ARTS AND HUMANITIES CATEGORY 6 GENERAL EDUCATION ASSESSMENT GECCIG REPORT June 25, 2009 GECCIG COMMITTEE MEMBERS: Gerard Alosio, Thomas Hendrickson, David Laverny-Rafter, Elizabeth Miller, Steven Smith (Chair) A. PROCESS: Samples of student work was gathered during Fall 2008 and Spring 2009 from students whose Tech ID ends with 5. The work collected was of many different types due to the large variety of offerings within the College of Arts and Humanities. Although this group is identified as a committee, it was determined very early on that it was difficult to work in a committee in the traditional sense where the group would assemble together and collectively go over data. It proved difficult to find a suitable meeting time. The committee also recognized that they would be faced with comparing apples and oranges due to the large variety of class formats involved. Therefore, it was decided to each individually collect and analyze data and write separate reports, with the chair of the committee submitting a summary of the data. Each committee member collected data samples and applied the following three rubrics to individually formulate whether classes in the committee members’ department were meeting the objectives of General Education Category 6. 1. Student can create and/or critique a work in the arts or the humanities 1. Student has observed a work of art or a work in the humanities. 2. Student can create a work of art or a work in the humanities, and critique a work of art or a work in the humanities. 3. Student can create a work in the arts and/or humanities, and can critique a work of art and/or evaluate a work in the humanities. 4. Student can create a work in the arts and/or humanities, and can develop and use acceptable criteria to critique a work of art and/or evaluate a work in the humanities. 2. Student displays knowledge of the scope and variety of works in the arts and humanities. 1. Students can list works in the arts and humanities from different eras, or list works that deal with different issues from the same era. 2. Students can describe works in the arts or humanities from different eras, or discuss works that deal with different issues from the same era. 3. Students can compare and contrast works in the arts or humanities from different eras, and compare and contrast works that deal with different issues from the same era. Student comparison shows a depth of knowledge concerning the works compared. 4. Students can compare and contrast works in the arts and humanities from different eras, and compare and contrast works that deal with different issues
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ARTS AND HUMANITIES CATEGORY 6
GENERAL EDUCATION ASSESSMENT GECCIG REPORT
June 25, 2009 GECCIG COMMITTEE MEMBERS: Gerard Alosio, Thomas Hendrickson, David
Laverny-Rafter, Elizabeth Miller, Steven Smith (Chair)
A. PROCESS:
Samples of student work was gathered during Fall 2008 and Spring 2009 from students whose Tech ID ends with 5. The work collected was of many different types due to the large variety of offerings within the College of Arts and Humanities. Although this group is identified as a committee, it was determined very early on that it was difficult to work in a committee in the traditional sense where the group would assemble together and collectively go over data. It proved difficult to find a suitable meeting time. The committee also recognized that they would be faced with comparing apples and oranges due to the large variety of class formats involved. Therefore, it was decided to each individually collect and analyze data and write separate reports, with the chair of the committee submitting a summary of the data. Each committee member collected data samples and applied the following three rubrics to individually formulate whether classes in the committee members’ department were meeting the objectives of General Education Category 6. 1. Student can create and/or critique a work in the arts or the humanities
1. Student has observed a work of art or a work in the humanities. 2. Student can create a work of art or a work in the humanities, and critique a
work of art or a work in the humanities. 3. Student can create a work in the arts and/or humanities, and can critique a
work of art and/or evaluate a work in the humanities. 4. Student can create a work in the arts and/or humanities, and can develop
and use acceptable criteria to critique a work of art and/or evaluate a work in the humanities.
2. Student displays knowledge of the scope and variety of works in the arts and humanities.
1. Students can list works in the arts and humanities from different eras, or list works that deal with different issues from the same era.
2. Students can describe works in the arts or humanities from different eras, or discuss works that deal with different issues from the same era.
3. Students can compare and contrast works in the arts or humanities from different eras, and compare and contrast works that deal with different issues from the same era. Student comparison shows a depth of knowledge concerning the works compared.
4. Students can compare and contrast works in the arts and humanities from different eras, and compare and contrast works that deal with different issues
from the same era. Student comparison shows a depth of knowledge concerning the works compared.
3. Student displays understanding of the relationship between the arts and the humanities and culture.
1. Student can identify a relationship or a connection between a work in the arts and/or the humanities and society.
2. Student can explain a relationship or a connection between a work in the arts and/or the humanities and society.
3. Student can explain how works in the arts and humanities help to define, create, recreate, change or sustain a society, or how that society creates conditions or constraints for the creation of works in the arts and humanities.
4. Student can explain how works in the arts and humanities help to define, create, recreate, change or sustain a society, and how that society creates conditions or constraints for the creation of works in the arts and humanities.
Each individual committee members’ report has been added to this document after this summary page. It was left to the discretion of each member to determine what forms of data were to be collected and how the three rubrics were to be applied. B. RESULTS Each individual committee member reached their own carefully crafted conclusions from individual analysis of all data collected and anyone reviewing this document is encouraged to review all of the individual reports. In summary, each report found that the classes examined were meeting the GECCIC 6 requirements. C. RECOMMENDATIONS
When the committee first met, its members were faced with the task of deciding to use
the existing GECCIC 6 rubrics or revise and create an improved standard to apply to all
of the data collected. The task of making such a revision was dismissed as too
daunting a task and thus the existing three rubrics were again utilized. This assessment
tool needs to be reviewed and revised by a committee whose sole purpose is to revamp
the assessment procedure.
Several of the committee members felt that a larger sampling of students would be
more suitable for accurately assessing the outcome of an entire class, rather than
depending on a much smaller sampling such as students whose Tech ID ends in 5.
Some individual committee members used a larger sampling size since they had the
data available and the resources to go over a larger set of data. In many of the smaller
classes examined, there may only be a few students representing the entire class.
This committee made great strides in overcoming the question of large format lecture
style classes where the only data available was in the form of multiple choice exams. In
this style of class, individual questions from each exam administered were selected that
specifically addressed each of the three rubrics. In this way, statistics were generated
that could demonstrate numerically whether the class being examined met the
requirements of the General Education Category. Previous GECCIC reports did not
include or examine large format classes at all. One suggestion in regards to the large
format classes is that instructors review the three rubrics and keep them in mind when
crafting exam questions to facilitate data analysis for future GECCIC reports.
FALL 2008/SPRING 2009: CATEGORY 6 ASSESSMENT OF ART 160:
ART 160: Introduction to Visual Culture
Individual assessments were completed for the following general education
course:
� Art 160: Introduction to Visual Culture
We addressed the criteria for evaluation in relation to each course included
in this assessment. However, Art 160 is unique in its class size and other
aspects of course delivery. The only art course offered outside of Nelson Hall,
Art 160 seeks to provide an introduction to visual culture to over 800
students, in four sections, each academic year. Assessment included review of
student writing assignments, qualitative information from student
interactions, and the usual quantitative measures of standard course
evaluation forms.
ART 160: INTRODUCTION TO VISUAL CULTURE
“Following the completion of Category 6 of the General Education Program,
students can”:
1) Create and/or critique artistic performances:
Art 160: Introduction to Visual Culture provides an overview of
visual culture – historically and in contemporary society. Objectives
include understanding:
• the role of the artist
• the role of the observer
• the role of art in society
• the role of Art 160 in the context of other general education courses
Within this context, students critique works of art based on objectives
specific to the course.
Typical assignments asks students to critique a work of art
addressing:
� Form and content in visual culture
� A personal critique of art work(s) utilizing the
vocabulary of the course text
� Reactions to specific art works or videos about visual
culture as in-class writing assignments.
The following writing samples from Art 160 students demonstrate
their use of vocabulary and reactions to the formal elements of art:
“There is a lot of negative space in each of the three drawings
although the pictures do not look empty.”
“The whole piece is balanced asymmetrically.”
“Lines descend from the rooftop and intersect with the contoured
line bordering the roof. Implied lines direct my sights starting at
the entrance, working upward to the right, then down.”
“The bold lines in this piece, although stylized as propaganda, are
also reminiscent of pop art.”
The defined objectives encourage students to not only engage with
artwork, but they must do so in ways consistent with the process of
art criticism – using its unique vocabulary and methods. Similar to
the assessed studio courses, Art 160 helps students to grapple with
specific content and subject matter while also incorporating their
own ideas and point-of-view. This, in turn, links their
understanding of how form and content interact. These written
assignments challenge students to think about visual culture in new
ways.
As stated in the Art 160 syllabus, the objective of the course is to
help students learn to be a fully informed observer, better
understand the role of the artist, and the role of art in society.
Critiquing examples of visual culture ties these objectives to the
overall goal of providing a solid general education exposure to the
world of art.
In summary, students: 1) build a critical vocabulary of formal issues
in visual culture, 2) better understand the historical context of
visual culture, and
3) gain exposure to diverse examples of contemporary visual culture.
Again, this mirrors the intent of Art Department studio courses by
developing strong critical thinking and analysis skills.
2) Demonstrate awareness of the scope and variety of works in the arts
and humanities:
Art 160 explores visual culture in a way that emphasizes scope and
variety while also connecting visual culture to the humanities as a
whole. This is achieved by first building a vocabulary of terms and
providing some historical grounding. Then, visual culture is
explored one medium at a time – drawing, painting, prints, camera
and computer arts, graphic design, sculpture and installation, crafts
and architecture. I each area, students are presented with
traditional, modern and postmodern examples of media.
To further highlight this connection, another student quote
explaining the impact of Art 160: “Every time I see a work of art in
the library or on campus I think to myself, what is the artist trying
to get across?” Before students can begin to understand the scope and
variety of visual culture, they have to learn to look. Art 160 is an
intense introduction to paying more attention to the world around
us. Students routinely indicate increased interest in the architecture,
photos, videos, and other areas of visual culture that they had taken
for granted prior to the course.
Demonstrating awareness of the scope and variety of works in the
arts and humanities is inextricably linked to helping students better
understand the relationship between the arts and other areas within
the humanities. As a result, some of the quotes from the next section
(3) relate to and resonate in the current section (2).
3) Describe the relationship between the arts and the humanities and
society:
Art 160 makes reference to a variety of other areas within the
humanities – particularly theatre, literature, philosophy and
music. Beyond this, the course also connects students with history,
economics, sociology and many other disciplines. Art 160 stresses the
importance of an overall awareness of the issues in the humanities
and how they are best understood with reference to other fields of
knowledge and experience.
Quoting from a student: “Before this class I had no idea that art was
such an important part of cultural history. I took for granted having
such beautiful things around me and I think this class has taught
me to have greater appreciation for different types of art.” Art 160
helps students to pay attention to the diversity of visual culture
while building a sense of context and understanding. Again, like the
studio classes, Art 160 connects with daily life – a visit to the
gallery, greater attention to our architectural environment, or the
printed page as graphic design.
Beyond this, the relationship of the arts and fast-paced change in
contemporary society helps students to see the issues of the
humanities as a part of their lives. As they are exposed to
challenging course content, their definition of art, visual culture
and the humanities in general is stretched. From another student:
“Reading the description I learned the artist suspended himself
above a canvas and swung over it dangling his feet to smear the
paint around. Normally I’m not one to appreciate this sort of work,
but the knowledge I have gained in this class allows me to
appreciate how this can be considered art.” Another student wrote: “I
feel like his sculptures were an exploration of the bizarre
blended with the scary reality of a modern world. The bright colors
and crazy arrangement of ideas was very new and exciting to me.”
Art 160 works in conjunction with other general education courses
in the humanities to help students better understand our individual
and collective lives and how they overlap.
FALL 2008/SPRING 2009: CATEGORY 6 ASSESSMENT OF STUDIO ART
COURSES:
ART 100: ELEMENTS AND PRINCIPLES OF ART
ART 231: MIXED MEDIA ART
275: PHOTOGRAPHY
Individual assessments were completed for the following studio courses:
� Art 100: Elements and Principals of Art
� Art 231: Mixed Media
� Art 275: Photography
We have addressed the criteria for evaluation in relation to each course in
the documentation that follows. However, there are some generalizations and
explanations that pertain to all courses, and we will summarize those here:
“Following the completion of Category 6 of the General Education Program,
students can”:
1) Create and/or critique artistic performances:
All of the assessed studio courses are centered on the creation of art
as related to specific course objectives. Students create a number of
works throughout the semester, and these works are discussed and
evaluated in class critiques. Class discussions and critiques are
supplemented by the presentation of work from history as well as
contemporary visual examples. New artists and processes are
introduced through Power Point presentations, videos, and class
field trips.
Each of these strategies (the creation of work, the critique of work,
and the introduction of new work) reinforces the objectives set forth.
The nature of studio art courses necessitates that students make and
critique works of art. However, in this assessment, it is our goal to
illustrate that students make art in relation to specific objectives,
that achieving those objectives correlates to their understanding of
art-making, and that a broad knowledge of art history and
contemporary art helps to better their own work while also allowing
them to more articulately contextualize their work.
2) Demonstrate awareness of the scope and variety of works in the arts
and humanities:
As mentioned above, an integral part of the three assessed studio
courses is the introduction of new artists. Power Point presentations,
videos, class field trips to galleries and museums, and guest artist
presentations broaden students’ knowledge of art. They become
familiar with a variety of working methods and stylistic tendencies,
as drawn from numerous and diverse historical, cultural, and
geographic perspectives.
This goal reinforces the goal set forth in item 1 (Create and/or
critique artistic performance). A broad and diverse art vocabulary
helps students to more effectively create art and to more eloquently
and concisely discuss their work and that of others. Specific
examples will be cited for each course.
3) Describe the relationship between the arts and the humanities and
society:
The assessed studio courses aim to forge connections between real-
world issues and ideas and artistic modes of expression. Students
learn how they can communicate ideas visually to an audience, and
how art can be influential in expressing a viewpoint, idea, or
emotion. They learn about the persuasive power of art—art can
indeed by purely visual, but it can also dictate actions and shift
opinions.
In summary, the generalizations above set the stage for our
assessment of three studio courses: Art 100: Elements and Principals
of Visual Art, Art 231: Mixed Media, and Art 275: Photography. In
the descriptions that follow, detailed examples are cited for each
course. In keeping with the directives set forth in the spring 2008
instructional meeting, we have not included the examples, but
rather described them and attempted to explain their significance
and relative success in relation to the assessment criteria.
A note about the methods of assessment
The itemized assessment that follows will examine each course and
give concrete examples of how each objective is achieved. Because of
the nature of studio art courses, it was impossible to evaluate the
objectives based on the gathering of work samples alone. For
example, we would not be able to assess students’ ability to critique
work based on only visual examples, nor would we be able to
adequately talk about the scope and variety of work that students
are presented with.
Thus, to adequately address the breadth of information required to
satisfy all three objectives, we utilized the following methods of
assessment:
1) Anonymous work samples: Work samples were collected for
each course and analyzed in relation to objectives.