Reading Five: How Should We Assess Student Understanding in Art?
September 27, 2014
Summary
In the past, assessment was not considered a necessary component of art curriculum by many (but not all) art educators. Nonetheless, as a need for accountability began to arise and the introduction of art standards occurred, assessment became desirable and needed. Today, assessment in the art classroom is essential. It provides “opportunities for students to demonstrate their knowledge, skills, and understanding” and it provides a way for the teacher to evaluate their student’s learning (Stewart & Walker, 2005, p. 90). Assessment is also for the educator to further improve their instructional practice. The problem that often arises is that art assessment can be vague, highly subjective, and can be based on personal aesthetic biases (Gruber, 2008). Stewart and Walker explain that designing good assessment forces the educator to think about what is really important for their students to learn and carry with them into adulthood. Therefore, assessment development must be specific and include a variety of strategies. These strategies can include but are not limited to rubrics, observation, critiques, interviews, journals, portfolios, quizzes and test, self-assessments, and projects.
Examples
One formative example provided by Stewart and Walker involved allowing students to participate in the creation of their own rubric. This activity offered an occasion for students to use complex cognitive thinking as they walked through the decision making process. The rubric helped students focus their attention on the desired expectations and objectives, and provided an opportunity for them to demonstrate knowledge and understanding of the unit. In addition, it provided the teacher with a way to observe to what extent the students used critical thinking skills and understood the enduring idea.
A second example in the chapter involved using a form of self-assessment as part of the project. During a high school art lesson on cultural influence, students were asked to create a painting and write a vignette afterwards. The writing involved answering specific questions designed to assess the student’s artwork and explore their understanding of the study. Their answers revealed the ideas behind their artwork, an explanation of the tools and methods they used to communicate cultural influence, and offered a comparison of their work to the artists included in the lesson. This assessment provided the students with an opportunity to stop and reflect on their performance and what they learned, while also providing the teacher with a way to assess their comprehension and understanding of the lesson. Although this method of self-assessment is detailed, self-assessments can also be as simple as one line written on a post-it note describing something the student learned in class that day.
Another example in the chapter explored the use of portfolios. During a unit on celebrations, a primary-level teacher had students store their work in mini portfolios. As they approached the end of the unit, the teacher reviewed the objectives and the rubric with the class. The students then picked the items that best exhibited their understanding of the concepts and skills addressed in the unit. This provided students with a chance to focus and review the main objectives of the lesson and self-assess their work. Their selection also provided the teacher with an indication of their understanding of the concepts behind the unit and their skill implementing those ideas. In addition, the portfolio in its entirety gave the teacher a comprehensive measure of the student’s learning and development progressed through the unit.
Personal Reflection
As Gruber (2008) pointed out, “assessment strategies must not be so labor intensive or intrusive that they leave little time for teaching, or that they de-emphasize the creative process” (p. 5). With time being my biggest challenge, I need to pay heed to this statement. Adjustments I can easily incorporate include more specific rubrics for projects. The suggested idea of having students create their own rubric seems a little foreign but I have found that students often set high standards for themselves. So this may be something that I try in the future. Another thing I noticed throughout the discussion board and the readings was the suggestion of discussing, posting, and reviewing, the rubric throughout the project. This adjustment would benefit my students immediately. I can see how spending a few minutes reviewing at the beginning of class can save a lot of time answering questions and redirecting students throughout the project. Another suggestion made during the NAEA conference by Samantha Melvin involved not only having exit tickets but having entrance tickets as well. Students must reflect on one thing from their previous art class before entering the room, another easy addition that doesn’t require a lot of time.
References
Gruber, D. D. Measuring Student Learning in Art Education. Art Education, 61(5), 40- 45. Retrieved September 27, 2014
Melvin, Samantha. "Elementary: Exploring Creative Practices in an Elementary Art Classroom." NAEA. Washington D.C. 27 Sept. 2014. Web. 27 Sept. 2014.
Roland, D. C. (Narrator). Roland, D. C. (Writer). Art Assessment PowerPoint Presentation [Online video]. Retrieved September 24, 2014, from
http://streaming.video.ufl.edu/~are6247/assessment.wmv
Stewart, M. G., & Walker, S. R. (2005). Rethinking Curriculum in Art (pp. 37-61).
Worcester, MA: Davis Publications, Inc.
September 27, 2014
Summary
In the past, assessment was not considered a necessary component of art curriculum by many (but not all) art educators. Nonetheless, as a need for accountability began to arise and the introduction of art standards occurred, assessment became desirable and needed. Today, assessment in the art classroom is essential. It provides “opportunities for students to demonstrate their knowledge, skills, and understanding” and it provides a way for the teacher to evaluate their student’s learning (Stewart & Walker, 2005, p. 90). Assessment is also for the educator to further improve their instructional practice. The problem that often arises is that art assessment can be vague, highly subjective, and can be based on personal aesthetic biases (Gruber, 2008). Stewart and Walker explain that designing good assessment forces the educator to think about what is really important for their students to learn and carry with them into adulthood. Therefore, assessment development must be specific and include a variety of strategies. These strategies can include but are not limited to rubrics, observation, critiques, interviews, journals, portfolios, quizzes and test, self-assessments, and projects.
Examples
One formative example provided by Stewart and Walker involved allowing students to participate in the creation of their own rubric. This activity offered an occasion for students to use complex cognitive thinking as they walked through the decision making process. The rubric helped students focus their attention on the desired expectations and objectives, and provided an opportunity for them to demonstrate knowledge and understanding of the unit. In addition, it provided the teacher with a way to observe to what extent the students used critical thinking skills and understood the enduring idea.
A second example in the chapter involved using a form of self-assessment as part of the project. During a high school art lesson on cultural influence, students were asked to create a painting and write a vignette afterwards. The writing involved answering specific questions designed to assess the student’s artwork and explore their understanding of the study. Their answers revealed the ideas behind their artwork, an explanation of the tools and methods they used to communicate cultural influence, and offered a comparison of their work to the artists included in the lesson. This assessment provided the students with an opportunity to stop and reflect on their performance and what they learned, while also providing the teacher with a way to assess their comprehension and understanding of the lesson. Although this method of self-assessment is detailed, self-assessments can also be as simple as one line written on a post-it note describing something the student learned in class that day.
Another example in the chapter explored the use of portfolios. During a unit on celebrations, a primary-level teacher had students store their work in mini portfolios. As they approached the end of the unit, the teacher reviewed the objectives and the rubric with the class. The students then picked the items that best exhibited their understanding of the concepts and skills addressed in the unit. This provided students with a chance to focus and review the main objectives of the lesson and self-assess their work. Their selection also provided the teacher with an indication of their understanding of the concepts behind the unit and their skill implementing those ideas. In addition, the portfolio in its entirety gave the teacher a comprehensive measure of the student’s learning and development progressed through the unit.
Personal Reflection
As Gruber (2008) pointed out, “assessment strategies must not be so labor intensive or intrusive that they leave little time for teaching, or that they de-emphasize the creative process” (p. 5). With time being my biggest challenge, I need to pay heed to this statement. Adjustments I can easily incorporate include more specific rubrics for projects. The suggested idea of having students create their own rubric seems a little foreign but I have found that students often set high standards for themselves. So this may be something that I try in the future. Another thing I noticed throughout the discussion board and the readings was the suggestion of discussing, posting, and reviewing, the rubric throughout the project. This adjustment would benefit my students immediately. I can see how spending a few minutes reviewing at the beginning of class can save a lot of time answering questions and redirecting students throughout the project. Another suggestion made during the NAEA conference by Samantha Melvin involved not only having exit tickets but having entrance tickets as well. Students must reflect on one thing from their previous art class before entering the room, another easy addition that doesn’t require a lot of time.
References
Gruber, D. D. Measuring Student Learning in Art Education. Art Education, 61(5), 40- 45. Retrieved September 27, 2014
Melvin, Samantha. "Elementary: Exploring Creative Practices in an Elementary Art Classroom." NAEA. Washington D.C. 27 Sept. 2014. Web. 27 Sept. 2014.
Roland, D. C. (Narrator). Roland, D. C. (Writer). Art Assessment PowerPoint Presentation [Online video]. Retrieved September 24, 2014, from
http://streaming.video.ufl.edu/~are6247/assessment.wmv
Stewart, M. G., & Walker, S. R. (2005). Rethinking Curriculum in Art (pp. 37-61).
Worcester, MA: Davis Publications, Inc.
