Barbara Marrama ARE 6748 June 23, 2011 Final

Barbara MarramaARE 6748

June 23, 2011Final

Methodology: To research and create a document that will explore "Visual Literacy" using the Next Generation of the Sunshine State Standards for secondary Visual Arts Curriculum & Assessment based on Sandell's FTC Palette for Decoding an Art Museum form.

Purpose of Study:

To create a format that will simplify the context clues of an artwork while aligning with the NGSSS.

Importance:

To create a format that will cover a plethora of key components of “visual literacy” in a short and concise time.

Research Questions:

Does a "Visual Literacy" based learning strategy create a focus for better understanding for high school students?

Do the NGSSS contribute enough of a basic structure to design a "Visual Literacy" curriculum within?

Can the "Visual Literacy" curriculum help to create an assessment model compatible with the NAEP assessment?

Does Sandell's visual organizer help generate non-linear thinking in the processes of "understanding and creating visual imagery" (Sandell, 2009, p. 287).

What is Visual Literacy:

John Debes coined the term "visual literacy" in the late 1960s, and defined it as the ability "to discriminate and interpret the visible actions, objects, symbols, natural or man-made, that he encounters in his environment” (http://ccb.lis.illinois.edu/Projects/youth/literacies/visual1.html)

http://ccb.lis.illinois.edu/Projects/youth/literacies/visual1.html

Literature Review:• Art and Humanities General Education Assessment: A Qualitative Approach

to Developing Program Objectives, Jilliam N. Joe, J. Christine Harmes, and Carol L. Barry.

• Barrett’s Principles for Interpreting Art (2003).

• Gudes’s Postmodern Principles for 21st-Century Art Education (2004).

• Henry’s The Museum Experience, The Discovery of Meaning (2010).

• Persky’s "The NAEP Arts Assessment: Pushing the Boundaries of Large-Scale Performance Assessment (2004) and Gantt's Art Therapy: Journal of the American Art Therapy Association, 16(3)

• Sandell’s Form +Theme+Context: FTC Palette for Decoding an Art Museum (2009).

ART = CONTENT + THEME + FORM When, where, by/for whom and

WHY the work was c rea ted/valued

What the work is about

How the work “is”

Title: ________ ______ ______ ______ ______ ______ _______ ____

How does a balance of content, theme, and form SHAPE layers of meaning?

CONTENT THEME FORM

DATE: WHERE: ARTIST/FOR WHO M:

WHY: Intention/Purpose(s): Significance/Relevance: Personal Social Cultural Historical Artistic Educationa l Political Spiritual Other

Broad Subject/BIG IDEA: Subject Mat ter: Po int of Vie w: Visual Sources: Art Historical References: Literary Sources: Other Arts Co nnections: M usic Theater Dance Film & New M edia Other Subject Areas: ⇒ Ma th ⇒ Languag e Arts ⇒ Science ⇒ Socia l Studies ⇒ Physical Education ⇒ Voc ational Education

Actua l Composi :tion Art Elements (lin ,e shape, col ,or texture, value, spac );e Desig n Princip les (emphasis, balance , harmony, variety, movement, rhythm, proport ,ion unity): 2 &D 3 D Qualiti :es Siz /e Sca le : M edia/ Materials: Processes/ Me tho :ds Skill :s Styl :e O :ther

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Critical Thinking and Reflection: Cognition & reflection

• VA.912.C.1.2

• Use critical thinking skills for various contexts to develop, refine, ad reflect on an artistic theme.

• VA.912.C.1.3

• Evaluate the technical skill, aesthetic appeal, and /or social implication of artistic exemplars to formulate criteria for assessing personal work.

•

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Zhong Biao (b. 1968)

Critical Thinking and Reflection: Cognition & reflection

• VA.912.C.1.4

• Apply art knowledge and contextual information to analyze how content and ideas are used in works of art.

• VA.912.C.1.8

• Explain the development of meaning and procedural choices throughout the creative process to defend artistic intention.

•




Critical Thinking and Reflection: Assessing for artistic growth

• VA.912.C.2.2 • Assess the works of others,

using established or derived criteria, to support conclusions and judgments about artistic progress.

• VA.912.C.1.4• Classify artworks, using

accurate art vocabulary and knowledge of art history to identify and categorize movements, styles, techniques, and materials.

•




Skills, Techniques, and Processes: Processes

• VA.912.S.2.3

• Interpret and reflect on cultural and historical events to create art.

• VA.912.S.1.4

• Demonstrate effective and accurate use of art vocabulary throughout the art-making process.

• VA.912.S.1.6

• Describe processes and techniques used to record visual imagery.

•




Skills, Techniques, and Processes: Development of skills

• VA.912.S.2.3

• Demonstrate visual-thinking skills to process the challenges and execution of a creative endeavor.

• VA.912.S.2.4

• Use information resources to develop concepts representing diversity and effectiveness for using selected media and techniques in a sketchbook or journal.

•




Organizational Structure: Understanding organizational structure

• VA.912.O.1.1

• Use the structural elements of art and the organizational principles of design in works of art to establish an interpretive and technical foundation for visual coherence.

• VA.912.O.2.2

• Use and defend the choice of creative and technical skills to produce artworks.

•




Organizational Structure: Structural Rules and Conventions

• VA.912.O.2.2

• Solve aesthetic problems, through shared language, ideation, expressive content, and unity in the creative process.

• VA.912.O.2.3

• Use and defend the choice of creative and technical skills to produce artworks.

• VA.912.O.2.4

• Concentrate on a particular style, theme, concept, or personal opinion to develop artwork for a portfolio, display, or exhibition.

•




Historical and Global Connections:

• VA.912.H.1.1

• Analyze the impact of social, ecological, economic, religious, and/or political issues on the function or meaning of the artwork.

• VA.912.H.1.4

• Apply background knowledge and personal interpretation to discuss cross-cultural connections among various artworks and the individuals, groups, cultures, events, and/or traditions they reflect.

• VA.912.H.1.10

• Describe and analyze the characteristics of a culture and its people to create personal art reflecting daily life and /or the specified environment.

•




Historical and Global Connections: Cultural trends

• VA.912.H.2.1

• Analyze the capacity of the visual arts to fulfill aesthetic needs through artwork and utilitarian objects.

• VA.912.H.2.3

• Analyze historical or cultural references in commemorative works of art to identify significance of the event or personal portrayed.

• VA.912.H.2.5

• Analyze artwork from a variety of cultures and times to compare the function, significance, and connection to other cultures or times.

•




Historical and Global Connections: Transfer knowledge

• VA.912.H.3.1

• Synthesize knowledge and skills learned from non-art content areas to support the processes of creation, interpretation, and analysis.

• VA.912.H.3.3

• Use materials, ideas, and/or equipment related to other content areas to generate and processes for the creation of works of art..




Innovations, Technology, and the Future: Create, Interpret,

respond • VA.912.F.1.1

• Use divergent thinking, abstract reasoning, and various processes to demonstrate imaginative or innovative solutions for art problems.




Innovations, Technology, and the Future: Careers

• VA.912.F.2.4

• Research ideas to plan, develop, and market art-related goods, artworks, or services that influence consumer beliefs and behaviors.

• VA.912.F.2.7

• Evaluate the effects of creating works of art for sale or donations to support local organizations for social or economic causes




Innovations, Technology, and the Future: 21st C. skills

• VA.912.F.3.1

• Use technology applications and art skills to promote social and cultural awareness regarding community initiatives and/or concerns.

• VA.912.F.3.2

• Examine the rationale for using procedural, analytical, and divergent thinking to achieve visual literacy.




Innovations, Technology, and the Future: Careers

• VA.912.F.2.4

• Research ideas to plan, develop, and market art-related goods, artworks, or services that influence consumer beliefs and behaviors. QuickTime™ and a

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Assessment using NAEP: • Scoring Guide

• 4 - EXTENSIVE The student provides a specific, thoughtful, and accurate commentary on each of the features identified. For each feature, the student either explains why the feature is noticeable, or what the feature might mean in the artwork.

• 3 - ESSENTIAL The student provides a specific, thoughtful, and accurate commentary on at least one of the features identified. As a rule, responses at this level will show less grasp than level 4 responses of what makes features noticeable or what they might mean.

• 2- PARTIAL The student provides bare bones descriptions of one or more features. [Sample Response]

• 1 - UNACCEPTABLE The student labels a feature or features, but description of features is irrelevant or miss

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Students are asked to look first at the work by Jhong Biao. To get students looking closely at the work, they are asked to describe what leaps to their attention first--what they think the artist wants them to notice. Students are asked to draw arrows to features of the work to point out what they observe.

This exercise demonstrates an important principle in developing assessments, especially for subjects that may not be a regular part of school curricula: start the task with easier exercises that increase student comfort and that are accessible to students with a range of arts backgrounds, or none at all

http://nces.ed.gov/nationsreportcard/pubs/strategies/P1SCP2.asp

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• To learn about what students knew about • visual arts, it was important to present

quality reproductions of artworks. NAEP used museum-quality prints for students to write about and to use as sources of inspiration for creating. (Because three-dimensional works can be appreciated only in limited ways when represented in two dimensions, most exercises asking students to respond to artworks were built around two-dimensional works. Students explored three-dimensional works when asked to create their own sculptures.)

• http://nces.ed.gov/nationsreportcard/pubs/strategies/P1SCP2.asp

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• Measurement experts from Educational Testing Service worked with the Arts Assessment Development Committee to ensure that ･ scripts for creating and performing tasks were made as clear, concise, and helpful as possible; ･ expectations for performance tasks were always visible on posters while students were preparing to perform; introductions to tasks were created to let students know what they would be doing, to supply information about the theme or works of art students would be focusing on, and to encourage careful work; tasks began with simpler exercises to increase student comfort; and ･ exercises were "scaffolded" so students could address one part of a problem at a time.

• http://nces.ed.gov/nationsreportcard/pubs/strategies/P1SCP2.asp

http://nces.ed.gov/nationsreportcard/pubs/strategies/P1SBP1.asp

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References

Barrett, T. (2003). Interpreting art: Reflecting, wondering, and responding. New York:

McGraw-Hill.

Gude, O. (2004). Postmodern principles: In search of a 21st century art education. Art Education,

57(1), 6-14.

Hilary Persky, “The NAEP Arts Assessment: Pushing the Boundaries

of Large-Scale Performance assessment, “Handbook of Research and Policy in Art

Education, Eds. Elliot W. Eisner and Michael D. Day, Lawrence Erlbaum Associates,

2004, pp. 607-635.

Joe, J. N., Harmes, J., & Barry, C. L. (2008). Arts and Humanities General Education

Assessment: A Qualitative Approach to Developing Program Objectives. Journal of

General Education, 57(3), 131-151. Retrieved from EBSCOhost.

http://nces.ed.gov/nationsreportcard/pubs/strategies/P1SCP2.asp

Sandell, R. (2009). Using form+theme+context (FTC) for rebalancing 21st-century art education.

Studies in Art Education, 50(3), 287-299.

Barbara Marrama ARE 6748 June 23, 2011 Final

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