Barbara Marrama
ARE 6748
June 23, 2011
Final
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)
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 wor k was crea ted/valued
What the wor k is about
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How the work “is”
Tit le: __ ______ ______ ______ ______ ______ ______ _______ ___ _
How does a balance of content, theme, and form SHAPE layers of meaning?
CONTENT
THEME
FORM
DATE:
Broad Subject/BIG IDEA:
Actual Composition:
WHERE:
Subject Mat ter:
ARTIST/FOR WHO M:
Point of Vie w:
WHY:
Visual Sources:
texture, value, space);
Intention/Purpose(s):
Art Historical References:
Design Principles (emphasis,
Litera ry Sources:
balance, harmony, v ariety, movement,
rhythm, proportion, unity):
Significance/Relevance:
Other Arts Connections:
Persona l
Music
Social
Th eater
Cultural
Dance
Historical
Film & New Media
Artistic
Other Subj ect Areas:
 Ma th
 Language Arts
 Science
 Social Studies
 Phys ical Education
 Vocational Education
Educational
Political
Spiritual
Other
Art Elements (line, shape, color,
2D&3D Qualities:
Size/Sca le:
M edia/ Materials :
Processes/Me thods:
Skills:
Styl e:
Other:
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.
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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..
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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.
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Zhong Biao (b. 1968)
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
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.
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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/strate
gies/P1SCP2.asp
24
• To learn about what students knew about
•
visual arts, it was important to present quality
reproductions of artworks. NAEP used museumquality 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
25
• 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
26
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.
Hil ary Persky, The NAEP Arts Assessment: Pushing the Boundaries
of Large-Scale Performance assessment, Handbook of Research and Policy in Art
Education, Eds. Elli ot 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 Educa tion
Assessment: A Quali tative Approach to Developing Program Objectives. Journal of
General Educa tion, 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.
27
Studies in Art Educa tion, 50(3), 287-299.