level 5/6: The… represents…

2. Describe the inspiration.

  • Level 1: Students select and name picture cards that illustrate their sources of inspiration. 
  • Level 2: My idea is from… 
  • Level 3: I was inspired by… 
  • Level 4: The… inspired me because…
  • Level 5/6: The… inspired me and it evokes… 

3. Explain the meaning.

  • Level 1: My art is about…
  • Level 2: My art means…
  • Level 3: The… in my artwork shows…
  • Level 4: The use of… in my artwork symbolizes…
  • Level 5/6: The… in this piece represents… 

4. Discuss art techniques.

  • Level 1: Students point to or name materials, techniques, or processes used.
  • Level 2: I used… 
  • Level 3: I used… to make…
  • Level 4: I used… to create…
  • Level 5: The use of… emphasizes…

5. Reflect on the artistic process.

  • Level 1: It was easy/hard to…
  • Level 2: I learned…
  • Level 3: It was hard to… but I learned…
  • Level 4: When making my artwork, I struggled with… but I learned…
  • Level 5/6: Through this process, I faced challenges such as… and successes such as…

labeled artwork

Tackling reading and writing in the art room with English Language Learners doesn’t have to be scary for anyone! Use this toolkit of strategies and prompts to best support your students at any level of language acquisition. Understanding what to expect from each WIDA level will help you manage your expectations for learning so all students can succeed. Plus, having a repertoire of ways to break down the artist statement process will benefit all budding artists. Before you know it, students will feel safe and confident to discuss, read, and write about their artwork in no time!

Discover more resources to support your English Language Learners in the art room:

  1. How to Support ELL Students to Thrive in the Classroom
  2. 5 Strategies to Help Your English Langauge Learners
  3. Strategies to Help ELL Students (Ep. 234)
  4. What You Need to Know About ELLs in the Art Room

How do you support ELL students with writing artist statements?

What are some challenges you’ve faced when helping ELL students articulate their artistic ideas?

The post How to Support English Language Learners In Writing Powerful Artist Statements appeared first on The Art of Education University.

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Art Educators of Iowa (AEI) and Minnesota (AEM) Conference 2024 – Art Education Professional Development & Workshops https://theartofeducation.edu/events/iowa-minnesota/ Wed, 11 Sep 2024 21:21:14 +0000 https://theartofeducation.edu/?page_id=464679 The post Art Educators of Iowa (AEI) and Minnesota (AEM) Conference 2024 – Art Education Professional Development & Workshops appeared first on The Art of Education University.

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Art Educators of Iowa and Minnesota • September 27 – 28 • Mason City, IA

See You Next Year!

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On-demand K-12 standards-aligned art curriculum that helps educators discover what to teach.

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Art-specific professional development videos that support educators in delivering impactful visual arts instruction.

Dr. Karen Kelly

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The post Art Educators of Iowa (AEI) and Minnesota (AEM) Conference 2024 – Art Education Professional Development & Workshops appeared first on The Art of Education University.

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