Chabot College
Academic Services
Program Review Report
2016 -2017
Year in the Cycle: 1
Program: Art History
Submitted on: October 26
Contact: Diane Zuliani
FINAL 9/24/15
Table of Contents
X
_ __ Year 1
Section 1: Who We Are
Section 2: Where We Are Now
Section 3: The Difference We Hope to Make
___ Year 2
Section 1: What Progress Have We Made?
Section 2: What Changes Do We Suggest?
___ Year 3
Section 1: What Have We Accomplished?
Section 2: What’s Next?
Required Appendices:
A: Budget History
B1: Course Learning Outcomes Assessment Schedule
B2: “Closing the Loop” Assessment Reflections
C: Program Learning Outcomes
D: A Few Questions
E: New and Ongoing Initiatives and Projects
F1A: New Faculty Requests
F1B: Reassign Time Requests
F2A: Classified Staffing Requests
F2B: Student Assistant Requests
F3: FTEF Requests
F4: Academic Learning Support Requests
F5: Supplies Requests
F6: Services/Contracts and Conference/Travel Requests
F7: Technology and Other Equipment Requests
F8: Facilities
YEAR ONE
Resource Request Spreadsheet Directions:
In addition to completing the narrative portion of program review, add all your requests to a single
Resource Request Spreadsheet:
a. Follow the link to the spreadsheet provided in Appendix F1A, save the spreadsheet where you
can continue to access it and add requested resources from each appendix to it as appropriate.
Once completed, submit to your Dean/Area Manager with this finalized Program Review
Narrative.
b. Requests should be made for augmented/ additional resources (more than what you are already
receiving). If you have questions about what constitutes an “additional/augmented” request,
please talk with your administrator who can tell you what maintenance resources you are
already receiving.
c. Prioritize your requests using the criteria on the spreadsheet. Your Administrator will compile a
master spreadsheet and prioritize for his or her entire area.
d. Submit resource requests on time so administrators can include requests in their prioritization
and discuss with their area at November division meetings.
1. Who We Are
Limit your narrative to no more than one page. Describe your program--your mission, vision,
responsibilities and the goals of your area. How does your area support the college? What impact do
you have on student learning? Describe the number and type of faculty in your area.
The Mission, Vision, Responsibilities and Goals of Art History
Art History serves students seeking to enrich their cultural backgrounds, solidify their knowledge of
history, develop analytical and writing skills, sharpen critical sensibilities, and prepare for opportunities
in museums, galleries, historical societies, and more. Art History is particularly well suited to students
who consider themselves visual learners.
Art History is a field of study in which the information and methodologies of many fields come together.
Art historical inquiry can lead to considerations of varied subjects, including economic, social, and
political topics; problems of patronage, class, and taste; issues of gender and identity; and questions of
exchange and reception. As such, art historical studies draw upon and compliment several related areas
of study, such as history, anthropology, psychology, political science, religion, philosophy, and sociology.
How We Support the College
Art History supports the college through high quality arts-based learning, and by complimenting a range
of disciplines outside Art History itself. But we most visibly and measurably support the college through
the many art exhibits we mount in the Chabot Art Gallery—which is an Art History laboratory. These
exhibits feature artwork by our students, colleagues, and community members, and thus serve as a key
component of cultural life on campus. This year, the gallery celebrates creativity across campus in three
Chabot-specific exhibits:



2015 Chabot Visual Arts Faculty Exhibit
Art Across Chabot (an all-staff and faculty show)
2016 Chabot Student Art Exhibit
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Impact on Student Learning
The history of art is an ideal field for a student who wishes to acquire a general cultural background,
solidify their knowledge of history, develop analytical and writing skills, and sharpen critical sensibilities.
In conjunction with Chabot’s courses in Museum Studies (also under the ARTH rubric), which provide
hands-on training in core museum and gallery professions including curator, registrar, educator, and
preparator, the Art History discipline imbues students with a wealth of cultural capital and also prepares
them for museum internships and entry positions in art galleries, historical societies, historical houses,
urban redevelopment agencies, heritage institutions and more.
Number and Type of Faculty in the Art History Discipline
The mission, vision, responsibilities, and goals of Art History are the daily work of four faculty. Three
part-timers, Dr. Kevin Muller, Dr. Amy Raymond, and Erica Mones, join full-timer Diane Zuliani to
achieve the program’s goals. For example, Dr. Muller and Dr. Raymond possess vast knowledge of the
discipline and are master teachers, shepherding students through survey courses covering art from
prehistory to the present and from all parts of the globe. Erica Mones is our Museum Studies expert,
preparing students for entry positions in museums and galleries while simultaneously mounting the art
exhibits that contribute so much to the education of students and the cultural life of campus.
Happily, we are adding a fifth faculty member to the Art History faculty. Cheyanne Cortez will join us
part-time in Spring 2016, where she will bring the valuable teaching experience she has gained at
Gavilan College and Cabrillo College to our own classrooms.
2. Where We Are Now
Complete Appendices A (Budget History), B1, C (PLO's), and D (A few questions) prior to writing your
narrative. You should also review your most recent success, equity, course sequence, and enrollment
data at http://www.chabotcollege.edu/programreview/Data2015.asp. Limit your narrative to two
pages.
As you enter a new Program Review cycle, reflect on your achievements over the last few years. What
did you want to accomplish? What are your Student Learning Outcomes (SLOs) and Service Area
Outcomes (SAOs), and what progress have you made toward achieving them? What are you most proud
of?
Reflect on your curriculum as well as your success, retention, and enrollment data. What trends do you
observe? Do you see differences based on gender and/or ethnicity? Between on-campus and online or
hybrid online courses? Provide comparison points (college-wide averages, history within your program,
statewide averages).
Discuss other important trends that will have a significant impact on your unit over the next three years.
Those could include technology, facilities, equipment, and student demand.
Describe how changes in resources provided to your area have impacted your achievements. What
opportunities and challenges do your foresee in the next three years?
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Introduction
During the last Program Review cycle, the Art History discipline achieved three major program goals.
The first was to establish a state-approved AA degree, the second was to establish an IGETC-approved
non-Western art history survey, and the third was to establish minimum pedagogical standards for ARTH
1, for the purpose of ensuring depth, relevance, and diversity in the presentation of art appreciation
content.
We are proud of these accomplishments. Our AA degree was not designed by the state but by in-house
faculty utilizing pre-existing and unique offerings of Chabot’s curriculum. Our non-Western survey, ARTH
8, is our second course with a non-Western focus, and it was designed specifically to provide our diverse
students an opportunity to learn about the visual arts from the very cultures they have
personal/familial/ancestral ties to. Finally, our minimum standards in ARTH 1 were the result of deep
collaboration between faculty, and our new approach has been added to our list of best practices.
Of the seven “future goals” we set for Art History in year three of the last cycle, we met three. The
three goals we met are:
1. Contribute to the cultural and student life of the campus through ongoing exhibits. We met
this goal by way of several exhibits we mounted (or will mount) between the Fall 2014 semester
and Spring 2016 semester. The exhibits were:







Chabot Photography Faculty Exhibit
Dignidad Rebelde: Ink and Protest
Photography Student Portfolio Exhibit
2015 Chabot Student Art Exhibit
2015 Chabot Visual Arts Faculty Exhibit
Art Across Chabot Show
2016 Chabot Student Art Exhibit
2. Begin implementing new minimum discipline standards for ARTH 1. These new standards
were implemented three semesters ago to ensure course content is more inclusive of ethnic and
gender diversity than the typical textbook. While our success rates in Art History are generally
high and we have not noticed a measureable improvement from this step, studies published in
the journals Nature; Science; and Mind, Brain, and Education link personal relevance and
emotional engagement to memory storage. Therefore if non-white students and/or female
students feel connected to the material they are learning, we believe it stands to reason that
their chances for success increase.
3. Offer ARTH 8 for the first time. ARTH 8 is being offered for the first time this semester (Fall
2015). “Non-Western art” is a vast field of study, but the instructor (Zuliani) has worked to tailor
it specifically to the students in her class. Since not every non-Western
continent/country/culture can be addressed in one semester, Zuliani surveyed her students at
the beginning of the semester to determine where in the non-Western world they have ties to.
She is now using that survey to guide the emphases of the course. Predictably, many students
had ancestral or family ties to Africa, China, Mexico, and South Asia, so those are a few
predictable focal points of the course. Less predictably, she also has a student from Nepal,
another from Cambodia, and another from Fiji, so these cultures have become focal points, too.
The next time Zuliani teaches the course she will approach it the same way. Thus no two
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versions of ARTH 8 will be identical, and each will be responsive to the particular students in the
seats.
The four goals we did not meet are:
4. Secure reassigned time for a gallery coordinator. This request received no response.
5. Secure ongoing operating budget for art gallery. This request received no response.
6. Contribute to revitalizing the School of the Arts through participation in the Ad Hoc Arts
Committee. This is no longer a faculty committee and does not meet.
7. Create and schedule Art History degree program orientations. Former Articulation Officer Jane
Church announced that the Art History AA is “invalid” and will likely be revoked by the state.
Thus the creation of degree program orientations have been put on hold until greater clarity is
achieved in this area.
Enrollment Management Data: Art History Enrollments
The average WSCH/FTEF rate in Art History since Fall 2012 is 617.74, which encompasses both highproductivity lecture courses and lower-enrolled lab courses in museum studies. That number is higher
than the college target of 525 by a comfortable margin. Still, it is lower than the 644.62 of last year. We
believe the drop is due to the dean’s reduction of lecture class caps from 44 to 24 in several courses that
are historically known to fill when allowed to build their enrollments up through day one of the
semester. It may also reflect the generally boggy state of enrollments throughout the CCC at this time.
The most recent enrollment management data shows that Art History is enrolling approximately 400
students per semester, 800 students per year. The number of enrollees is down from last year’s 860.
Again, the drop is due to the dean’s reduction of class caps and weak enrollments.
Enrollment Management Data: Art History Success Rates
Art History success rates are higher than the college average by a margin of 8% to 18%. Similarly,
average success rates by gender are higher than the college average, by a margin ranging from 9% to
19% for female students, and 5% to 17% for male students—with, however, one exception. In Spring
2015, success rates for male students were only one percent higher than the college average (69%
success in art history vs. 70% success campus-wide).
Success rates by ethnicity are also higher in art history than the college average—yet again, however,
with the exception of Spring 2015. In that semester, success rates for African-American students were
nine percent lower than the college average, and success rates for Filipino students were seven percent
lower than the college average. This is the first time success rates for these groups were lower than the
college average since success data was first collected many years ago. We are unsure what to attribute
the drop to. There was no change to faculty, to scheduling, or to curriculum other than, ironically,
making it more ethnically inclusive. Interestingly, in the next assessment period, Summer 2015, art
history success rates were at their very highest for female and male students overall, and matched or
bettered the college average for all ethnicities.
Student Learning Outcomes
In every assessment but one (See Appendix B2, ARTH 20, CLO 1) we met or exceeded our projected
outcomes. However, we continue to have concerns over the implausibly high (100%) rate of success for
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CLO 2 in ARTH 50 (See 2015-2016 Program Review Appendix B2, ARTH 50, Part 1C) i.e., to “demonstrate
basic museum and gallery techniques.” We explain the reason for our concern, below:
When CLO 2 for ARTH 50 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. But 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.
Success: Getting Students In and Through the Gateway
One of Art History’s top achievements is the high enrollment and high retention rates we attain in our
gateway ARTH 1 course. When scheduled properly, ARTH 1 courses will attract high enough enrollment
to justify double sections (100 students). More important than enrolling students, however, is retaining
them, and the main instructor for the course, Diane Zuliani, has been very successful in doing so. Taking
the most recent semester (Spring 2015) as an example, ARTH 1.001 had 105 students at census, with 98
of them completing the course (93.3%). ARTH 1.002 had 101 students at census, with 96 completing the
course (95%). Each semester, these numbers are approximately the same. One might be tempted to
attribute the high retention to an easy class or easy grading. There is ample evidence to show that
neither is true.
We attribute such high retention rates to experienced teaching and to the instructor’s very strong focus
on the classroom as the center of learning. The course instructor has chosen not to dilute the power of
the classroom or the attention of the students with online course supplements. This is not to say we are
opposed to online education, but that we have found that classroom-based courses are strongest when
the classroom itself is the one and only home base.
Challenges in the Next Three Years
No coordinator for the gallery. The gallery must have a paid coordinator because the tasks of managing
a public facility are numerous and time-consuming (See Appendices E(a) and F1B below for specifics.)
These tasks can’t be accomplished from within the Museum Studies curriculum, because the galleryrelated portion of any instructor’s load allows only the fulfillment of the requirements of Museum
Studies course outlines, not the separate function of managing the gallery to serve as a
campus/community facility. The gallery space functions well enough as a lab for a small number of
Museum Studies students (though limitedly, see Appendix B2 sections IC, IIC, and IIIC of Program Review
2015-2016). But as a campus and community facility, it can never live up to its potential without a
coordinator. See appendices E(a) and F1B below for further details.
No annual operating budget for the gallery. An operating budget for the art gallery is imperative for
the obvious reason that no facility can function anywhere near its potential 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 must turn exhibitors
away if they have any costs (for transportation, say, or special mounting requirements, both of which
have happened), we can’t pay even for modest openings unless we’ve received a grant or a donation.
The method of requesting supplies and equipment through Program Review (meaning making requests
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 E(b) below for further details.
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3. The Difference We Hope to Make
Review the Strategic Plan goal and key strategies at
http://www.chabotcollege.edu/prbc/StrategicPlan/SPforPR.pdf prior to completing your narrative.
Please complete Appendices E (New and Ongoing Initiatives and Projects) and F1-8 (Resource Requests)
as relevant to your needs to support your narrative. Limit your narrative here to one page and reference
appendices where further detail can be found.
 Over the next three years, what improvements would you like to make to your program(s) to
support student learning outcomes, equity, and/or the College Strategic Plan Goal?
 What steps do you plan to take to achieve your goals? Describe your timeframe.
 Would any of your goals require collaboration with other disciplines or areas of the college?
How will that collaboration occur?
 What support will you need to accomplish your goals? (Complete Appendices and Resource
Request spreadsheet.)
Initiatives Old and New
Last year we committed to six new initiatives in Art History. Of the six, three were successful and three
were not. The successful initiatives were two Student Equity-funded art gallery exhibits (Didnidad
Rebelde: Ink and Protest and the 2015 Chabot Student Art Exhibit) and the adoption of minimum
discipline standards for ARTH 1. The failed initiatives were the proposal for reassigned time for gallery
coordination, which never received a response, a basic operating budget for the art gallery, which also
never received a response, and the Ad Hoc Arts Committee, which is no longer a faculty committee and
does not meet.
This year, we will carry over the two paramount initiatives from last year: reassigned time for gallery
coordination and an operating budget for the art gallery. See appendices E(a), E(b), and F1B.
We have also added one new initiative. It is a Student Equity proposal called “Museum Tickets for
Students of Non-Western Art History” (See Appendix E1). The goal of this proposal is to financially assist
Chabot students by either paying for, or reimbursing students for, the cost of an entry ticket to a Bay
Area museum with a non-Western collection.
Finally, we only just learned today (10/21) that Art History will partner with other visual arts disciplines
in attempting to secure accredited by the National Association of Schools of Art and Design (NASAD).
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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
Other
Other
TOTAL
2015-16
Budget
Requested
0
917.29
1,524.41
.4 FTEF (6
CAH) annual
reassigned
time for art
gallery
coordinator
12,318
Annual
ongoing
operating
budget for
art gallery
6,000
20,759.70
2015-16
Budget
Received
0
917.29
0
0
0
917.29
2016-17
Budget
Requested
0
0
866.22
.4 FTEF (6
CAH)
annual
reassigned
time for art
gallery
coordinator
12,318
Annual
ongoing
operating
budget for
art gallery
6,000
19,896.56
2016-17
Budget
Received
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.
We received the requested supplies in the month of October, 2015, with the last requests arriving last
week. We are pleased to have replacement spotlights and mat board, but these supplies simply arrived
too recently to assess their impact on student learning.
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
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the museum studies program (See 2015-2016 Program Review Appendix B2 Parts IC, IIC, and IIIC,
Appendix E1 and Appendix E2). As a college and community facility, however, the art gallery is severely
limited with no coordinator, no operating budget, and sometimes no resource requests filled through
the Program Review process (see Budget History above and in the 2015-2016 Program Review).
The Art History discipline is committed to seeing the gallery coordinated and funded so the Museum
Studies students’ lab experience is supported with the necessary supplies and equipment, and 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
work. And overarching all of that, we want rich, meaningful exhibits all of campus and the community to
learn from and enjoy.
Why is a Gallery Coordinator Necessary?
We are asking for an annual .4 FTEF (6 CAH) reassigned time for an art gallery coordinator. Other
areas that offer comparable cultural programming—Music and Theater Arts—are already receiving
paid reassigned time to cover coordination. The Chabot Art Gallery is in no way less important to the
college or less time consuming to manage than Music or Theater Arts.
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 fulltime load. This portion of an instructor’s time and compensation is only enough to 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. (See appendices E(a) and F1B).
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 E(b)
in this Program Review, and Appendix B2 Part IC, Appendix B2 Part I, Appendix B2 Part IIC, Appendix B2
Part IIIC in the 2015-2016 Program Review).
Why Does the Art Gallery Matter?
The Chabot Art Gallery is one of the most visible and measurable ways that Chabot meets its stated
mission, in which “Our students contribute to the intellectual, cultural, physical, and economic vitality of
the region” (emphasis added). The gallery also fulfills a second directive of Chabot’s mission, that “the
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college responds to the educational and workforce development needs of our regional population and
economy.” According to the National Endowment for the Arts Artist Employment Projections through
2018, colleges should be emphasizing cultural education and training students for a growing
employment industry. The NEA projects extremely large growth—23 percent growth—in employment
for curators, and even larger growth—26 percent growth—for museum technicians and conservators.
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:


No CLO-CTL forms were completed during this PR year. No Appendix B2 needs to be
submitted with this Year’s Program Review. Note: All courses must be assessed once
at least once every three years.
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.
B. Calendar Instructions:
List all courses considered in this program review and indicate which year each course Closing
The Loop form was submitted in Program Review by marking submitted in the correct column.
Course
*List one course per line.
Add more rows as
needed.
This Year’s Program
Review
*CTL forms must be
included with this PR.
Last Year’s Program
Review
Art History 5
Art History 4
Art History 7
Art History 6
Art History 20
Art History 50
Art History 51
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2-Years Prior
*Note: These courses
must be assessed in the
next PR year.
Art History 1
Appendix B2: “Closing the Loop” Course-Level Assessment Reflections.
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
ARTH 5
SPRING 2014
2
2
100%
SPRING 2015
Diane Zuliani, Dr. Amy Raymond
Form Instructions:
 Complete a separate Appendix B2 form for each Course-Level assessment reported in this
Program Review. These courses should be listed in Appendix B1: Student Learning Outcomes
Assessment Reporting Schedule.
 Part I: CLO Data Reporting. For each CLO, obtain Class Achievement data in aggregate for all
sections assessed in eLumen.
 Part II: CLO Reflections. Based on student success reported in Part I, reflect on the individual
CLO.
 Part III: Course Reflection. In reviewing all the CLOs and your findings, reflect on the course as
a whole.
PART I: COURSE-LEVEL OUTCOMES – DATA RESULTS
CONSIDER THE COURSE-LEVEL OUTCOMES INDIVIDUALLY (THE
NUMBER OF CLOS WILL DIFFER BY COURSE)
(CLO) 1:
Communicate to advantage the cultural
content/significance of historical artwork from the Modern
period and later.
(CLO) 2:
Communicate to advantage the cultural
content/significance of historical artwork from the protoRenaissance through the pre-Modern period.
(CLO) 3:
Identify and establish an argument for the art historical
origins of original artwork found in Bay Area museums.
Defined Target
Scores*
(CLO Goal)
Actual Scores**
(eLumen data)
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 87.5%
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 89.16%
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 90.69%
(CLO) 4:
 If more CLOs are listed for the course, add another row to the table.
* Defined Target Scores: What scores in eLumen from your students would indicate success for this
CLO? (Example: 75% of the class scored either 3 or 4)
**Actual scores: What is the actual percent of students that meet defined target based on the eLumen
data collected in this assessment cycle?
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PART II: COURSE- LEVEL OUTCOME REFLECTIONS
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?
CLO 1 scores exceed the projected 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 projected assessment target are
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?
CLO 2 scores exceed the projected 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 projected assessment target are
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?
CLO 3 scores exceed the projected 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 projected assessment target are
appropriate.
D. COURSE-LEVEL OUTCOME (CLO) 4:
1. How do your current scores match with your above target for student success in this course
level outcome?
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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?
E. COURSE-LEVEL OUTCOME (CLO) 5: ADD IF NEEDED.
PART III: COURSE REFLECTIONS AND FUTURE PLANS
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 5 in the previous assessment cycle. CLOs and
their assessments were determined to be appropriate.
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?
No actions have been identified. ARTH 5 CLOs appear to assess appropriately and targets
appear appropriate as well.
3. What is the nature of the planned actions (please check all that apply)?
 Curricular
 Pedagogical
 Resource based
 Change to CLO or rubric
 Change to assessment methods
 Other:_________________________________________________________________
Appendix B2: “Closing the Loop” Course-Level Assessment Reflections.
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
ARTH 7
SPRING 2014
1
1
100%
SPRING 2015
Diane Zuliani, Dr. Kevin Muller
Form Instructions:
 Complete a separate Appendix B2 form for each Course-Level assessment reported in this
Program Review. These courses should be listed in Appendix B1: Student Learning Outcomes
Assessment Reporting Schedule.
 Part I: CLO Data Reporting. For each CLO, obtain Class Achievement data in aggregate for all
sections assessed in eLumen.
12


Part II: CLO Reflections. Based on student success reported in Part I, reflect on the individual
CLO.
Part III: Course Reflection. In reviewing all the CLOs and your findings, reflect on the course as
a whole.
PART I: COURSE-LEVEL OUTCOMES – DATA RESULTS
Defined Target
Scores*
(CLO Goal)
Actual Scores**
(eLumen data)
(CLO) 1: Differentiate trends in American Art.
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 92%
(CLO) 2: Interpret American art in historical context
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 93%
(CLO) 3: Interpret to advantage the visual qualities of
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 93%
CONSIDER THE COURSE-LEVEL OUTCOMES INDIVIDUALLY (THE
NUMBER OF CLOS WILL DIFFER BY COURSE)
American art.
(CLO) 4:
 If more CLOs are listed for the course, add another row to the table.
* Defined Target Scores: What scores in eLumen from your students would indicate success for this
CLO? (Example: 75% of the class scored either 3 or 4)
**Actual scores: What is the actual percent of students that meet defined target based on the eLumen
data collected in this assessment cycle?
PART II: COURSE- LEVEL OUTCOME REFLECTIONS
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?
CLO 1 scores exceed the projected 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 projected assessment target are
appropriate.
13
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?
CLO 2 scores exceed the projected 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 projected assessment target are
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?
CLO 3 scores exceed the projected 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 projected assessment target are
appropriate.
D. COURSE-LEVEL OUTCOME (CLO) 4:
3. How do your current scores match with your above target for student success in this course
level outcome?
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?
E. COURSE-LEVEL OUTCOME (CLO) 5: ADD IF NEEDED.
PART III: COURSE REFLECTIONS AND FUTURE PLANS
4. 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 7 in the previous assessment cycle. CLOs and
their assessments were determined to be appropriate.
14
Nevertheless, art history faculty make unplanned changes to their courses—quickly and
based on real-time observation—far more often than is possible to formally note in these
annual CLO assessments and reflections.
In his Spring 2014 section of ARTH 7, Dr. Muller made a significant, unplanned change to the
course. In the past, Dr. Muller’s students were incentivized to take thorough class notes
because they were allowed to use their notes during exams. This policy was much
appreciated by students, and Dr. Muller reported that the quality of exams was better for it
because students responded to exam questions with greater specificity.
Unfortunately, as time has progressed, Dr. Muller reports noticing that while students may
have an incentive to take good notes, they seem to be losing the ability to do so. Notetaking skills within each new crop of students are degrading. Dr. Muller attributes this
weakening of skills to the national shift towards a model of K-12 education where “teaching
to the test” forces a false binary in which every question has one given answer, and the goal
of “education” is getting from question to answer with little to no attention to the “why” of
the answer, which requires the thoughtful processing of information through research,
contemplation, case-building, and argument.
Realizing his students weren’t taking adequate notes to help them see the “why” of their
answers, Dr. Muller altered the nature of his course drastically, cutting his lecture time by
half and supplanting it with a daily worksheet exercise based on the current lecture topics.
After a shorter-than-usual lecture, students now work in groups to fill out the worksheets.
These worksheets are time-consuming to produce and time-consuming to review, but this is
Dr. Muller’s solution to the decline in note-taking skills that he has witnessed.
The worksheets were a success. Just as his shift to worksheets was getting underway, Dr.
Muller underwent his standard three-year evaluation, and his students reported that they
were grasping the material more fully and that they appreciated the way the worksheets
helped them process information. They also felt they did better on exams when they could
refer to completed worksheets instead of their own less-thorough, less well-organized class
notes.
One side effect of the worksheet is that Dr. Muller is unable to cover nearly as much arthistorical territory as he once could. With lecture cut down to fifty percent of what it was,
he covers less ground with students, but finds they learn the landscape much more
effectively.
5. 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?
Dr. Muller plans to implement the worksheet strategy into all of his Chabot lecture classes,
not just ARTH 7. These have not yet been assessed.
6. What is the nature of the planned actions (please check all that apply)?
 Curricular
 Pedagogical
15
Appendix B2: “Closing the Loop” Course-Level Assessment Reflections.
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
ARTH 20
FALL 2014
1
1
100%
SPRING 2015
Diane Zuliani, Dr. Kevin Muller
Form Instructions:
 Complete a separate Appendix B2 form for each Course-Level assessment reported in this
Program Review. These courses should be listed in Appendix B1: Student Learning Outcomes
Assessment Reporting Schedule.
 Part I: CLO Data Reporting. For each CLO, obtain Class Achievement data in aggregate for all
sections assessed in eLumen.
 Part II: CLO Reflections. Based on student success reported in Part I, reflect on the individual
CLO.
 Part III: Course Reflection. In reviewing all the CLOs and your findings, reflect on the course as
a whole.
PART I: COURSE-LEVEL OUTCOMES – DATA RESULTS
CONSIDER THE COURSE-LEVEL OUTCOMES INDIVIDUALLY (THE
NUMBER OF CLOS WILL DIFFER BY COURSE)
Defined Target
Scores*
(CLO Goal)
Actual Scores**
(eLumen data)
(CLO) 1: Given the sample provided, identify its period
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 55.5%
(technical processes).
(CLO) 2: Specify the specific technical, historic, and artistic 70 % of students Percentage of
score 2, 3, or 4
(meet the CLO)
issues of photography in the 19th century.
students who met
the CLO: 89.6%
(CLO) 3: Specify the specific technical, historic, and artistic 70 % of students Percentage of
score 2, 3, or 4
(meet the CLO)
issues of photography in the 20th century.
students who met
the CLO: 84.3%
(CLO) 4:
 If more CLOs are listed for the course, add another row to the table.
* Defined Target Scores: What scores in eLumen from your students would indicate success for this
CLO? (Example: 75% of the class scored either 3 or 4)
**Actual scores: What is the actual percent of students that meet defined target based on the eLumen
data collected in this assessment cycle?
16
PART II: COURSE- LEVEL OUTCOME REFLECTIONS
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?
CLO 1 scores fell below the projected 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?
Nearly half of students in this course performed below the target level for CLO 1, which
asked them to identify nineteenth century photographs by their technical processes.
To understand the reason for the low outcome, Zuliani surveyed her students. She asked
the class as a whole to describe its impression of the assessment and explain why, if they
performed poorly, they thought they were unable to identify photographs by their
technical processes. The class gave consistent answers. They uniformly agreed that the
assessment was fair—they agreed that it accurately matched the course content (in
general) and their study guide (specifically)—but that many simply had not worked with
their study guide adequately. Although they acknowledged that they had been told in class
what they would be required to know and do for the assessment—and were given a guide
to follow when preparing for it (and strongly encouraged to use it)—many said they didn’t
read their chapters or use the guide. Many said they didn’t use their guide because “I
thought I knew it.” Students expressed the sentiment that they were very busy with
midterms exams and work, and so didn’t read the pertinent book chapters or utilize their
study guide.
Based on these low outcomes, Zuliani reviewed the technical processes before moving on
to the next course topic.
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?
CLO 2 scores exceed the projected 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?
After the low outcomes of CLO 1 and the class survey about it, students’ performance
picked up immediately. They clearly got the message that they need to put in adequate
study time to achieve course goals. From that point on, CLO scores exceeded projected
targets.
17
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?
CLO 3 scores exceed the projected 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?
As per the reflection of CLO 1 and CLO 2 above, student performance from this point on
exceeded projected targets because students recognized the need to put in adequate
study time and use their study guides.
D. COURSE-LEVEL OUTCOME (CLO) 4:
5. How do your current scores match with your above target for student success in this course
level outcome?
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?
E. COURSE-LEVEL OUTCOME (CLO) 5: ADD IF NEEDED.
PART III: COURSE REFLECTIONS AND FUTURE PLANS
7. 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 20 in the previous assessment cycle. CLOs and
their assessments were determined to be appropriate. Despite the fact that the success target
was not met for CLO 1, faculty still feel CLO 1 and its assessment is appropriate, since the
student explanations pointed to their own lack of studying, not a problem with content delivery
or course management, as responsible for their poor performance on the assessment.
8. 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?
Zuliani is considering implementing the worksheet model developed by Dr. Muller in ARTH 20,
and perhaps in all her lecture courses. There is no absolutely compelling reason to make this
change—students generally exceed their outcome goals and Zuliani’s courses have high
enrollment, retention, and continuity rates, but Dr. Muller’s success with his worksheets is
compelling. This would be a drastic change to her current mode of content delivery, and would
18
have the downside of allowing her to cover far less material, but…it’s being taken into
consideration.
9. What is the nature of the planned actions (please check all that apply)?
Curricular
Pedagogical
Appendix B2: “Closing the Loop” Course-Level Assessment Reflections.
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
ARTH 51
SPRING 2014
1
1
100% of sections assessed
SPRING 2015
Diane Zuliani, Erica Mones
Form Instructions:
 Complete a separate Appendix B2 form for each Course-Level assessment reported in this
Program Review. These courses should be listed in Appendix B1: Student Learning Outcomes
Assessment Reporting Schedule.
 Part I: CLO Data Reporting. For each CLO, obtain Class Achievement data in aggregate for all
sections assessed in eLumen.
 Part II: CLO Reflections. Based on student success reported in Part I, reflect on the individual
CLO.
 Part III: Course Reflection. In reviewing all the CLOs and your findings, reflect on the course as
a whole.
PART I: COURSE-LEVEL OUTCOMES – DATA RESULTS
Defined Target
Scores*
(CLO Goal)
Actual Scores**
(eLumen data)
(CLO) 1: Articulate to advantage the history of museums.
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 91%
(CLO) 2: Differentiate duties of museum professionals.
70 % of students
score 2, 3, or 4
(meet the CLO)
Percentage of
students who met
the CLO: 83%
CONSIDER THE COURSE-LEVEL OUTCOMES INDIVIDUALLY (THE
NUMBER OF CLOS WILL DIFFER BY COURSE)
(CLO) 3: Implement to advantage proper museum-specific 70 % of students Percentage of
score 2, 3, or 4
(meet the CLO)
skills.
19
students who met
the CLO: 91%
(CLO) 4:
 If more CLOs are listed for the course, add another row to the table.
* Defined Target Scores: What scores in eLumen from your students would indicate success for this
CLO? (Example: 75% of the class scored either 3 or 4)
**Actual scores: What is the actual percent of students that meet defined target based on the eLumen
data collected in this assessment cycle?
PART II: COURSE- LEVEL OUTCOME REFLECTIONS
G. COURSE-LEVEL OUTCOME (CLO) 1:
7. How do your current scores match with your above target for student success in this course
level outcome?
CLO 1 scores exceed the projected target for student success.
8. 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 projected assessment target are
appropriate.
H. COURSE-LEVEL OUTCOME (CLO) 2:
7. How do your current scores match with your above target for student success in this course
level outcome?
CLO 2 scores exceed the projected target for student success.
8. 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 projected assessment target are
appropriate.
C. COURSE-LEVEL OUTCOME (CLO) 3:
7. How do your current scores match with your above target for student success in this course
level outcome?
CLO 3 scores exceed the projected target for student success.
8. 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 projected assessment target are
appropriate.
20
D. COURSE-LEVEL OUTCOME (CLO) 4:
7. How do your current scores match with your above target for student success in this course
level outcome?
8. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
E. COURSE-LEVEL OUTCOME (CLO) 5: ADD IF NEEDED.
PART III: COURSE REFLECTIONS AND FUTURE PLANS
10. What changes were made to your course based on the previous assessment cycle, the prior
Closing the Loop reflections and other faculty discussions?
Coordinating gallery programming outside of class time—which is required for the gallery’s success as a
campus facility—continues to be an issue. Erica Mones reports that, just as with the Spring 2013 section
of ARTH 51, Spring 14 students met their SLO targets and the course met the COR, but the gallery
continued to suffer as a facility without an operating budget and reassigned time for a coordinator to
manage the facility and its programming. One particular problem Erica faces in ARTH 51 is finding ways
to ensure that the gallery is staffed outside of class-time, which is a basic requirement if the gallery is to
have daily visiting hours for the campus and public.
11. 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 are imperative for reliable
functioning of the art gallery as an educational facility used by students and enjoyed by the campus
and community overall.
12. What is the nature of the planned actions (please check all that apply)?
 Resource based
21
Appendix C: Program Learning Outcomes
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.

PLO #3: none

PLO #4: none
What questions or investigations arose as a result of these reflections or discussions?
Our PLOs are appropriate for survey courses.
What program-level strengths have the assessment reflections revealed?
The program level strengths are the experience, breadth and depth of the faculty, and the enthusiasm of
the students.
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 student learning 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.
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 and
accessibility of analysis;
22
•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 theoryfirst 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 existing 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?
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.
23
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? If no, why should those
courses remain in our college catalog? YES
4. Do all of your courses have the required number of CLOs completed, with corresponding
rubrics? If no, identify the CLO work you still need to complete, and your timeline for
completing that work this semester. 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? If no, identify which courses still require this work, and
your timeline for completing that work this semester. YES
6. Have you developed and assessed PLOs for all of your programs? If no, identify programs which
still require this work, and your timeline to complete that work this semester. 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.
24
Appendix E(a): Proposal for New and Ongoing Initiatives and Projects
(Complete for each initiative/project)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, Equity, BSC, College Budget
Committee
Purpose: The project will require the support of additional and/or outside funding.
How does your project address the college's Strategic Plan goal, significantly improve student learning or
service, and/or address disproportionate impact?
ANNUAL REASSIGNED TIME FOR ART GALLERY COORDINATOR: .4 FTEF / 6 CAH
(SEE ALSO, APPENDIX F1B)
Reassigned time for coordination is imperative if the gallery is to meet its potential to serve as a facility
for arts-based learning, not just for Museum Studies students but for Chabot as a whole. 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 up to to six months in advance of exhibits—including in summer—to arrange the
upcoming year’s exhibit schedule
Research potential artists for future exhibits
Contact and correspond with multiple artists at once
Meet with artists in off hours
Conduct gallery outreach on campus and in the community
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
25
















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? (Note: Complete the Equity/BSI proposal in
Appendix E1 if you would like to request these funds and indicate “see Equity/BSI proposal for detail”)
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.
What learning or service area outcomes does your project address? Where in your program review are
these outcomes and the results of assessment discussed (note: if assessment was completed during a
different year, please indicate which year).
See art history narrative, Budget Impact, Appendix C1, Appendix E1, Appendix F1 and Appendix F2 in
Program Review 2015-2016.
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 data and description
of need by faculty experts.
26
Target
Completion
Date
10/26/15
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
27
Appendix E(b): Proposal for New and Ongoing Initiatives and Projects
(Complete for each initiative/project)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, Equity, BSC, College Budget
Committee
Purpose: The project will require the support of additional and/or outside funding.
How does your project address the college's Strategic Plan goal, significantly improve student learning or
service, and/or address disproportionate impact?
$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.
DATA TO SUPPORT THIS INITIATIVE
A survey of current Museum Studies students shows a full 100 percent of students said the ability to
rely on an ongoing operating budget for their laboratory—the art gallery—is either “moderately
important,” “important,” or “extremely important.”
Survey Available Upon Request
What is your specific goal and measurable outcome? (Note: Complete the Equity/BSI proposal in
Appendix E1 if you would like to request these funds and indicate “see Equity/BSI proposal for detail”)
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.
28
What learning or service area outcomes does your project address? Where in your program review are
these outcomes and the results of assessment discussed (note: if assessment was completed during a
different year, please indicate which year).
ARTH 50, (CLO) 2: “Demonstrate basic museum and art gallery techniques.” For further information see
2015-2016 Program Review, Appendix B2, Part Ic, IIc, IIIc, C1, E2.
What is your action plan to achieve your goal?
Target
Required Budget
Completion (Split out personnel, supplies,
other categories)
Date
Activity (brief description)
Submit request for an annual operating budget of $6,000 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.
$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-themoment 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
29
Appendix E1: Equity and Basic Skills Initiative Fund Requests:
Project Name: Museum Tickets for Art History Students
Contact Name: Diane Zuliani
Division/Discipline/Program/Office: AHSS/Art History
Contact info: (email, campus phone, cell phone): dzuliani@chabotcollege.edu, 723-6838, 274-5451
Check the student success indicator(s) your project will address
__ ACCESS: Enroll more of a population group to match their representation in community.
_X_ COURSE COMPLETION: Increase success rates in identified courses.
__ ESL AND BASIC SKILLS COMPLETION:
Increase success rates in ESL or Basic Skills courses, and
Increase the completion of degree/transfer courses by ESL or Basic Skills students.
__DEGREE AND CERTIFICATE COMPLETION:
Increase percent of degrees/certificates among degree/certificate-seeking students.
_X_TRANSFER
Increase percent of transfers to 4-year colleges among transfer-directed students.
Check the type of project you are proposing
___ Curriculum/Program improvement ____ Outreach
_X__ Direct student intervention
__X__ Instructional Support
___ Faculty development
____ Research and Evaluation
___Other:
____ Coordination and Planning
To determine whether your project can be funded by Equity funds:
1) Does your proposal address disproportionate impact for any of the following target student
populations marked with an “X”? Please highlight the “X” that corresponds with your target populations.
(Equity funds must address specific opportunity gaps identified below with an “X”)
GOALS
Goal A:
Goal B:
Goal C:
Goal D1:
Goal D2:
Goal E:
Access
Course
ESL/Basic
Degree
Cert
Transfer
Completion Skills
Completion Completion
/ Success
Success
Rates
Males
X
Foster Youth
Students with
disabilities
Low-income
Veterans
X
X
X
X
X
X
American Indian or
Alaska Native
Asian
Black or African
X
X
X
30
X
X
X
X
X
X
American
Filipino
X
Hispanic or Latino
X
Hawaiian or Pacific
Islander
White
X
X
X
X
X
X
X
X
X
X
X
X
X
2) COLLABORATIVE PARTNERS
In what ways does your project include collaboration between academic and student services and/or
with the community? (Equity proposals that partner to reach target populations are prioritized over
proposals that do not)
Collaborative partners in this project are Bay Area art museums, such as the Oakland Museum (art of
California), The San Francisco Museum of Contemporary Art (Global art), the Mexican Museum
(ancient to contemporary Mexican art), the de Young Museum (European, African, Oceanic, and Art of
the Americas), the Asian Art Museum (South, Southeast, Central, and East Asian art) and the
Rosicrucian Egyptian Museum (Egyptian and other African art).
To determine how your project fits into your discipline’s or program’s planning:
1) Is your project mentioned in your area’s latest program review?
_X_ Yes, in this Program Review
__ No
2) Does your immediate administrator support this project?
_X_ Dr. Walter and I haven’t discussed it yet __ Yes
3) How have you shared this proposal with others in the relevant area, discipline, or division? When did
this conversation take place and who was involved? Yes, it was discussed with Dr. Muller and Erica
Mones in preparatory conversations regarding this Program Review.
PROJECT GOALS, ACTIVITIES, BUDGET, OUTCOMES, AND EVALUATION
GOAL
What does your project hope to achieve overall?
All art history students are required to visit a Bay Area museum to see and write about original works
of art on view there. The goal of the assignment is to deepen the cultural sensitivity of all students to
the beauty and meaning of art from cultures both in and outside the Western tradition, and to
connect students to the cultural icons of their own heritage.
The goal of this proposal would be to financially assist Chabot students with this requirement by
paying for the entry ticket cost. Cost of entry tickets for these museums for students with I.D. is
currently between $6.00 and $16.00, which they must pay for in addition to the cost of transportation
(gas or BART) and parking. Because the museum visit is a requirement, this use of Equity funds would
facilitate course completion, and it would also be a form of direct intervention, because these funds
31
would pay for museum entry so students can save money to pay bills, for child care, and for other
purchases.
DOCUMENTING NEED AND SOLUTION
Please provide data to support the need for your project and the solution you propose.
Supporting Data
According to class surveys on this topic conducted this semester, 79% of current Art History students
find that the cost of a museum ticket presents a degree of financial strain ranging from “moderate” to
“significant.”
Student comments on the topic are provided below:
“It would help me, I’m a student that is paying college without any financial aid! So to earn a ticket
would be a blessing to me.”
“This would send the message that the college is looking to allow me a good chance at passing this
class.”
“The message is that the school cares about a variety of learning.”
“It would show me that my college actually cares about me visiting a museum.”
“Make a student less stressed about paying for school and books and assignments like these.”
“It would show the institution has an understanding of the present financial strain many of their
students have—it is a more affordable community college + more than likely students could use the
assistance.”
“It would seem that the school wants us to have a thirst for knowledge outside school.”
“I currently don’t have a job and my pocket money is already spent on necessities and college
materials / transportation.”
“I believe it would show that the school has a proper interest in the arts and believes that education
around it is valuable.”
“I would know that my college cared about the academic growth of students outside the campus.”
SURVEYS AVAILABLE UPON REQUEST
ACTIVITIES
Please list all the activities (A.1, A. 2, A.3, etc.) that you propose to do to reach your goal.
List activities by target date in chronological order.
Identify the responsible person/group for each activity, and who will be involved.
32
1. By Census Day of the Fall 2016 semester, Diane Zuliani will have communicated with museums to
learn how to purchase tickets in bulk.
2. Also by Census Day of the Fall 2016 semester, Diane Zuliani will communicate information on bulk
purchasing to the Equity Council, and will also state exactly how many tickets are required, to which
museums, and at what cost, for that semester.
3. By September 30, 2016, the Equity Council will have purchased tickets for student use.
4. By last day of the Fall 2016 semester, Art History students will have visited a museum.
5. Also by last day of the semester, Zuliani will provide Equity Council with W numbers of all students
who visited a museum.
BUDGET
Provide a budget that shows how the funds will be spent to support the activities.
Estimated number of students: 391
Average cost of entry tickets: $11.00
Estimated budget: $4,301.00
These funds would pay for entry tickets so more students can successfully fulfill this course
requirement, and therefore have a better chance at completing their art history course. It will also
help students save money to pay bills, or cover child care, or make other purchases.
EXPECTED OUTCOMES and EVALUATION
How will you know whether or not you have achieved your goal?
What measurable outcomes are you hoping to achieve for the student success indicator and target
population you chose?
How will you identify the students who are affected (are they part of a class, a program, or a service, or
will you need to track them individually)?
The measureable outcome I’m hoping to achieve is 100% of Art History students in Fall 2016 complete
their museum visit assignment, with is critical to course completion.
Students affected will all be enrolled in Art History courses and their W numbers will be provided.
33
Appendix F1A: Full-Time Faculty Request(s) [Acct. Category 1000]
Audience: Faculty Prioritization Committee and Administrators
Purpose: Providing explanation and justification for new and replacement positions for full-time faculty
Instructions: Please justify the need for your request. Discuss anticipated improvements in student
learning and contribution to the Strategic Plan goal. 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/Data2015.asp
Spreadsheet: To be considered, requests must be added to the Resource Request Spreadsheet. You can
find the template for the spreadsheet here:
http://www.chabotcollege.edu/prbc/academicprogramreview.asp. Add your requests to your
spreadsheet under the 1000a tab and check the box below once they’ve been added.
Total number of positions requested (please fill in number of positions requested):
☐
Summary of positions requested completed in Program Review Resource Request
Spreadsheet (please check box to left)
CHABOT COLLEGE
CRITERIA FOR FILLING CURRENT VACANCIES
OR
REQUESTING NEW FACULTY POSITIONS
Discipline ___________
Criteria 1.
Percent of full-time faculty in department.
Fall 2012 Spring 2013
Fall 2013
Spring 2014
Fall 2014
FTEF
(Contract)
FTEF
(Temporary)
# of Contract
Faculty
Name of Recently Retired Faculty (in last 3 yrs)
34
Date Retired
Criteria 2.
Semester end departmental enrollment pattern for last three years.
Fall 2012
Spring
2013
Fall 2013
Spring
2014
Fall 2014
Success Rate:
FTES:
Briefly describe how a new hire will impact your success/retention rates.
2b. Librarian and Counselor faculty ratio. Divide head count by the number of full
time faculty. For example, 8000 students divided by 3 full time faculty, 1:2666
Fall 2012
Criteria 3.
Spring 2013
Fall 2013
Spring 2014
Fall 2014
Meets established class size.
Fall 2012
Spring 2013
Fall 2013 Spring 2014
WSCH
FTES:
WSCH/FTES
If there are any external factors that limit class sizes, please explain.
35
Fall 2014
Criteria 4.
Current instructional gaps and program service needs. List the courses to fill
the gaps, if applicable.
Criteria 5.
Describe how courses and/or services in this discipline meet PRBC’s three
tier criteria. These include:
 Tier 1: outside mandates (e.g. to ensure the licensure of the program.)
 Tier 2: program health, (e.g. addresses gaps in faculty expertise and creates
pathways, alleviates bottlenecks, helps units where faculty have made large
commitments outside the classroom to develop/implement initiatives that
support the strategic plan goal, and helps move an already successful initiative
forward.
 Tier 3: Student need/equity, (e.g. addresses unmet needs as measured by
unmet/backlogged advising needs, bottlenecks in GE areas and basic skills,
impacted majors in which students cannot begin or continue their pathway.)
36
Criteria 6.
Upon justification the college may be granted a faculty position to start a new
program or to enhance an existing one.
Is this a new program or is it designed to enhance an existing program? Please
explain.
Criteria 7.
CTE Program Impact.
Criteria 8.
Degree/Transfer Impact (if applicable)
List the Certificates and/or AA degrees that your discipline/program offers.
Provide information about the number of degrees awarded in the last three years.
Degree/Certificate
# Awarded
2012-2012
2012-2013
2013-2014
AA requirement
GE transfer requirement
Declared major
Criteria 9.
Describe how courses and/or services in this discipline impact other
disciplines and programs. Be brief and specific. Use your program review to
complete this section.
37
Criteria 10.
Additional justification e.g. availability of part time faculty (day/evening)
Please describe any additional criteria you wish to have considered in your
request.
38
Appendix F1B: Reassign Time Request(s) [Acct. Category 1000]
Audience: Administrators
Purpose: Provide explanation and justification for work to be completed. (Note: positions require job
responsibility descriptions that are approved by the appropriate administrator(s).)
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.
Instructions: Please justify the need for your request. Discuss anticipated improvements in student
learning and contribution to the Strategic Plan goal. 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/Data2015.asp
REASSIGNED TIME FOR ART GALLERY COORDINATOR
We are asking for an annual .4 FTEF (6 CAH) reassigned time for an art gallery coordinator. Other areas that
offer comparable cultural programming—Music and Theater Arts—already receive paid reassigned time to
cover coordination. The Chabot Art Gallery is in no way less important to the college or less time consuming
to manage than Music or Theater Arts.
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 enough to 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 up to six months in advance of exhibits—including in summer—to arrange the upcoming year’s
exhibit schedule
Research potential artists for future exhibits
Contact and correspond with multiple artists at once
Meet with artists in off hours
Conduct gallery outreach across campus and in the community
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
39



















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 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
SUPPORTING DATA
According to a survey of students currently enrolled in Museum Studies, 100 percent of students believe it is
“moderately important” or “important” that their instructor be compensated for managing the gallery
outside the context of teaching the class.
Student comments on the topic are as provided below:
“It would show that Chabot takes its art program seriously if they were to compensate the instructor for the
work she does in the gallery.”
“The instructor deserves to get paid for the effort she does and you really do learn about art gallery,
museums, and build skills.”
“We ain’t need no teacher to pay something out-of-pocket while there are funds to run this class. And plus,
we don’t want to make the teacher and us students feel that this class is isolated from other classes offered
here in Chabot.”
40
“I think funding the gallery would be great b/c I believe that the instructor would use the funds appropriately
for what the class needs.”
SURVEYS AVAILABLE UPON REQUEST
THE ART GALLERY, ENROLLMENT MANAGEMENT DATA, AND THE BIGGER PICTURE
In addition to the data referred to above, enrollment management data also support this request, but
enrollment management data do not provide the complete picture. The Art History program has a good
WSCH/FTEF of 617.74, which encompasses both high-productivity lecture courses and lower-enrolled lab
courses in museum studies. The average 1.73 FTEF now supporting the discipline per term is spread among
one full-timer (1.01 FTEF) and three part-timers (.73). Approximately 800 students are enrolling 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.
Spreadsheet: To be considered, requests must be added to the Resource Request Spreadsheet. Add
your requests to your spreadsheet under the 1000b tab and check the box below once they’ve been
added.
Total number of hours requested and the type of contact hour:
☒
6 CAH per year / Alternate Duty Fhour rate
Summary of hours requested completed in Program Review Resource Request Spreadsheet
(please check box to left)
41
Appendix F2A: Classified Staffing Request(s) [Acct. Category 2000]
Audience: Administrators, PRBC, Classified Prioritization Committee
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 complete a separate Classified Professionals Staffing Request form for each position
requested and attach form(s) as an appendix to your Program Review.
Spreadsheet: To be considered, requests must be added to the Resource Request Spreadsheet AND a
separate Classified Professionals Staffing Request form must be completed for each position requested.
Add your requests to your spreadsheet under the 2000a tab and check the box below once they’ve
been added.
Please click here to find the link to the Classified Professional Staffing Request form:
http://www.chabotcollege.edu/prbc/APR/2016-17%20Classified%20Professionals%20Staffing%20Request%20Form.pdf
This is a fillable PDF. Please save the form, fill it out, then save again and check the box below once
you’ve done so. Submit your Classified Professionals Staffing Request form(s) along with your Program
Review Narrative and Resource Request spreadsheet.
Total number of positions requested (please fill in number of positions requested):
☐
Separate Classified Professionals Staffing Request form completed and attached to Program
Review for each position requested (please check box to left)
☐
Summary of positions requested completed in Program Review Resource Request
Spreadsheet (please check box to left)
42
Appendix F2B: Student Assistant Requests [Acct. Category 2000]
Audience: Administrators, PRBC
Purpose: Providing explanation and justification for student assistant 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 these positions are categorically funded, include
and designate the funding source of new categorically-funded positions where continuation is
contingent upon available funding.
Rationale for proposed student assistant positions:
How do the assessments that you preformed to measure student learning outcomes (SLO’s) or service
area outcomes (SAO’s) support this request?
Spreadsheet: To be considered, requests must be added to the Resource Request Spreadsheet. Add
your requests to your spreadsheet under the 2000b tab and check the box below once they’ve been
added.
Total number of positions requested (please fill in number of positions requested):
☐
Summary of positions requested completed in Resource Request Spreadsheet (please check
box to left)
Appendix F3: FTEF Requests
43
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 at
http://www.chabotcollege.edu/ProgramReview/Data2015.asp
COURSE
CURRENT
FTEF
(2015-16)
ADDITIONAL
FTEF
NEEDED
CURRENT
SECTIONS
ADDITIONAL
SECTIONS
NEEDED
CURRENT
STUDENT #
SERVED
ADDITIONAL
STUDENT #
SERVED
Appendix F4: Academic Learning Support Requests [Acct. Category 2000]
44
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.
Spreadsheet: To be considered, requests must be added to the Resource Request Spreadsheet. Add
your requests to your spreadsheet under the 2000b tab and check the box below once they’ve been
added.
Total number of positions requested (please fill in number of positions requested):
☐
Summary of positions requested completed in Program Review Resource Request
Spreadsheet (please check box to left)
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.
How do the assessments that you preformed to measure student learning outcomes (SLO’s) or service
area outcomes (SAO’s) support this request?
Appendix F5: Supplies Requests [Acct. Category 4000]
Audience: Administrators, Budget Committee, PRBC
45
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 anticipated budgets and additional funding
requests for categories 4000. Do NOT include conferences and travel, which are submitted on Appendix
F6. Justify your request and explain in detail the need for any requested funds beyond those you
received this year. Please also look for opportunities to reduce spending, as funds are limited.
Spreadsheet: To be considered, requests must be added to the Resource Request Spreadsheet.
Follow the link below and check the box below once they’ve been added.
☐
SUPPLIES tab (4000) completed in Program Review Resource Request Spreadsheet (please
check box to left)
How do the assessments that you preformed to measure student learning outcomes (SLO’s) or service
area outcomes (SAO’s) support this request?
Appendix F6: Contracts & Services, Conference & Travel Requests [Acct.
Category 5000]
Audience: Staff Development Committee, Administrators, Budget Committee, PRBC
46
Purpose: To request funding for contracts & services and 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. Your rationale should discuss student learning goals and/or
connection to the Strategic Plan goal.
Spreadsheet: To be considered, requests must be added to the Resource Request Spreadsheet.
Follow the link below and check the box below once they’ve been added.
1.
2.
There should be a separate line item for each contract or service.
Travel costs should be broken out and then totaled (e.g., airfare, mileage, hotel, etc.)
☐
TRAVEL/SERVICES tab (5000) completed in Program Review Resource Request Spreadsheet
(please check box to left)
Rationale:
How do the assessments that you preformed to measure student learning outcomes (SLO’s) or service
area outcomes (SAO’s) support this request?
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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.
Spreadsheet: To be considered, requests must be added to the Resource Request Spreadsheet.
Follow the link below and check the box below once they’ve been added.
☒
EQUIPMENT tab (6000) completed in Program Review Resource Request Spreadsheet (please
check box to left)
Please follow the link here to make your request and summarize below
http://intranet.clpccd.cc.ca.us/technologyrequest/default.htm
1. Apple iPad Air 2 wifi + cellular 64 GB for Art History & Museum Studies city /
museum / gallery / architectural field trips & walking tours
2. Logitech keyboard folio case for use with above iPad
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Appendix F8: Facilities Requests
Audience: Facilities Committee, Administrators
Purpose: To be read and responded to by Facilities Committee.
Background: Although some of the college's greatest needs involving new facilities cannot be met with
the limited amount of funding left from Measure B, smaller pressing needs can be addressed. Projects
that can be legally funded with bond dollars include the "repairing, constructing, acquiring, and
equipping of classrooms, labs, sites and facilities." In addition to approving the funding of projects, the
FC participates in addressing space needs on campus, catalogs repair concerns, and documents larger
facilities needs that might be included in future bond measures. 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:
Type of Request
___ Space Need
___ Small Repair
___ Large Repair
___ Building Concern
___ Larger Facility Need
___ Other (grounds, signage…)
Description of the facility or grounds project. Please be as specific as possible.
What educational programs or institutional purposes does this request support and with whom are you
collaborating?
Briefly describe how your request supports the Strategic Plan Goal?
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