Standard 1: Demonstrates mastery of and pedagogical expertise in content
My experience engaging with students at RMHS has given me an opportunity to recognize my pedagogical expertise in art. I believe that I am proficient in this standard based on my ability to assist students with their attainment of technical artistic skills and to reference historical and contemporary artists that might further their understanding of artistic topics. Especially in 2D design I have been able to confidently show students through impromptu tutorials and individual assistance correct methods in depicting objects from life on a two-dimensional plane and have facilitated opportunities for students to make connections between the skills they are learning and contemporary practicing artists. Because high school students have more refined motor skills than the primary aged students I have worked with in the past, I have been able to plan more technically challenging lessons and have used my pedogeological knowledge to do so. I have seen improvement in the students drawing abilities in the weeks I have been with them which is part due to their hard work and determination and, I hope, partly due to my instruction.
The following artifacts located at the bottom of this page are meant to show my attainment of a proficient rating in this standard. The first is a power point from the first pottery lesson I taught which asked students to create nesting bowls that modeled something from the natural world. This was a lesson in technical pottery skills that Mrs. Cronen asked me to teach and while I lacked some of the pedogeological knowledge required for throwing pottery, I was able to craft a lesson using my skills in ideation and inspiration. The lesson was asking students to attain a technical proficiency in pottery building, but Mrs. Cronen asked me to create a conceptual backing for the lesson. Upon observing her lesson, I noticed that many of the examples of nesting bowls resembled natural processes or objects such as tree rings or ripples in water so I designed a lesson that would encourage students to recognize how art mimics nature. The resulting lesson asked students to match original nesting bowl designs with images or natural processes and objects which facilitated them in making these connections. I believe that it was my artistic studio education that enabled me to see the importance of and develop a meaningful conceptual backing for this lesson that focused on technical attainment of skills.
(Biomimicry Power Point)
My experience with participating in formal critiques of my own artwork and the artwork of my peers in my studio classes at CSU have improved my ability to evaluate, interpret and assess student work which is demonstrated through my Data Analysis of student work which documented and assessed student work. It has taken years to develop my ability to observe and draw from life, but the practice has enabled me to recognize when works of art are inaccurate, disproportional, or lacking expressiveness. Not only am I able to recognize these characteristics, I have learned through data analysis how to provide instructional differentiation that will help students obtain learning objectives at any skill level.
(Contour Portrait Data Analysis)
Although I feel I am proficient in this standard, there are some areas where I could improve as I work towards an advanced level of pedagogical knowledge. This semester for example, I recognized my deficiencies in technical pottery skills as it was the one studio class I didn’t take at CSU. This is something I will have to try to improve. I also feel that although I may feel I have gained expertise in my content, applying this knowledge to teaching is sometimes challenging. Being an artist and being able to facilitate others in learning to be an artist are two very different things and sometimes it is hard to figure out how to scaffold information in a way that is clear and understandable to students. A great example of me falling short in this arena was my last lesson which involved formally critiquing student’s contour portraits. I have done so many critiques in my experience at CSU so they sometimes come second nature to me. I made the mistake when planning this lesson of thinking that the students were also as experienced with group critiques. My lesson did little to introduce the expectations or requirements of a critique or even the format. I introduced so much anonymity to the structure of the critique that students opted out of participation rather then tackle a process they were unfamiliar with. Next time I will try to put myself in their place and design a lesson that is clear and less intimidating to a beginning art student. The following is a link to this lesson plan.
(Lesson 2 Contour Portraits)
My experience engaging with students at RMHS has given me an opportunity to recognize my pedagogical expertise in art. I believe that I am proficient in this standard based on my ability to assist students with their attainment of technical artistic skills and to reference historical and contemporary artists that might further their understanding of artistic topics. Especially in 2D design I have been able to confidently show students through impromptu tutorials and individual assistance correct methods in depicting objects from life on a two-dimensional plane and have facilitated opportunities for students to make connections between the skills they are learning and contemporary practicing artists. Because high school students have more refined motor skills than the primary aged students I have worked with in the past, I have been able to plan more technically challenging lessons and have used my pedogeological knowledge to do so. I have seen improvement in the students drawing abilities in the weeks I have been with them which is part due to their hard work and determination and, I hope, partly due to my instruction.
The following artifacts located at the bottom of this page are meant to show my attainment of a proficient rating in this standard. The first is a power point from the first pottery lesson I taught which asked students to create nesting bowls that modeled something from the natural world. This was a lesson in technical pottery skills that Mrs. Cronen asked me to teach and while I lacked some of the pedogeological knowledge required for throwing pottery, I was able to craft a lesson using my skills in ideation and inspiration. The lesson was asking students to attain a technical proficiency in pottery building, but Mrs. Cronen asked me to create a conceptual backing for the lesson. Upon observing her lesson, I noticed that many of the examples of nesting bowls resembled natural processes or objects such as tree rings or ripples in water so I designed a lesson that would encourage students to recognize how art mimics nature. The resulting lesson asked students to match original nesting bowl designs with images or natural processes and objects which facilitated them in making these connections. I believe that it was my artistic studio education that enabled me to see the importance of and develop a meaningful conceptual backing for this lesson that focused on technical attainment of skills.
(Biomimicry Power Point)
My experience with participating in formal critiques of my own artwork and the artwork of my peers in my studio classes at CSU have improved my ability to evaluate, interpret and assess student work which is demonstrated through my Data Analysis of student work which documented and assessed student work. It has taken years to develop my ability to observe and draw from life, but the practice has enabled me to recognize when works of art are inaccurate, disproportional, or lacking expressiveness. Not only am I able to recognize these characteristics, I have learned through data analysis how to provide instructional differentiation that will help students obtain learning objectives at any skill level.
(Contour Portrait Data Analysis)
Although I feel I am proficient in this standard, there are some areas where I could improve as I work towards an advanced level of pedagogical knowledge. This semester for example, I recognized my deficiencies in technical pottery skills as it was the one studio class I didn’t take at CSU. This is something I will have to try to improve. I also feel that although I may feel I have gained expertise in my content, applying this knowledge to teaching is sometimes challenging. Being an artist and being able to facilitate others in learning to be an artist are two very different things and sometimes it is hard to figure out how to scaffold information in a way that is clear and understandable to students. A great example of me falling short in this arena was my last lesson which involved formally critiquing student’s contour portraits. I have done so many critiques in my experience at CSU so they sometimes come second nature to me. I made the mistake when planning this lesson of thinking that the students were also as experienced with group critiques. My lesson did little to introduce the expectations or requirements of a critique or even the format. I introduced so much anonymity to the structure of the critique that students opted out of participation rather then tackle a process they were unfamiliar with. Next time I will try to put myself in their place and design a lesson that is clear and less intimidating to a beginning art student. The following is a link to this lesson plan.
(Lesson 2 Contour Portraits)
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File Size: | 526 kb |
File Type: | docx |