Chabot College
Program Review Report
2015 -2016
Year 3 of
Program Review Cycle
Art History
Submitted on: October 24, 2014
Contact: Diane Zuliani
Table of Contents
__X__ Year 3
Section A: What Have We Accomplished?
Section B: What’s Next?
Required Appendices:
A: Program Review 2015-16 Art History Narrative and Budget History
B1: Course Learning Outcomes Assessment Schedule
B2: “Closing the Loop” Assessment Reflections
C: Program Learning Outcomes
D: A Few Questions
E1: New Initiatives
E2: New Initiatives
E3: New Initiatives
E4: New Initiatives
E5: New Initiatives
E6: New Initiatives
F1: New Faculty Requests
F2: Classified Staffing Requests
F3: FTEF Requests
F4: Academic Learning Support Requests
F5: Supplies and Services Requests
F6: Conference/Travel Requests
F7: Technology and Other Equipment Requests
F8: Facilities
X
_
__ YEAR THREE
A. What Have We Accomplished?
PROGRAM REVIEW 2015-2016 ART HISTORY NARRATIVE
EMC Data: Enrollment
Approximately 860 students enroll in Art History courses per year. In this full Program Review cycle (Fall
2011 to Spring 2014), Art History had a WSCH/FTEF of644.62. This high number encompasses both
thehigh-productivity lecture courses and the lower-enrolled lab courses in museum studies. Art History
is a productive discipline.
Art History faculty expect the College Enrollment Management Committee to offset lower-enrolled
Museum Studies lab courses with the high-productivity Art History lecture classes. Art History
productivity should first and foremost benefit the Art History program.
EMC Data: Success Rates
During the same period, the overall success rate in Art History was higher than the college average by a
margin of 10 percent. Similarly, success rates by gender, race and ethnicity are also higher in every
instance than the college average. Art History is a successful discipline.
Two Top Program Goals Met
During this Program Review cycle, we had two main goals. The first was to establish a state-approved
AA degree. We successfully achieved this. We are proud of this degree program, which was designed
not by the state but by in-house faculty,built on pre-existing and unique offerings across Chabot’s Art
History, Art, History, and Humanities curricula.
The second goal was to establish an IGETC-approved non-Western art history survey course. We
successfully achieved this. ARTH 8 is the second Chabot art history course with a non-Western focus,
and it will give students an opportunity to learn of traditional, modern,and contemporary visual art in a
range of non-Western cultures.
College-Wide Strategic Plan Goal Met
The Art History AA degree establishes a new pathway for students. It thus facilitates the collegewidestrategic plan goal of “increasing the number of students that achieve their educational goal within
a reasonable time by clarifying pathways…”.
Three College-Wide Specific Strategic Initiatives Met
Strategy and Possible Initiative #3h: “Help students determine their passion, what careers may be
possible with that passion, and then what educational goals can lead to those careers.”These are the
pedagogical goals of the Museum Studies program.
1
Strategy and Possible Initiative #5d: “Provide more time between classes in the same room to informally
advise students.” Diane Zuliani, the discipline lead, now schedules some office hours immediately before
and after class, in the classroom, not in her faculty office. She uses a portion of each hour for general
academic counseling of art history students.
Strategic and Possible Initiatives #6d: “Integrate and streamline pathways / assess scheduling patterns
and timing across disciplines/programs.”In the hands of the discipline lead, Art History scheduling is
done to minimize pedagogical and timing conflicts within the discipline and across other disciplines and
programs. Art History offerings are not rolled-over predictably but change to a certain degree every
semester. The schedule of courses is always spread out over morning, mid-day, afternoon, and evening
time blocks. No art history courses are scheduled to overlap each other unless instructors schedules
make a small overlap unavoidable, which has not happened in years. Courses are spread as wide as
possible to accommodate the largest number of student schedules, thereby maintaining access and
streamlining the pathway.
Two College-Wide Strategic Initiatives Currently In Progress
Strategic and Possible Initiatives #2: “Provide information/training to everyone in the Chabot community
to help our students achieve their goals.” We anticipate using a variety of means to clarify the pathway
to art history transfer, including a web presence and in-person student orientations to the discipline that
explain the pathway.
Strategic and Possible Initiatives #3g: “Help the undecided to define a goal.”Art History faculty are
interested in building web tools and video vignettes to help students determine if Art History is the right
educational avenue. Diane Zuliani is learning website building through WordPress and the use of a highdefinintion video camera.
Best Practices
Our newest “Best Practice” is the product of collaboration between all art history lecturers (Dr. Kevin
Muller, Dr. Amy Raymond, and Diane Zuliani) throughout Fall 2014. This collaborationbecame a priority
after we saw a need to create some basic shared logic in our introductory gateway course, ARTH 1
(Introduction to Art). This initiative is intended to establish minimum discipline and pedagogical
standards for both faculty and students ofARTH 1. Our standards are listed immediately below, under
“Best Practice #1: Minimum Discipline and Pedagogical Standards in ARTH 1.”
Best Practice #1: Minimum Disciplineand Pegagogical Standards in ARTH 1. In Spring 2015 we will
implement the following minimum discipline-based/pedagogical standards for all ARTH 1 faculty:
•
•
•
•
•
a minimum of 20% of ARTH 1 is to be presented in a case study format, ensuring depth of
analysis;
a minimum 20% of ARTH 1 is to cover twenty-first century artwork, to ensure relevance;
a minimum of 50% of ARTH 1 is to address artwork made by women and non-white artists;
a minimum of 8 pages (preferably 10 pages) of student writing is to be submitted and graded.
all faculty teaching ARTH 1 will convene to provide evidence of meeting these standards.
In addition to this newest best practice, the long standing “Best Practices” of the art history / museum
studies faculty are:
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Best Practice #2: Experiential Breadth. Offer students both the classroom/academic and the
gallery/vocational side of the art history discipline to ensure cognitive and experiential strength upon
transfer. Continue the varied teaching-style approach by combining lecture/discussion in the classroom
with hands-on learning in the gallery.
Best Practice #3: Object-Based/Arts-Based Learning. Our program requires all students in art history
courses to experience original works of art in Bay Area museums and galleries, including the Chabot Art
Gallery and campus public art collection. By all measures, experiencing original artwork firsthand
tangibly deepens students’ understanding of and commitment to the visual arts. Faculty also pursue an
object-based approach to teaching, as opposed to a theory-based or text-based approach. We rely on
the object as the single most authoritative primary historical document.
Best Practice #4: Campus and Community Life. The Art History program has and will continue to
contribute tangibly to campus life through gallery exhibitions, and to the community through exhibits of
Chabot student and faculty work mounted here on campus and, when possible, in local galleries such as
Cinema Place in downtown Hayward. We also actively contribute hours and art historical/museological
expertise to local heritage institutions such as the Hayward Area Historical Society. School of the Arts
disciplines, especially Theater Arts, are campus-active and community-active in ways similar to Art
History.
Greatest Challenges
No annual designated operating budget for the gallery.An operating budget for the art gallery is
imperative for the obvious reason that no facility can function on an annual budget of zero. We can’t
purchase tools when they’re needed, we can’t purchase basic materials like plywood and paint when
they’re needed, we can’t pay printing costs for marketing or promotion, we turn exhibitors away if they
have any costs (for transportation, say, or special mounting requirements), we can’t pay even for
modest openings unless we’ve received a donation. The method of requesting supplies and equipment
through Program Review (meaning a year in advance and only on a yearly basis) does not work for the
art gallery, because we don’t know what exhibits are happening the following year, so we don’t know
what supplies and equipment we’ll need. The experience of museum studies students is limited by this,
and in turn the experience of the campus is limited by this. See Appendix A, Appendix B2 Part IC,
Appendix B2 Part IIC, Appendix B2 Part IIIC, Appendix CI, Appendix E1.
No coordinator for the gallery.The extreme difficulty of running an unfunded gallery is exacerbated by
the lack of gallery coordinator. The gallery-related portion of any instructor’s load is only one- to twofifths of a full-time load (depending on fall or spring semester), or one-third to one-half of an adjunct
load. That FTEF is used by the faculty to teach museum studies course outlines, not to fulfill the
separate function of coordinating the gallery to serveas the campus and community facilityfor artsbased learning. The gallery space functions well enoughas a lab for a small number of Museum Studies
students (though limitedly—see Appendix B2 sections IC, IIC, and IIIC). As a campus and community
facility, however, it can never live up to its potential with no coordinator. See Appendix A, Appendix B2
Part IC, Appendix B2 Part IIC, Appendix B2 Part IIIC, Appendix CI, Appendix E1, Appendix F1.
Institutional Barriers to Success
1. No operating budget for the gallery
2. No coordinator for the gallery
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B. What’s Next? SEVENFuture Goals for the Art History Program
1. Securereassigned time for a gallery coordinator. See Appendix A, Appendix B2 Part IC,
Appendix B2 Part IIC, Appendix B2 Part IIIC, Appendix CI, Appendix E1, Appendix F1.
2. Secure ongoing operating budgetfor the art gallery. See Appendix A, Appendix B2 Part
IC, Appendix B2 Part IIC, Appendix B2 Part IIIC, Appendix CI, Appendix E1.
3. Contribute to the cultural and student life of the campus through ongoing exhibits. See
Appendices E3 and E4.
4. Contribute to revitalizing the School of the Arts through participation in the Ad Hoc
Arts Committee. See Appendix E5.
5. Implement new minimum discipline standards for ARTH 1. See “Best Practice #1”
(above), and Appendix E4.
6. Create and schedule Art History program orientations. See Strategic Initiatives
Currently in Process (above) and Strategic Plan Goal.
7. Offer ARTH 8 for the first time.See Program Review 2014-2015.
Note: Chabot is in the process of creating our next Educational Master Plan, to last six years.
Educational Master Plans are generally large enough in scope to be flexible. They are used in
particular at the District Level to guide in facility and community planning.
For the Educational Master Plan
What are your longer term vision(s) and goals for your program?
•
The Chabot Art Gallery is able to demonstrate Chabot’s commitment to culture and
cultural education once an annual designated operating budget and reassigned time for
a coordinator are put into place
•
To assist more students in meeting the National Endowment for the Arts’ Artist
Employment Projects through 2018, which show significant growth—23 percent
growth—in employment for curators, and even larger growth—26 percent growth—for
museum technicians and conservators
•
The gallery offers a regular exhibition schedule of interesting, educational, and
challenging artwork that gets noticed on campus and in the community
4
For the Educational Master Plan (continued)
What are your longer term vision(s) and goals for your program?
•
Exhibitions have high attendanceand the museum studies program has highenrollments
because both arenoticeably marketed and promoted across campus and in the
community
•
A solid web presence educates students, staff, faculty and the community aboutexhibit
schedules, opening events, artist interviews, show descriptions, show highlights, etc.
•
Our campus art gallery helps establishes Chabot’s reputation as a important place for art
in the larger context of the San Francisco East Bay
•
Artist talks and panel discussions related to exhibits are regularly scheduled and wellattended
•
Reviews of Chabot Art Gallery exhibits are posted in the local press, on art blogs, etc.
Art History’s Educational Master Plan goals are contingent upon two things:
1. Annual designated operating budget for the art gallery
2. Reassigned time for an art gallery coordinator
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Appendix A: Budget History and Impact
Audience: Budget Committee, PRBC,and Administrators
Purpose: This analysis describes your history of budget requests from the previous two years and
the impacts of funds received and needs that were not met. This history of documented need
can both support your narrative in Section A and provide additional information for Budget
Committee recommendations.
Instructions: Please provide the requested information, and fully explain the impact of the budget
decisions.
Category
Classified Staffing (# of positions
Supplies & Services
Technology/Equipment
Gallery Coordinator
Gallery Operating Budget
Conference / Research
2013-14
Budget
Requested
0
768.00
0
Coordinator
Any amount
1500
TOTAL
2013-14
Budget
Received
0
768.00
0
0
0
0
2014-15
Budget
Requested
0
545.90
499.99
Coordinator
4000.00
750.00
768.00
0
0
0
0
0
0
2014-15
Budget
Received
0
1. How has your investment of the budget monies you did receive improved student learning? When
you requested the funding, you provided a rationale. In this section, assess if the anticipated
positive impacts you projected have, in fact, been realized.
The art history area received no funding to cover any budget requests in 2014-2015.
2. What has been the impact of not receiving some of your requested funding? How has student
learning been impacted, or safety compromised, or enrollment or retention negatively impacted?
Negative Impacts
Chabot College has an art gallery that serves a handful of students well (if repetitively) in the context
of the museum studies program (See Appendix B2 Parts IC, IIC, and IIIC, Appendix E1 and Appendix
E2). As a college and community facility, however—which the college expects it to be—the art gallery
is severely limitedwith no coordinator, no operating budget, and sometimes no resource requests
filled through the Program Review process (see Budget History, above).
The Art History discipline is committed to seeing the gallery coordinated and funded so the Museum
Studies students’ experience is supported—as it is in laboratory facilities across campus—with the
necessary supplies and equipment, as well as their replenishment. We want the program to provide
appropriately varied hands-on experiences for museum studies students. We want the student
curators to have the lasting impression (through marketing, pleasant openings, strong campus
participation, etc.), that the college sees value in their exhibits. And overarching all of that, we want
rich, meaningful exhibits all of campus and the community to learn from and enjoy.
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Why is a Gallery Coordinator Necessary?
We are asking for an annual .4 FTEF (6 CAH) reassigned time for an art gallery coordinator. Reassigned
time for gallery coordination is imperative if the gallery is to meet its potential to serve as a facility for
arts-based learning for Chabot generally, and to provide adequately varied experiences for Museum
Studies students specifically. The tasks of a coordinating can’t be accomplished from within the
Museum Studies curriculum, because the gallery-related portion of any instructor’s load is at most
one-third to one-half of an adjunct load (depending on fall or spring), or one-fifth or two-fifths of a
full-time load. This portion of an instructor’s time and compensation is only enoughto fulfill the
requirements of museum studies course outlines, not the separate function of coordinating the
gallery to serve as a campus and community facility as Chabot expects it to be.Coordination of the art
gallery will meet Chabot’s strategic plan goal by increasing the potential and profile of the art gallery,
which in turn will help students find their passion in the arts and choose pathways in the arts that
move them towards their educational goals.
Gallery coordination tasks include (but are not limited to):
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Work six months in advance of exhibits—including in summer—to arrange the upcoming
year’s exhibit schedule
Research potential artists
Contact and correspond with multiple artists at once
Meet with artists in off hours
Gallery outreach
Coordinate with museum studies instructor on grant opportunities and timely submission of
paperwork
Perform clerical and office duties as needed, including: office errands both menial and crucial;
handle phone and email traffic; make copies (e.g., registrarial paperwork, sale invoices); take
materials to and retrieve from print shop
Serve as phone and email contact person for visitors, exhibitors, campus entities (print shop,
campus safety, etc.) faculty, staff, and anyone with gallery- and exhibit-related inquiries at
times when museum studies instructor is off campus or required for non-gallery related
duties;
Gallery sit during higher-traffic mid-day hours when museum studies students are not in the
gallery, either because class is not in session, or class is held elsewhere, on students are on a
field trip, Gallery sitting includes: secure opening and closing; greeting and monitoring and
visitors, keeping gallery and artwork secure
Fill out purchase orders and requisitions
Fill out work orders for maintenance
Produce PR materials (postcards, posters)
Produce educational materials
Distribute hard-copy notices/announcements like postcards & posters around campus and in
the community
Create and post web announcements; create, post, and pay for print announcements
Purchase supplies and materials, always in off hours
Meet artists at home or studio on off hours to pick up and deliver artwork
Coordinate opening/closing events with relevant campus entities (M&O, Campus Safety, etc.)
Coordinate programming with learning programs and special cohorts across campus
Keep track of and maintain inventoryof tools (hanging supplies, gloves, safety glasses,
hammers, binders, screwdrivers, monofilament, scissors, etc.),
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•
•
•
•
•
•
Keep track of and maintain inventory of exhibit building materials (plywood, paint, foam,
palettes, etc.);
Keep track of and maintain inventory of exhibition supplies (glass, frame moldings, matboard, museum wax, etc.);
Keep track of and maintain inventory of gallery fixtures (spotlights, fluorescent lights,
pedestals, etc.)
Keep storage room organized and safe
Maintain basic gallery appearance (sweep and mop floor—M&O does not do this when
exhibits are up—spot-treat floor stains, paint scuffed walls and pedestals, etc.)
Check on gallery on those weekdays when museum studies class does not meet
Why is an Annual Designated Operating Budget Necessary for the Art Gallery?
We are asking for an annual designated operating budget of $6,000 for the art gallery. An operating
budget for the art gallery is imperative for the obvious reason that no facility can function on an
annual budget of zero. Furthermore, every exhibit requires different resources. Materials can’t be
“stocked up” because we don’t have room to store them, and the material requirements of any future
shows remain unknown until the time of installation. Currently, we can’t purchase tools when they’re
needed, we can’t purchase basic materials like plywood and paint when they’re needed,so students
lose opportunities to learn new skills in installation. We can’t pay printing costs for marketing or
promotion, we turn exhibitors away if they have any costs (for transportation, say, or special
mounting requirements), we can’t pay even for modest openings unless we’ve received a donation.
Through recycling we’re able to give Museum Studies students a repetitive experience at most (See
Appendix B2 Part IC, Appendix B2 Part I,Appendix B2 Part IIC, Appendix B2 Part IIIC).
Why Does the Art Gallery Matter? Cultural Education and Training for a Growing Employment Industry
The Chabot Art Gallery is one of the most tangible ways that Chabotmeets its stated mission, which
says “Our students contribute to the intellectual, cultural, physical, and economic vitality of the
region” (emphasis added). The gallery also fulfills a second directive of our mission, that “the college
responds to the educational and workforce development needs of our regional population and
economy.”In fact, the gallery exists to assist students in meeting the National Endowment for the Arts
Artist Employment Projects through 2018, which show extremely large growth—23 percent growth—
in employment for curators, and even larger growth—26 percent growth—for museum technicians
and conservators.
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Appendix B1: Student Learning Outcomes Assessment Reporting Schedule
I.
Course-Level Student Learning Outcomes & Assessment Reporting
(CLO-Closing the Loop).
A. Check One of the Following:
Yes, CLO-CTL were completed for one or more courses during the current Year’s Program
Review. Complete Appendix B2 (CLO-CTL Form) for each course assessed this year and
include in this Program Review.
Course
This Year’s Program
Review
*CTL forms must be
included with this PR.
*List one course per line.
Add more rows as
needed.
Art History 4
Submitted
Art History 6
Submitted
Art History 50
Submitted
Last Year’s Program
Review
Art History 1
2-Years Prior
*Note: These courses
must be assessed in the
next PR year.
Art History 5
Art History 7
Art History 51
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Appendix B2: “Closing the Loop” Course-Level Assessment Reflections
PART IA: COURSE-LEVEL OUTCOMES – DATA RESULTSFOR ARTH 4
ANCIENT THROUGH GOTHIC ART
Course
Semester assessment data gathered
Number of sections offered in the semester
Number of sections assessed
Percentage of sections assessed
Semester held “Closing the Loop” discussion
Faculty members involved in “Closing the Loop” discussion
Art History 4
Spring 2014
1
1
100% of sections assessed
100% of students assessed
Fall 2014
Diane Zuliani, Dr. Amy Raymond
CONSIDER THE COURSE-LEVEL OUTCOMES INDIVIDUALLY (THE
NUMBER OF CLOS WILL DIFFER BY COURSE)
Defined Target
Scores*
(CLO Goal)
(CLO) 1:Communicate to advantage the cultural
70 % of
students score
2, 3, or 4 (meet
the CLO)
70 % of
students score
2, 3, or 4 (meet
the CLO)
70 % of
students score
2, 3, or 4 (meet
the CLO)
content/significance of historical artwork from prehistory through
the pre-Greek period.
(CLO) 2:Communicate to advantage the cultural
content/significance of historical art from ancient Greece through
the Gothic period.
(CLO) 3:Respond critically to original examples of ancient art or
modern interpretations of ancient architecture found in the Bay
Area, including the Chabot Art Gallery.
10
Actual Scores**
(these were NOT
entered into
eLumen but are
available upon
request)
Percentage of
students who met
the CLO: 84.8%
Percentage of
students who met
the CLO: 87.9%
Percentage of
students who met
the CLO: 90.9%
PART 1B: COURSE-LEVEL OUTCOMES – DATA RESULTS FOR ARTH
6TWENTIETH AND TWENTY-FIRST CENTURY ART
Course
Semester assessment data gathered
Number of sections offered in the semester
Number of sections assessed
Percentage of sections assessed
Semester held “Closing the Loop” discussion
Faculty members involved in “Closing the Loop” discussion
Art History 6
Fall 2013
1
1
100% of sections assessed
100% of students assessed
Fall 2014
Diane Zuliani, Dr. Kevin Muller
CONSIDER THE COURSE-LEVEL OUTCOMES INDIVIDUALLY (THE
NUMBER OF CLOS WILL DIFFER BY COURSE)
Defined Target
Scores*
(CLO Goal)
(CLO) 1: DIFFERENTIATE MAJOR TWENTIETH AND TWENTY-
70 % of
students score
2, 3, or 4 (meet
the CLO)
70 % of
students score
2, 3, or 4 (meet
the CLO)
70 % of
students score
2, 3, or 4 (meet
the CLO)
FIRST CENTURY ART MOVEMENTS BASED ON VISUAL EVIDENCE.
(CLO) 2: INTERPRET TO ADVANTAGE THE VISUAL QUALITIES OF
TWENTIETH-CENTURY ART.
(CLO) 3: INTERPRET TWENTIETH-CENTURY ART MOVEMENTS IN
HISTORICAL CONTEXT.
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Actual Scores**
(These were NOT
entered into
eLumen but are
available upon
request)
Percentage of
students who met
the CLO: 94%
Percentage of
students who met
the CLO: 92%
Percentage of
students who met
the CLO: 94%
PART 1C: COURSE-LEVEL OUTCOMES – DATA RESULTS FOR ARTH 50
INTRODUCTION TO MUSEUM AND GALLERY TECHNIQUES
Course
Semester assessment data gathered
Number of sections offered in the semester
Number of sections assessed
Percentage of sections assessed
Semester held “Closing the Loop” discussion
Faculty members involved in “Closing the Loop” discussion
Art History 50
Fall 2013
1
1
100% of sections assessed
100% of students assessed
Fall 2014
Diane Zuliani, Erica Mones
CONSIDER THE COURSE-LEVEL OUTCOMES INDIVIDUALLY (THE
NUMBER OF CLOS WILL DIFFER BY COURSE)
Defined Target
Scores*
(CLO Goal)
(CLO) 1: DEMONSTRATE ABILITY TO ACT AS GALLERY DOCENT.
70 % of
students score
2, 3, or 4 (meet
the CLO)
70 % of
students score
2, 3, or 4 (meet
the CLO)
(CLO) 2:
DEMONSTRATE BASIC MUSEUM AND ART GALLERY
TECHNIQUES
(CLO) 3: DISCUSS CONTENT AND MEANING IN THE WORK OF
EXHIBITED ARTISTS
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70 % of
students score
2, 3, or 4 (meet
the CLO)
Actual Scores**
(These were not
entered into
eLumen but are
available upon
request)
Percentage of
students who met
the CLO: 85.71%
Percentage of
students who met
the CLO: 100%
RED FLAG!
Percentage of
students who met
the CLO: 85.71%
PART IIA: COURSE- LEVEL OUTCOME REFLECTIONSFOR
ANCIENT THROUGH GOTHIC ART
ARTH 4
A. COURSE-LEVEL OUTCOME (CLO) 1:
1. How do your current scores match with your above target for student success in this course
level outcome?
Current CLO 1 score exceeds the target for student success.
2. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Art History faculty have determined current CLO 1 and assessment target is appropriate.
B. COURSE-LEVEL OUTCOME (CLO) 2:
1. How do your current scores match with your above target for student success in this course
level outcome?
Current CLO 2 score exceeds the target for student success.
2. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Art History faculty have determined current CLO 2 and assessment target is appropriate.
C. COURSE-LEVEL OUTCOME (CLO) 3:
1. How do your current scores match with your above target for student success in this course
level outcome?
Current CLO 3 score exceeds the target for student success.
2. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Art History faculty have determined current CLO 3 and assessment target is appropriate.
13
PART IIB: COURSE- LEVEL OUTCOME REFLECTIONSFOR
TWENTIETH AND TWENTY-FIRST CENTURY ART
ARTH 6
C. COURSE-LEVEL OUTCOME (CLO) 1:
3. How do your current scores match with your above target for student success in this course
level outcome?
Current CLO 1 score exceeds the target for student success.
4. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Art History faculty have determined current CLO 1 and assessment target is appropriate.
D. COURSE-LEVEL OUTCOME (CLO) 2:
3. How do your current scores match with your above target for student success in this course
level outcome?
Current CLO 2 scoreexceeds the target for student success.
4. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Art History faculty have determined current CLO 2 and assessment target is appropriate.
C. COURSE-LEVEL OUTCOME (CLO) 3:
3. How do your current scores match with your above target for student success in this course
level outcome?
Current CLO 3 score exceeds the target for student success.
4. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Art History faculty have determined current CLO 3 and assessment target is appropriate.
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PART IIC: COURSE- LEVEL OUTCOME REFLECTIONSFOR
INTRODUCTION TO MUSEUM AND GALLERY TECHNIQUES
ARTH 50
E. COURSE-LEVEL OUTCOME (CLO) 1:
5. How do your current scores match with your above target for student success in this course
level outcome?
Current CLO 1 score exceeds the target for student success.
6. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Art History faculty have determined current CLO 1 and assessment target is appropriate.
F. COURSE-LEVEL OUTCOME (CLO) 2:
5. How do your current scores match with your above target for student success in this course
level outcome?
This CLO indicates a RED FLAG.Current CLO 2 score exceeds the target for student success
to an unrealistically high degree.
6. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
The achievement of students to a “perfect” degree—100 percent success—in CLO 2
indicates a problem. When this CLO was written, the term “basic techniques” was used
to mean a variety of elementary techniques. Without funding to replenish materials
used up each semester or for new materials to mount exhibits of a greater variety
(different weights, scales, media) “basic” has come to mean repetitive. As a result, 100%
of students are able to meet this CLO—“demonstrate basic techniques”—from which we
conclude the target is too low. The target can be raised only if students can be
challenged to apply hands-on practice in a greater range of techniques. Raising the
target means the gallery has the budget to put new tools and materials in the hands of
students.
C. COURSE-LEVEL OUTCOME (CLO) 3:
5. How do your current scores match with your above target for student success in this course
level outcome?
Current CLO 3 score exceeds the target for student success.
6. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Art History faculty have determined current CLO 3 and assessment target is appropriate.
15
PART IIIA: COURSE REFLECTIONS AND FUTURE PLANSFOR ARTH 4
ANCIENT THROUGH GOTHIC ART
1. What changes were made to your course based on the previous assessment cycle, the prior
Closing the Loop reflections and other faculty discussions?
No specific changes were identified for ARTH 4 in the previous assessment cycle. CLOs and
their assessments were determined to be appropriate.
Nevertheless, art history faculty often make changes to their courses quickly and based on
real-time observation, changes which are not necessarily formalized in the Program Review
process. For example, the instructor for this course, Dr. Amy Raymond, made a thoughtful
change to the format of her Spring 2014 ARTH 4 examinations based on her first experience
teaching the course (the section assessed, ARTH 4, Fall 2013). Her change was to include
multiple-choice questions in addition to image identification and short-essay questions on
the exam. Dr. Raymond describes her motive for making the change as “creating an
opportunity toreward students who are able to synthesize the textbook content with the
lecture content.”
The addition of multiple choice questions is also a change Diane Zuliani made a few years
ago, for the same reason stated by Dr. Raymond, as well as for the purpose of relieving
anxiety in students who are intimidated by essay-heavy exams.
2. Based on the current assessment and reflections, what course-level and programmatic
strengths have the assessment reflections revealed? What actions has your discipline
determined might be taken as a result of your reflections, discussions, and insights?
The change to the ARTH 4 examination format is current to this semester and has not yet
been assessed.
3. What is the nature of the planned actions (please check all that apply)?
Pedagogical
Change to assessment methods
16
PART IIIB: COURSE REFLECTIONS AND FUTURE PLANSFOR ARTH 6
TWENTIETH AND TWENTY-FIRST CENTURY ART
1. What changes were made to your course based on the previous assessment cycle, the prior
Closing the Loop reflections and other faculty discussions?
No specific changes were identified for ARTH 6 in the previous cycle. In this cycle, however,
Art history faculty discussed the overall very high success rates in ARTH 6. We learned that
the course instructor, Dr. Kevin Muller, experiences a higher rate of withdrawals than art
history faculty teaching other courses generally do. After discussing why, we attributed the
withdrawals to Dr. Muller’s requirement of a museum visit very early in the semester, which
some students are not willing to do, and also possibly to the fact that he is a male instructor
and perhaps perceived by students as more strict than the female instructors, though he is
actually more lenient than his female colleagues in accepting late work and giving alternative
assignments. In any case, because lower-scoring students tend to drop his course, Dr.
Muller’s high success rates for course outcomes are fitting.
2. Based on the current assessment and reflections, what course-level and programmatic
strengths have the assessment reflections revealed? What actions has your discipline
determined might be taken as a result of your reflections, discussions, and insights?
Diane Zuliani and Dr. Muller have discussed the CLOs and may possibly rewrite them justfor
better clarity.
3. What is the nature of the planned actions (please check all that apply)?
Possible change to CLO or rubric
17
PART IIIC: COURSE REFLECTIONS AND FUTURE PLANSFOR ARTH 50
INTRODUCTION TO MUSEUM AND GALLERY TECHNIQUES
1. What changes were made to your course based on the previous assessment cycle, the prior
Closing the Loop reflections and other faculty discussions?
Ongoing faculty discussions about the art gallery have increased our commitment to gain
much lacking parity between this cultural/learning/lab facility and many other facilities
across campus in the form of an operating budget and reassigned time for a coordinator.
Without a coordinator to manage aspects of this complex laboratory, the art gallery’s
capacity to serve museum studies students is lessened, and its capacity to serve the college
and the community is severely limited(see Part A, Appendix A, Appendix B Part IC & IIC,
Appendix C1, Appendix E1, Appendix E2, Appendix F1, Appendix F3).
Secondarily, in an interest to improve student success and the student experience overall,
the instructor for this course, Erica Mones, made a thoughtful change to the format of her
Fall 2014 ARTH 50 which involved providing students with two extra credit opportunities.
Ms. Mones had noticed that, with the overall drop in the number of late afternoon and
evening courses offered by the college, student schedules are growing increasingly
compressed, with the result that museum studies students havea difficult time fulfilling
gallery sitting hours outside of class time. Because gallery sitting is both an educational
opportunity and is critical to the gallery’s accessibility to visitors,Ms. Mones allowed
students who did have time in their schedule to sign up for additional shifts for extra credit.
Forthose students whose schedules would not accommodate gallery sitting, she offered a
different kind of extra credit assignment, so they could back-fill those points they lost for
not gallery sitting.
Ms. Mones recognized the need for this change to the syllabus and the student
requirements, and the result of her change to the syllabus has been a recognition of
students’ unavoidable scheduling conflicts as well as an attempt to ensure gallery access.
With reassigned time for gallery coordination, the ongoing problem of gallery access would
be improved through expanded staffing.
2. Based on the current assessment and reflections, what course-level and programmatic
strengths have the assessment reflections revealed? What actions has your discipline
determined might be taken as a result of your reflections, discussions, and insights?
Reassigned time for gallery coordination and an ongoing operating budget areimperative for
reliable functioning of the art gallery as an educational facility used by students and enjoyed
by the campus and community overall.
3. What is the nature of the planned actions (please check all that apply)?
 Resource-based
18
Appendix C1: Program Learning Outcomes for MUSEUM STUDIES
Considering your feedback, findings, and/or information that has arisen from the course level
discussions, please reflect on each of your Program Level Outcomes.
Program: MUSEUM STUDIES
PLO #1: Develop an understanding and appreciation for the important social and cultural functions of
museums of all types.
PLO #2: Acquire and practice the skills needed by a range of museum professionals.
What questions or investigations arose as a result of these reflections or discussions?
As an unfunded and uncoordinatedstudent lab, the art gallery cannot provide adequately
varied opportunities and thus offers limited career training. As a campus facility, the art
gallery cannot live up to its potential for cultural engagement and arts-based learning
without a coordinator and areliable operating budget.See Part A, Appendix A, Appendix B
Part IC & IIC, Appendix C1, Appendix E1, Appendix E2, Appendix F1, Appendix F3.
What program-level strengths have the assessment reflections revealed?
The program level strengths are primarily the faculty themselves, who provide students with
a rigorous (if repetitive) hands-on museum experience despite no funds for new materials.
These faculty are masters of recycling, but keeping old materials on hand (especially large
sheets of plywood used for many previous projects) takes up so much space that our storage
area has shrunk to the point of unworkability.
What actions has your discipline determined might be taken to enhance the learning of
students completing your program?
Discipline faculty are committed to seeing the gallery coordinated and funded so the
students’ experience is supported—as it is in laboratory facilities across campus—with the
necessary supplies and equipment (and their replenishment). We want the program to
provide appropriately varied hands-on experiences. We also want students to have the
lasting impression (through marketing, pleasant openings, etc.), that the college sees value in
their exhibits.
19
Appendix C2: Program Learning Outcomes for ART HISTORY
Considering your feedback, findings, and/or information that has arisen from the course level
discussions, please reflect on each of your Program Level Outcomes.
Program: ART HISTORY
PLO #1: Develop the ability to interpret artistic content through the analysis of subject matter and
form.
PLO #2: Acquire a critical understanding of art in historical eras that accounts for changing cultural
frameworks over time.
What questions or investigations arose as a result of these reflections or discussions?
Our newest “Best Practice” is the product of collaboration meetings between all art history lecturers
(Dr. Kevin Muller, Dr. Amy Raymond, and Diane Zuliani) throughout Fall 2014. This best practice
became a priority after we saw a need to create some basic shared logic in our introductory gateway
course, ARTH 1. We will initiate our standards beginning in Spring of 2015. This initiative is intended
to establish minimum discipline standards for both faculty and students in the introductory level
ARTH 1, “Introduction to Art.” The standards are as follows (for more information, see Appendix E6):
•
•
•
•
•
a minimum of 50% of ARTH 1 is to address artwork made by women and non-white artists, to
ensure inclusivity;
a minimum of 20% of ARTH 1 is to be presented in a case study format, ensuring depth of
analysis;
a minimum 20% of ARTH 1 is to cover twenty-first century artwork, to ensure relevance;
a minimum of 8 pages (preferably 10 pages) of student writing is to be submitted and graded.
all faculty teaching ARTH 1 will convene at regular times to provide evidence of meeting these
standards.
Additionally, art history faculty have discussed what we are each doing to achieve these program
outcomes. As a group, we agree philosophically that the best means of ensuring successful program
outcomes is to always keep art objects as the primary focus of our instruction. Theoretical
frameworks can be helpful, but each Chabot art historian takes an object-based approach to teaching,
empowering students to rely on their own careful visual assessment of the art object itself—the most
authoritative primary document there is--as the best means of understanding the content of art in a
historical content. This is quite a fortunate circumstance, as many art historians take a theory-first
approach. Chabot art historians make a symbiotic team.
What program-level strengths have the assessment reflections revealed?
The program strength is the faculty, and their commitment to best practices, discipline and
pedagogical standards, and object-based learning in order to help the diverse body of Chabot students
capitalize on their own strengths to become more visually, historically, and critically astute.
What actions has your discipline determined might be taken to enhance the learning of
students completing your program?
20
We have discussed the need to meet more frequently, especially now that that the art history
program is degree-granting. We would like to meet more often to discuss strategies for promoting
the degree, to teach best practices, to provide evidence of meeting best practices, to share effective
classroom activities and classroom issues, to share news from the art-world, etc., but this can be
difficult when seventy-five percent of the art history faculty are part-time and can’t be on campus at
the same time. Still, the current faculty are committed to success and we do meet as often as is
feasible.
21
Appendix D: A Few Questions
Please answer the following questions with "yes" or "no". For any questions answered "no",
please provide an explanation. No explanation is required for "yes" answers :-)
1. Have all of your course outlines been updated within the past five years? YES
2. Have you deactivated all inactive courses? (courses that haven’t been taught in five years or
won’t be taught in three years should be deactivated)? YES
3. Have all of your courses been offered within the past five years? YES
4. Do all of your courses have the required number of CLOs completed, with corresponding
rubrics? YES
5. Have you assessed all of your courses and completed "closing the loop" forms for all of your
courses within the past three years? YES
6. Have you developed and assessed PLOs for all of your programs? YES
7. If you have course sequences, is success in the first course a good predictor of success in the
subsequent course(s)?Art History courses are not sequential in the manner implied here.
8. Does successful completion of College-level Math and/or English correlate positively with
success in your courses? If not, explain why you think this may be.A student’s ability to
successfully complete any course correlates positively with his or her ability to complete Art
History courses successfully.
22
Appendix E1: Proposal for New Initiatives (Complete for each new initiative)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, College Budget Committee
Purpose: A “New Initiative” is a new project or expansion of a current project that supports our Strategic Plan. The project will require the support
of additional and/or outside funding. The information you provide will facilitate and focus the research and development process for finding both
internal and external funding.
How does your initiative address the college's Strategic Plan goal, or significantly improve student learning?
ANNUAL REASSIGNED TIME FOR ART GALLERYCOORDINATOR: .4 FTEF / 6 CAH
Reassigned time for coordination is imperative if the gallery is to meet its potential to serve as a facility for arts-based learning for Chabot
and provide varied experiences for Museum Studies students specifically (see Appendix C1, and Appendix B Part I, II, and IIIc). This is the
joint conclusion of the full-time and part-time art history faculty who have related their difficulties across a variety of exhibitions. The tasks of
a coordinator can’t be accomplished from within the Museum Studies curriculum, because the gallery-related portion of any instructor’s load
is at most:a) one-third of an adjunct load, or b) one-fifth of a full-time load. Under such restrictions, the instructor can only fulfill the
requirements of museum studies course outlines, not the separate function of coordinating the gallery to serve as a campus and community
facility as Chabot expects it to and as it should.Coordination of the art gallery will meet the strategic plan goal by increasing the potential and
profile of the art gallery and the museum studies program, which in turn will help students find their passion in the arts and choose pathways
in the arts that move them towards their educational goals.
Gallery coordination tasks include (but are not limited to):
•
•
•
•
•
•
•
•
Work six months in advance of exhibits—including in summer--to arrange the upcoming year’s exhibit schedule
Research potential artists
Contact and correspond with multiple artists at once
Meet with artists in off hours
Gallery outreach
Coordinate with museum studies instructor on grant opportunities and timely submission of paperwork
Perform clerical and office duties as needed, including: office errands both menial and crucial; handle phone and email traffic; make
copies (e.g., registrarial paperwork, sale invoices); take materials to and retrieve from print shop
Serve as phone and email contact person for visitors, exhibitors, campus entities (print shop, campus safety, etc.) faculty, staff, and
anyone with gallery- and exhibit-related inquiries at times when museum studies instructor is off campus or required for non-gallery
related duties;
23
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Gallery sit during higher-traffic mid-day hours when museum studies students are not in the gallery, either because class is not in
session, or class is held elsewhere, on students are on a field trip, Gallery sitting includes: secure opening and closing; greeting and
monitoring and visitors, keeping gallery and artwork secure
Fill out purchase orders and requisitions
Fill out work orders for maintenance
Produce PR materials (postcards, posters)
Produce educational materials
Distribute hard-copy notices/announcements like postcards & posters around campus and in the community
Create and post web announcements; create, post, and pay for print announcements
Purchase supplies and materials, always in off hours
Meet artists at home or studio on off hours to pick up and deliver artwork
Coordinate opening/closing events with relevant campus entities (M&O, Campus Safety, etc.)
Coordinate programming with learning programs and special cohorts across campus
Keep track of and maintain inventory of tools (hanging supplies, gloves, safety glasses, hammers, binders, screwdrivers,
monofilament, scissors, etc.),
Keep track of and maintain inventory of exhibit building materials (plywood, paint, foam, palettes, etc.);
Keep track of and maintain inventory of exhibition supplies (glass, frame moldings, mat-board, museum wax, etc.);
Keep track of and maintain inventory of gallery fixtures (spotlights, fluorescent lights, pedestals, etc.)
Keep storage room organized and safe
Maintain basic gallery appearance (sweep and mop floor—M&O does not do this when exhibits are up—spot-treat floor stains, paint
scuffed walls and pedestals, etc.)
Check on gallery on those weekdays when museum studies class does not meet
What is your specific goal and measurable outcome?
The goal is to obtain reassigned time for art gallery coordination. The first measurable outcome is the increased use of the gallery as a visual
culture learning facility by students, faculty, staff, and community of Chabot. The second measurable outcome is the increased variability of
the educational experience of museum studies students (See Appendix B2 IC, Appendix B2 IIC, Appendix B2 IIIC), which in turn will support
the first outcome.
24
What is your action plan to achieve your goal?
Activity (brief description)
Submit request for reassigned time in Program Review.
Include a rationale in the form of student learning outcomes
data, “close the loop” data, and description of need by faculty
experts.
Target
Completion
Date
October
24, 2014
Required Budget (Split out
personnel, supplies, other
categories)
.2 FTEF (3 CAH) reassigned
time per semester / .4 FTEF
(6 CAH) reassigned time
per year, ongoing.
How will you manage the personnel needs?
Reassigning existing employee(s) to the project; employee(s) current workload will be:
Covered by overload or part-time employee(s)
At the end of the project period, the proposed project will:
Require additional funding to continue and/or institutionalize the project
Will the proposed project require facility modifications, additional space, or program relocation?
No
Will the proposed project involve subcontractors, collaborative partners, or cooperative agreements?
No, the coordinator IS the collaborative partner
Do you know of any grant funding sources that would meet the needs of the proposed project?
No
25
Appendix E2: Proposal for New Initiatives (Complete for each new initiative)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, College Budget Committee
Purpose: A “New Initiative” is a new project or expansion of a current project that supports our Strategic Plan. The project will require the support
of additional and/or outside funding. The information you provide will facilitate and focus the research and development process for finding both
internal and external funding.
How does your initiative address the college's Strategic Plan goal, or significantly improve student learning?
$6,000 ONGOING ANNUAL OPERATING BUDGET FOR ART GALLERY
An operating budget for the art gallery is imperative for the obvious reason that no campus facility can function on an annual budget of zero.
Without a budget, we can’t purchase tools when they’re needed—in the middle of hanging exhibits. We can’t purchase basic materials like
plywood and paint when they’re needed. We can’t replace ten year old cardboard pedestals. We can’t pay printing costs for marketing or
promotion. We turn exhibitors away if they have any costs (for transportation, say, or special mounting requirements). We can’t pay even
for modest openings unless we’ve received a grant or donation. Through aggressive recycling we’ve able to give Museum Studies students
solid (if repetitive) experiences (See Appendix B2 Sections IC, IIC, and IIIC), but by hanging on to all our materials we have a storage area that
has no room in which to work or to add needed new materials. If we had a budget to replenish materials, the gallery and its storage area
could function efficiently.
A reliable ongoing budget of $6,000 per year is imperative if the gallery is to meet its potential to serve as a facility for arts-based learning for
Chabot and provide varied experiences for Museum Studies students specifically. For an explanation of the gallery’s unmet potential, see
long-term goals under Part B(Educational Master Plan).
A basically-funded art gallery will meet the strategic plan goal by increasing the potential and profile of the art gallery and the museum
studies program, which in turn will help students find their passion in the arts and choose pathways in the arts that move them towards their
educational goals.
What is your specific goal and measurable outcome?
The goal is to obtain an annual operating budget of $6,000 for the art gallery. The first measurable outcome is the enhanced presence of the
gallery as a visual-culture learning facility. The second measurable outcome is the increased use of the gallery by students, faculty, staff, and
community of Chabot. The third measurable outcome is the increased variability of the educational experience of museum studies students
(See Appendix B2 Sections IC, IIC, and IIIC), which in turn will support the first outcome.
26
What is your action plan to achieve your goal?
Activity (brief description)
Submit request for an annual operating budget of
$6,000in Program Review. Include a rationale in the
form of student learning outcomes data, “close the
loop” data, and description of need by faculty
experts.
Target
Required Budget (Split out
Completion Date personnel, supplies, other
categories)
October 24, 2014 $3,000 per semester, $6,000 per
year. General expenses include
supplies, equipment, printing,
marketing, transportation,
opening event costs, and other
costs associated with mounting
exhibits. Next year’s specific
needs won’t be known until
exhibits are being mounted, so
specific itemization is impossible
here. Annual Program Review
budget request cycles do not
correspond to the in-the-moment
needs of a working art gallery.
How will you manage the personnel needs?
No personnel needs associated with this initiative
At the end of the project period, the proposed project will:
Require additional funding to continue and/or institutionalize the project
Will the proposed project require facility modifications, additional space, or program relocation?
No
Will the proposed project involve subcontractors, collaborative partners, or cooperative agreements?
No
Do you know of any grant funding sources that would meet the needs of the proposed project?
No
27
Appendix E3: Proposal for New Initiatives (Complete for each new initiative)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, College Budget Committee
Purpose: A “New Initiative” is a new project or expansion of a current project that supports our Strategic Plan. The project will require the support
of additional and/or outside funding. The information you provide will facilitate and focus the research and development process for finding both
internal and external funding.
How does your initiative address the college's Strategic Plan goal, or significantly improve student learning?
STUDENT EQUITY PROPOSAL #1(Note: this proposal has already been submitted to the Dean)
Dignidad Rebelde: Ink and Protest
In November 2014 the Chabot Art Gallery will host an exhibit of the political art of Dignidad Rebelde (“Rebel Dignity”), an East Bay graphic arts
consortium of artist-activists who celebrate the dignity to be found in the ongoing struggle for social justice within vulnerable communities of
color. From Oakland, CA, to Ferguson, MO, to the shrinking zones of indigenous people throughout the Americas, the imagery of Dignidad
Rebelde tells the story of pride persisting over persecution.
This exhibit is a very last-minute addition to our Fall exhibition schedule, after our scheduled artist (a Chabot art instructor) cancelled his show.
We have little time to organize, but we want to maximize our ability to reach out to our campus and larger community, since the topics of
minority access to education, healthy food, legal representation, etc., have fantastic educational potential for our students, our institution,
and our neighbors.
This exhibit will be mounted by museum studies students under the direction of their instructor, Erica Mones. and supervised by Diane Zuliani.
We are asking for Student Equity Funds to ensure this exhibit has the impact it should.
What is your specific goal and measurable outcome?
To mount a successful exhibit of art celebrating the dignity to be found in the ongoing struggle for social justice within vulnerable
communities of color. Measurable outcome will be the exhibit itself, the educational experience of museum studies students mounting the
exhibit, the number of viewers who attend the exhibit, the provision of an opportunity for Chabot’s students, staff, and community to learn
about both the power of printmaking and the power of the voice of the oppressed.
28
What is your action plan to achieve your goal?
Target
Completion
Date
Get posters/postcards designed and sent for printing
Oct. 27,
2014
Plan opening event with food and music for approximately 400 Oct. 23 –
Nov 6,
2014
Print educational museum wall text panels to explain history of Oct. 30,
political printmaking and the art of Dignidad Rebelde
2014
Monetary support to allow part-time museum studies faculty Oct. 23 –
to immediately undertake coordination with particularly
Nov. 6,
relevant discipline faculty and student groups: Political
2014
Science, Anthropology, Administration of Justice, Art, Art
History, Puente, Students for Social Justice.
Required Budget (Split out
personnel, supplies, other
categories)
850.
Organize public college hour event and second museum
studies event with two guest panelists from Dignidad Rebelde
500. (250 per artist)
Activity (brief description)
Drop off, pick-up, &-month rental of large display vitrine (for
display of printer’s tools)
Oct. 21 –
Nov. 5,
2014
Oct. 30,
2014
990.
440.
450.
410.
Total: 3640.
How will you manage the personnel needs?
New Hires:
Faculty # of positions
Classified staff # of positions
Reassigning existing employee(s) to the project; employee(s) current workload will be:
Covered by overload or part-time employee(s)
Covered by hiring temporary replacement(s)
Other, explain
29
At the end of the project period, the proposed project will:
Be completed (onetime only effort)
Require additional funding to continue and/or institutionalize the project
Will the proposed project require facility modifications, additional space, or program relocation?
No
Yes, explain:
Will the proposed project involve subcontractors, collaborative partners, or cooperative agreements?
No
Yes, explain: Printers and vitrine rental
Do you know of any grant funding sources that would meet the needs of the proposed project?
No
Yes, list potential funding sources: STUDENT EQUITY FUNDS
30
(obtained by/from):
Appendix E4Proposal for New Initiatives (Complete for each new initiative)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, College Budget Committee
Purpose: A “New Initiative” is a new project or expansion of a current project that supports our Strategic Plan. The project will require the support
of additional and/or outside funding. The information you provide will facilitate and focus the research and development process for finding both
internal and external funding.
How does your initiative address the college's Strategic Plan goal, or significantly improve student learning?
STUDENT EQUITY PROPOSAL #2(Note: This proposal has already been submitted to the Dean)
Chabot Student Art Exhibition, Spring 2015
Every spring, the Art Gallery hosts a large exhibit of Chabot student artwork. Mounted by museum studies students, the exhibit displays more
than 120 works of art by approximately 90 student artists representing a typical cross-section of our ethnically- and age-diverse student
population. This show is a powerful visual manifestation of who Chabot students are and what matters to them.
The Chabot Student Art Exhibition is the first opportunity most of these artists will ever have to show their work publicly. This results in an
important line on their résumé. In addition, the exhibit is an ideal display of the measurable outcomes of our visual arts faculty, whose expert
instruction in art, photography, architecture, and digital media results in the creative, talented, and varied artworks on display in the gallery.
The Art History/Museum Studies faculty (Diane Zuliani, Erica Mones, Dr. Kevin Muller, Dr. Amy Raymond) are asking for Student Equity Funds to
ensure the Spring 2015 Student Art Exhibit has the impact across our campus that art students, the museum studies students, the visual arts
faculty, and the college as a whole deserve.
What is your specific goal and measurable outcome?
For museum studies students to mount a large exhibit of the work of Chabot art students. Measurable outcomes: the exhibit itself; student
exhibitors add a new line on their resume; exhibit is well attended by students, staff and the community;museum studies students gain the
educational experience of mounting the show; the artwork itself is a “measurable outcome” of instruction by art faculty, whose expert
instruction in art, photography, architecture, and digital media results in the creative, talented, and varied artworks in the gallery.
31
What is your action plan to achieve your goal?
Target
Activity (brief description)
Completion
Date
Marketing the exhibit (designing, printing and distributing
March. 15,
postcards and posters)
2015
Plan and host evening opening event with food and music for March 26,
approximately 600 people
2015
Plan and host Second opening event at college hour (following April 6,
the Thursday evening opening) for approximately 100 people 2015
Print educational wall text panels to discuss aspects of the
March 15,
specific art media on display and aspects of the Chabot School 2015
of the Arts
Spring
Monetary support for part-time museum studies faculty to
Semester,
undertake promotional outreach across college and in
2015
community
Required Budget (Split out
personnel, supplies, other
categories)
1250.
1290.
200.
440.
300.
Total: 3480.
How will you manage the personnel needs?
New Hires:
Faculty # of positions
Classified staff # of positions
Reassigning existing employee(s) to the project; employee(s) current workload will be:
Covered by overload or part-time employee(s)
Covered by hiring temporary replacement(s)
Other, explain
At the end of the project period, the proposed project will:
Be completed (onetime only effort)
Require additional funding to continue and/or institutionalize the project
Will the proposed project require facility modifications, additional space, or program relocation?
No
Yes, explain:
32
(obtained by/from):
Will the proposed project involve subcontractors, collaborative partners, or cooperative agreements?
No
Yes, explain: Printers
Do you know of any grant funding sources that would meet the needs of the proposed project?
No
Yes, list potential funding sources: STUDENT EQUITY FUNDS
33
Appendix E5: Proposal for New Initiatives (Complete for each new initiative)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, College Budget Committee
Purpose: A “New Initiative” is a new project or expansion of a current project that supports our Strategic Plan. The project will require the support
of additional and/or outside funding. The information you provide will facilitate and focus the research and development process for finding both
internal and external funding.
How does your initiative address the college's Strategic Plan goal, or significantly improve student learning?
AD HOC ARTS COMMITTEE
Faculty from all areas of the arts at Chabot agree that as an institution and, specifically, as a sub-division we call School of the Arts, we are
out of date in how we present ourselves to our students, to the college and to the public. On our campus we regularly offer a wide range of
courses in the visual arts, music and the performing arts. We have an art gallery that holds several exhibits every year, a music department
that holds several concerts every year and a theater department that mounts several theater productions every year. Students have the
opportunity to pursue AAs and AATs and certificates in most of these areas. We have students transferring to top schools around the
country in each of these fields. And yet, there is no cohesive way in which any of this information is communicated to the public. Currently,
every discipline, in regards to how it presents itself to the public, other than the general information offered on the school website, is on its
own. In order to remedy this situation and bring ourselves up to date, we are choosing to create an ad hoc committee that will be aimed at
the following tasks:
•
•
•
•
•
•
•
•
Working with IT to create a web presence that is attractive and useful, that esthetically connects SOTA as a whole.
Working with IT to creating web presence for all disciplines in the arts that gives clear information on courses, student pathways in
the arts, events, faculty, archival materials and other essentials.
Developing online ticketing services for all appropriate events.
Developing branding, logos and market position.
Developing other marketing concepts, i.e., brochures, TV and radio presence, etc.
Identifying jobs and hiring necessary for executing these ideas.
Developing budget projections of funds needed for hiring Professional Specialists in order to execute these ideas.
Identifying and pursuing funding to bring all ideas to fruition effectively and efficiently.
34
Putting these identified needs in place will enable us to:
•
•
•
•
•
Help students better understand pathways in the arts at Chabot.
Engender energy and enthusiasm among students, faculty and the community towards what we have to offer.
Build a stronger understanding within our surrounding community of the vibrancy of artistic study and presentation that already
exists on the Chabot campus.
Grow audiences for the art gallery, concerts and theater productions.
Increase enrollment and general interest in Chabot arts events across campus.
What is your specific goal and measurable outcome?
The specific goal is to create real visibility for the School of the Arts. The measurable outcome will be the hiring of a SOTA outreach specialist,
which will result in an increase in enrollments in arts-related courses, an increase in attendance at arts-related events, and an increase in the
number of students able to find their passion in the arts through high-profile programming and streamlined pathways, thus moving them
towards their educational goals.
What is your action plan to achieve your goal?
Activity (brief description)
Create a task force made up of former School of the Arts
faculty and the Dean to establish priorities, a meeting
schedule, and working agenda.
Submit the Ad Hoc Arts Committee as a new initiative in
Program Review
Hire SOTA Outreach Specialist:
http://today/DistrictOffice/HumanResources/JobDescriptio
ns/NewJobDesc09/Outreach%20Specialist.pdf
Target
Completion
Date
October
14, 2014
Required Budget (Split out
personnel, supplies, other
categories)
0
October
24, 2014
May 30,
2014
0
35
TBD
How will you manage the personnel needs?
New Hires:
Faculty # of positions Outreach Specialist Classified staff # of positions 1
Reassigning existing employee(s) to the project; employee(s) current workload will be:
Covered by overload or part-time employee(s)
Covered by hiring temporary replacement(s)
Other, explain
At the end of the project period, the proposed project will:
Be completed (onetime only effort)
Require additional funding to continue and/or institutionalize the project
(obtained by/from): 2000-level position funding
Will the proposed project require facility modifications, additional space, or program relocation?
No
Yes, explain:
Will the proposed project involve subcontractors, collaborative partners, or cooperative agreements?
No
Yes, explain: Professional Specialists in the area of website updating and marketing
Do you know of any grant funding sources that would meet the needs of the proposed project?
No
Yes, list potential funding sources:
36
Appendix E6: Proposal for New Initiatives (Complete for each new initiative)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, College Budget Committee
Purpose: A “New Initiative” is a new project or expansion of a current project that supports our Strategic Plan. The project will require the support
of additional and/or outside funding. The information you provide will facilitate and focus the research and development process for finding both
internal and external funding.
How does your initiative address the college's Strategic Plan goal, or significantly improve student learning?
ESTABLISH MINIMUM DISCIPLINE and PEDAGOGICAL STANDARDS FOR ARTH 1 “INTRODUCTION TO ART”
The pursuit of “Best Practices” has been a focus of art history faculty for many years. Our newest “Best Practice” is the product of
collaboration meetings between all art history lecturers (Dr. Kevin Muller, Dr. Amy Raymond, and Diane Zuliani) throughout Fall 2014. This
best practice became a priority after we saw a need to create some basic shared logic in our introductory gateway course, ARTH 1. We will
initiate our standards beginning in Spring of 2015. This initiative is intended to establish minimum discipline standards for both faculty and
students in the introductory level ARTH 1, “Introduction to Art.” The standards are as follows:
•
•
•
•
•
a minimum of 50% of ARTH 1 is to address artwork made by women and non-white artists, to ensure inclusivity
a minimum of 20% of ARTH 1 is to be presented in a case study format, ensuring depth of analysis;
a minimum 20% of ARTH 1 is to cover twenty-first century artwork, to ensure relevance;
a minimum of 8 pages (preferably 10 pages) of student writing is to be submitted and graded.
all faculty teaching ARTH 1 will convene at regular times to provide evidence of meeting these standards.
What is your specific goal and measurable outcome?
The goal is to establish minimum discipline standards in ARTH 1 that ensure inclusivity, depth, relevance, and rigor. The measurable outcome
is the evidence of faculty meeting these discipline standards.
37
What is your action plan to achieve your goal?
Target
Activity (brief description)
Completion
Date
Art history faculty meet to establish minimum discipline-based August,
and pedagogical standards for ARTH 1.
September,
October,
2014
January –
Art history faculty teaching ARTH 1 will instigate new
May 2015
standards beginning Spring 2015
Required Budget (Split out
personnel, supplies, other
categories)
0
Art history faculty teaching ARTH 1 will meet to share evidence May 2015
of meeting the new standards
0
0
How will you manage the personnel needs?
Covered by overload or part-time employee(s)
At the end of the project period, the proposed project will:
Require NO additional funding to continue and/or institutionalize the project
Will the proposed project require facility modifications, additional space, or program relocation?
No
Will the proposed project involve subcontractors, collaborative partners, or cooperative agreements?
No
Do you know of any grant funding sources that would meet the needs of the proposed project?
No
38
Appendix F1: Full-Time Faculty/Adjunct Staffing Request(s) [Acct. Category 1000]
Audience: Faculty Prioritization Committeeand Administrators
Purpose: Providing explanation and justification for new and replacement positions for full-time faculty and adjuncts
Instructions: Please justify the need for your request. Discussanticipated improvements in student learning and contribution to the Strategic
Plangoal. Cite evidence and data to support your request, including enrollment management data (EM Summary by Term) for the most recent
three years, student success and retention data , and any other pertinent information. Data is available at
http://www.chabotcollege.edu/ProgramReview/Data2013.cfm.
1. Number of new faculty requested in this discipline: ___
PLEASE LIST IN RANK
ORDER
STAFFING REQUESTS (1000) FACULTY
Position
Description
Faculty (1000)
Program/Unit
Division/Area
Gallery coordination tasks include (but
are not limited to):
•
Reassigned
time for Art
Gallery
Coordinator
•
•
•
•
•
•
Work six months in advance of
exhibits—including in summer--to
arrange the upcoming year’s
exhibit schedule
Research potential artists
Contact and correspond with
multiple artists at once
Meet with artists in off hours
Assist with gallery outreach
Coordinate with museum studies
instructor on grant opportunities
and timely submission of
paperwork
Perform clerical and office duties as
needed, including: office errands
both menial and crucial; handle
phone and email traffic; make
copies (e.g., registrarial paperwork,
Art History/Museum Studies
39
Arts, Humanities,
Social Sciences
(School of the Arts)
•
•
•
•
•
•
•
•
•
•
•
sale invoices); take materials to and
retrieve from print shop
Serve as phone and email contact
person for visitors, exhibitors,
campus entities (print shop,
campus safety, etc.) faculty, staff,
and anyone with gallery- and
exhibit-related inquiries at times
when museum studies instructor is
off campus or required for nongallery related duties;
Gallery sit during higher-traffic midday hours when museum studies
students are not in the gallery,
either because class is not in
session, or class is held elsewhere,
on students are on a field trip,
Gallery sitting includes: secure
opening and closing; greeting and
monitoring and visitors, keeping
gallery and artwork secure
Fill out purchase orders and
requisitions
Fill out work orders for
maintenance
Produce PR materials (postcards,
posters)
Produce educational materials
Distribute hard-copy
notices/announcements like
postcards & posters around
campus and in the community
Create and post web
announcements; create, post, and
pay for print announcements
Purchase supplies and materials,
always in off hours
Meet artists at home or studio on
off hours to pick up and deliver
artwork
Coordinate opening/closing events
with relevant campus entities
40
•
•
•
•
•
•
•
•
(M&O, Campus Safety, etc.)
Coordinate programming with
learning programs and special
cohorts across campus
Keep track of and maintain
inventory of tools (hanging
supplies, gloves, safety glasses,
hammers, binders, screwdrivers,
monofilament, scissors, etc.),
Keep track of and maintain
inventory of exhibit building
materials (plywood, paint, foam,
palettes, etc.);
Keep track of and maintain
inventory of exhibition supplies
(glass, frame moldings, mat-board,
museum wax, etc.);
Keep track of and maintain
inventory of gallery fixtures
(spotlights, fluorescent lights,
pedestals, etc.)
Keep storage room organized and
safe
Maintain basic gallery appearance
(sweep and mop floor—M&O does
not do this when exhibits are up—
spot-treat floor stains, paint
scuffed walls and pedestals, etc.)
Check on gallery on those
weekdays when museum studies
class does not meet
Rationale for your proposal. Please use the enrollment management data. Data that will strengthen your rationale include FTES trends over
the last 5 years,FT/PT faculty ratios,recent retirements in your division, total number of full time and part-time faculty in the division, total
number of students served by your division, FTEF in your division, CLO and PLO assessment results and external accreditation demands.
41
THE ART GALLERY, ENROLLMENT MANAGEMENT DATA, AND THE BIGGER PICTURE
Enrollment management data support this request, but the data do not provide the complete picture. The Art History program has a high
WSCH/FTEF of 644.62, which encompasses both high-productivity lecture courses and lower-enrolled lab courses in museum studies. The
average 1.73 FTEF now received by the discipline per term is spread among one full-timer (1.01 FTEF) and three part-timers (.73).
Approximately 860 students enroll in Art History courses annually. Of these, approximately 40 are museum studies students. Museum
Studies courses are small by necessity: they are intensive hands-on laboratory courses wherein students physically mount art exhibits.
Based on museum studies numbers alone—forty students per year—reassigned time for a coordinator is not justifiable. But, just as Stage
One is a facility meant to serve not only theater students enrolled in production classes but all students and the college as a whole, so the Art
Gallery is meant to serve not only museum studies students but all students and the college as a whole.Enrollment management data for the
art history/museums studies area don’t make that clear. One- to two-fifths of a full-timer’s load is devoted to teaching museum studies
courses; one-third to one-half of an adjunct’s load. That FTEF is for teaching courses—achieving the goals of the course outline—it does not
cover any coordination of the art gallery itself.
Therefore this request is for reassigned time for a coordinator to manage the art gallery in the amount of .4 (6 CAH) per year, .2 (3 CAH) per
semester.
Reassigned time for coordination is imperative if the gallery is to meet its potential to serve as a facility for arts-based learning for Chabot
and provide varied experiences for Museum Studies students specifically (see Appendix C1, and Appendix B Part I, II, and IIIc). The tasks of a
coordinator can’t be accomplished from within the Museum Studies curriculum, because the gallery-related portion of any instructor’s load is
at most: a) one-third of an adjunct load, or b) one-fifth of a full-time load. Under such restrictions, the instructor can only fulfill the
requirements of museum studies course outlines, but not the separate function of coordinating the gallery to serve as a campus and
community facility as Chabot expects it to. Coordination of the art gallery will meet the strategic plan goal by increasing the potential and
profile of the art gallery and the museum studies program, which in turn will help students find their passion in the arts and choose pathways
in the arts that move them towards their educational goals.
IMPORTANT NOTE TO ENROLLMENT MANAGEMENT COMMITTEE
Art History faculty expect the College Enrollment Management Committee to offset lower-enrolled Museum Studies lab courses with the
high-productivity Art History lecture classes. Art History productivity should first and foremost benefit the Art History program. This request
for reassigned time for an art gallery coordinator should be taken in light of the gallery’s service to all students, the whole college, and to the
high productivity of the art history program itself.
42
RELATED CLO AND PLO INFORMATION
Assessment for ARTH 50 (above) shows that 100 percent of students succeeded in meeting CLO 2 “Demonstrate basic museum and art gallery
techniques.” Art history faculty call this a red flag. When this CLO was written, the term “basic techniques” was used to mean a variety of
elementary techniques. Without funding to replenish materials used up each semester or for new materials to mount exhibits of a greater
variety (different weights, scales, media) “basic” has come to mean repetitive. As a result, 100% of students are able to meet this CLO—
“demonstrate basic techniques”—from which we conclude the target is too low. The target can be raised only if students can be challenged
to apply hands-on practice in a greater range of techniques. Raising the target means the gallery has coordination needed to put new tools
and materials in the hands of students.
2. Statements about the alignment with the strategic plan and your student learning goals are required. Indicate here any information from
advisory committees or outside accreditation reviews that is pertinent to the proposal.
Coordination of the art gallery will meet the strategic plan goal by increasing the potential and profile of the art gallery and the
museum studies program, which in turn will help students find their passion in the arts and choose pathways in the arts that
move them towards their educational goals.
43
Appendix F2: Classified Staffing Request(s) including Student Assistants [Acct. Category 2000]
Audience: Administrators, PRBC
Purpose: Providing explanation and justification for new and replacement positions for full-time and part-time regular (permanent) classified
professional positions(new, augmented and replacement positions).Remember, student assistants are not to replace Classified Professional staff.
Instructions: Please justify the need for your request. Discuss anticipated improvements in student learning and contribution to the Strategic Plan
goal, safety, mandates, and accreditation issues. Please cite any evidence or data to support your request. If this position is categorically funded,
include and designate the funding source of new categorically-funded position where continuation is contingent upon available funding.
1. Number of positions requested: _____
STAFFING REQUESTS (2000) CLASSIFIED PROFESSIONALS
Position
No requests
Classified Professional Staff (2000)
Description
Program/Unit
STAFFING REQUESTS (2000) STUDENT ASSISTANTS
Postion
No requests
Description
Student Assistants (2000)
Program/Unit
44
PLEASE LIST IN RANK
ORDER
Division/Area
PLEASE LIST IN RANK
ORDER
Division/Area
2. Rationale for your proposal.
3. Statements about the alignment with the strategic plan and program review are required. Indicate here any information from advisory
committees or outside accreditation reviews that is pertinent to the proposal.
45
Appendix F3: FTEF Requests : FTEF FOR REASSIGNED TIME(see New
Initiative 1 and Appendix F1 above)
Audience: Administrators, CEMC, PRBC
Purpose: To recommend changes in FTEF allocations for subsequent academic year and guide Deans and CEMC in the allocation of FTEF to
disciplines. For more information, see Article 29 (CEMC) of the Faculty Contract.
Instructions: In the area below, please list your requested changes in course offerings (and corresponding request in FTEF) and provide your
rationale for these changes. Be sure to analyze enrollment trends and other relevant data
athttp://www.chabotcollege.edu/ProgramReview/Data2013.cfm.
Note to Enrollment Management Committee:
Art History faculty expect the College Enrollment Management Committee to offset lower-enrolled Museum
Studies lab courses with the high-productivity Art History lecture classes. Art History productivity should first
and foremost benefit the Art History program.
REASSIGNED
TIME
FOR
ART GALLERY
COORDINATOR
See Appendix
F1 Above
CURRENT
FTEF
(2014-15)
ADDITIONAL
FTEF
NEEDED
CURRENT
SECTIONS
ADDITIONAL
SECTIONS
NEEDED
CURRENT
STUDENT #
SERVED
ADDITIONAL
STUDENT #
SERVED
0
.4 FTEF / 6
CAH per year
n/a
n/a
Museum
Studies
Students/
SOME
CHABOT
STUDENTS,
FACULTY,
STAFF, &
COMMUNITY
Museum
Studies
Students/
MORE
CHABOT
STUDENTS,
FACULTY,
STAFF, &
COMMUNITY
.2 FTEF / 3
CAH per
semester
46
Appendix F4: Academic Learning Support Requests [Acct. Category 2000]
Audience: Administrators, PRBC, Learning Connection
Purpose: Providing explanation and justification for new and replacement student assistants (tutors, learning assistants, lab assistants,
supplemental instruction, etc.).
Instructions: Please justify the need for your request. Discuss anticipated improvements in student learning and contribution to the Strategic Plan
goal. Please cite any evidence or data to support your request. If this position is categorically funded, include and designate the funding source of
new categorically-funded position where continuation is contingent upon available funding.
1. Number of positions requested:
2. If you are requesting more than one position, please rank order the positions.
Position
Description
1.
2.
3.
4.
3. Rationale for your proposal based on your program review conclusions. Include anticipated impact on student learning outcomes and
alignment with the strategic plan goal. Indicate if this request is for the same, more, or fewer academic learning support positions.
47
Appendix F5: Supplies & Services Requests [Acct. Category 4000 and 5000]
Audience: Administrators, Budget Committee, PRBC
Purpose: To request funding for supplies and service, and to guide the Budget Committee in allocation of funds.
Instructions: In the area below, please list both your current and requested budgets for categories 4000 and 5000 in priority order. Do NOT
include conferences and travel, which are submitted on Appendix M6. Justify your request and explain in detail any requested funds beyond
those you received this year. Please also look for opportunities to reduce spending, as funds are very limited.
Supplies Requests [Acct. Category 4000]
Instructions:
1. There should be a separate line item for supplies needed and an amount.
For items purchased in bulk, list the unit cost and provide the total in the "Amount" column.
2. Make sure you include the cost of tax and shipping for items purchased.
needed totals in all
areas
2014-15
Request
Description
(48) replacement
spotlights (halogen
reflector)
Requested
2015-16
Request
Received
Amount
Vendor
Division/Un
it
Priority
#1
IQ
Lighting
Arts,
Humanities,
Social
Sciences /
School of
the Arts
YES
0
Satco model S1995
20MR16 lamp 20W
halogen spot;
24 volt lensed, 2 pin
base
Unit cost 4.16 each
SKU S1995
199.68
0 tax
0 ship
219.05 total
(with tax & ship)
199.68
total
48
Priorit
y #2
Priority
#3
needed totals in all
areas
2014-15
request
Description
Requested
HP Shop-Vac 12 Gallon
capacity model H-2603
amps 8.9
Unit cost 174.00
Shop-Vac
replacement
cartridge filter
model S-11360 x 2 (8
total)
Unit cost, 4-count,
60.00
Pre-cut acid
neutralized matboard, extreme white
11x14
Unit cost, 12-count,
24.99
Pre-cut acid
neutralized matboard, extreme white
16x20
Unit cost, 12-count,
27.99
2015-16
request
Received
Amount
Vendor
Division/Un
it
Priority
#1
ULINE
Arts,
Humanities,
Social
Sciences /
School of
the Arts
YES
ULINE
Arts,
Humanities,
Social
Sciences /
School of
the Arts
YES
framing
4yourself
.com
Arts,
Humanities,
Social
Sciences /
School of
the Arts
YES
framing
4yourself
.com
Arts,
Humanities,
Social
Sciences /
School of
the Arts
YES
16.53 tax
17.37
ship
207.90to
tal
120.00
unit cost
x2
27.17 tax
27.76
ship
286.00
total
49.98
unit cost
x2
0 tax
10.95
ship
60.93
total
55.98
unit cost
x2
0 tax
10.95
ship
66.93
total
49
Priorit
y #2
Priority
#3
79.90
unit cost
x2
Pre-cut foam board
18x24
Unit cost, 12-count,
39.95
0 tax
15.95
ship
95.85
total
framing
4yourself
.com
50
Arts,
Humanities,
Social
Sciences /
School of
the Arts
YES
Contracts and Services Requests [Acct. Category 5000]
Instructions:
1. There should be a separate line item for each contract or service.
2. Travel costs should be broken out and then totaled (e.g., airfare, mileage, hotel, etc.)
Priority 1: Are criticalrequests required to sustain a program (if not acquired, program may be in peril) or to meet mandated
requirements of local,
state or federal regulations or those regulations of a accrediting body for a program.
Priority 2: Are needed requests that w ill enhance a program but are not so critical as to jeopardize the life of a program if not
received in the requested academic year.
Priority 3: Are requests that are enhancem ents, non-critical resource requests that would be nice to have and would bring
additional benefit to the program.
augm entations only
Description
Amount
Vendor
Division/Unit
51
Priority #1
Priority
#2
Priority
#3
Appendix F6: Conference and Travel Requests [ Acct. Category 5000]
Audience: Staff Development Committee,Administrators, Budget Committee, PRBC
Purpose: To request funding for conference attendance, and to guide the Budget and Staff Development Committees in allocation of funds.
Instructions:Please list specific conferences/training programs, including specific information on the name of the conference and location. Note
that the Staff Development Committee currently has no budget, so this data is primarily intended to identify areas of need that could perhaps be
fulfilled on campus, and to establish a historical record of need. Your rationale should discuss student learning goals and/or connection to the
Strategic Plan goal.
Description
Amount
Vendor
Division/Dept
52
Priority Priority Priority
#1
#2
#3
Notes
Appendix F7: Technology and Other Equipment Requests [Acct. Category 6000]
Audience: Budget Committee, Technology Committee, Administrators
Purpose: To be read and responded to by Budget Committee and to inform priorities of the Technology Committee.
Instructions: Please fill in the following as needed to justify your requests.If you're requesting classroom technology, see
http://www.chabotcollege.edu/audiovisual/Chabot%20College%20Standard.pdf for the brands/model numbers that are our current standards.
If requesting multiple pieces of equipment, please rank order those requests. Include shipping cost and taxes in your request.
Instructions:
1. For each piece of equipment, there should be a separate line item for each piece and an amount. Please note: Equipment
requests are for equipment whose unit cost exceeds $200. Items which are less expensive should be requested as supplies. Software
licenses should also be requested as supplies.
2.
For bulk items, list the unit cost and provide the total in the "Amount" column.
Make sure you include the cost of tax and shipping for items purchased.
Description
Amount
Vendor
Division/Unit
Priority #1
BEST BUY
Arts, Humanities, Social
Sciences / School of the
Arts
YES
BEST BUY
Arts, Humanities, Social
Science / School of the
Arts
YES
499 cost
45 tax
3 recycling
0 shipping
iPad Air 2 16 GB + WiFi
MacBook Air 13 inch,4GB
memory 128 GB storage
547.99
total
899 cost
74.42 tax
3 recycling
0 shipping
976.42
total
53
Priority #2
Priority #3
Appendix F8: Facilities Requests
Audience: Facilities Committee, Administrators
Purpose: To be read and responded to by Facilities Committee.
Background: Following the completion of the 2012 Chabot College Facility Master Plan, the Facilities Committee (FC) has begun the task of reprioritizing Measure B Bond budgets to better align with current needs. The FC has identified approximately $18M in budgets to be used to meet
capital improvement needs on the Chabot College campus. Discussion in the FC includes holding some funds for a year or two to be used as match
if and when the State again funds capital projects, and to fund smaller projects that will directly assist our strategic goal. The FC has determined
that although some of the college's greatest needs involving new facilities cannot be met with this limited amount of funding, there are many
smaller pressing needs that could be addressed. The kinds of projects that can be legally funded with bond dollars include the "repairing,
constructing, acquiring, equipping of classrooms, labs, sites and facilities." Do NOT use this form for equipment or supply requests.
Instructions: Please fill in the following as needed to justify your requests.If requesting more than one facilities project, please rank order your
requests.
Brief Title of Request (Project Name):
Building/Location:
Description of the facility project. Please be as specific as possible.
What educational programs or institutional purposes does this equipment support?
Briefly describe how your request relates specifically to meeting the Strategic Plan Goal and to enhancing student learning?
54