visible thinking routines

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Strategies to help students envision their journey in the new IBDP Visual Arts Course Visible Thinking Project Zero http://www.pz.gse.harvard.edu/ visible_thinking.php

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For the new IB DP visual arts course, routines from Harvard's Project Zero for developing critical thinking skills.If you are new to the IB DP program and you teach visual arts, you may find this helpful in planning for the three assessments.

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  • Strategies to help students envision their journey in the new IBDP Visual Arts Course

    Visible Thinking!Project Zero!http://www.pz.gse.harvard.edu/visible_thinking.php

  • The New Course- Fear_________________ has posted a message entitled Visual arts teacher support material (first assessment 2016)

    Just needed to comment (vent) here...some of the examples of student work here seem to me to be so outstanding that they go well beyond what was a 7 in my days of teaching and studying...some of it is above the standard I saw at third year university level. I wonder if this is just me being out of touch, but when I put my mother hat on, I feel so sorry for these poor 16-18 year olds when SO much is expected of them. I have barely begun to get my head around the new syllabus-my bias for the familiar old syllabus is too strong to comment-but my immediate impression is disbelief that curatorial expectations are now piled on top of the already rigorous studio and contextual expectations. I am an art curator and an artist and served a total of 6 years hard labour at university to scratch the surface of understanding of these vocations! The expectations of the new syllabus seem astonishingly unrealistic for a two year pre-university course. I feel for you all having to teach it, and especially for those poor students who are expected to achieve such a standard. _______________ has posted a message entitled Is the new exam Option B revamped ?

    "Explanation kills art" as you said, its like explaining a joke. These are high school students who should be motivated and inspired to create art, and to find their own personal avenue to it, not to get bogged down on 'art speak' which falsifies the very thing we try to make true. The IB Visual Arts committee that put this 'thing' together should run this past major contemporary artists to see how they would respond (if at all) to this. As a working exhibiting artist, I never feel comfortable explaining my art because it is invariably false. The process of making art is such a wonderful mystery, that i would feel I am somehow trying to explain magic. Having students learning to appreciate art is one thing, teaching them to polemicize about how, and why, art was made rings false. Art, any art, is on a higher plane than this, or at the very least should be.

  • The New Course- ExcitementJayson Paterson has posted a message entitled New Curriculum: process, product and focused investigation.

    Firstly, the IBO is not a law unto itself. Every curriculum that it develops is scrutinized by external accreditation bodies, such as OFQUAL for the United Kingdom. These bodies set the standards and rules that awarding organizations need to meet when they design, deliver and award regulated qualifications. The IBO uses this framework to set the non-negotiables that Curriculum Review Committees must work with in. For this current Curriculum, the non-negotiables included the requirement for three assessment tasks. That each of the tasks needed to be able to assessed independently of the others by discreet examiners and that no part of the assessment can be assessed more than once. (I'm sure there were others, but these were the ones that most closely relate to your question). For the subject specialists involved in the Curriculum Review Team, a couple of the qualities from previous guides that we wished to maintain in the new guide was the studio-based focus of the course, and the holistic nature of visual arts through the study of theory informing practice. Essentially, we have taken what we have always done in one form or another, and pared them out into three discretely assessed tasks that remain interrelated when delivered in a holistic manner as is represented in the tables on pages 27 and 28. In developing the marking criteria for the tasks, we have aimed to assess only what can be observed within the material required in the sample. You'll notice that for the process portfolio, there are no criteria that are looking for resolved qualities in finished artwork. The focus is very much on process and development. Each of the assessment tasks went through at least one assessment trial, after which some refinement was made to requirements and criteria. The new guide was approved by OFQUAL upon its first submission, which is very encouraging. As for themes, I too like to encourage students to find and follow thematic or conceptual threads through their investigation, processes and art making. While it is not a requirement, where it is done well, and students have the freedom to be a bit divergent in how they think about their ideas and concepts, I do believe it results in more cohesive and coherent bodies of work. I think the exhibition will favor works that have some conceptual links running through the body of work. Students have to show relationships between the works they exhibit - but that does not mean that every work should adhere to one common theme. Several themes or ideas could be explored in an exhibition. The problem has been that for some schools, common themes have been set across whole cohorts which prohibit students from developing truly independent work. Or students have chosen themes that have been so prescriptive, that it stifles the work they produce, resulting in literal and banal works.

  • Artful Thinking Routines

    Practice See, Think, Wonder and other visible thinking routines, from middle school forward. http://www.pzartfulthinking.org/routines.php!

    Creates a culture of dialog around looking, making and displaying art.

  • The New Course

  • The Aims

  • The Aims

  • The Aims

  • The Routine

    http://artreverb.com/VisibleThinking/! sample from the IB DP VA workshop in Pudong

  • Materials Rolls of white butcher paper and colored markers! Images from art history, photo journalism, news covers! Groups of 4-5 people working on one long roll with one

    image

  • Instructions

    Each group chooses an image and each person takes a different color marker so that each person in group has an individual color!

    In silence, for ~10-15 min, write what you see, then what you think about what you see, then what you wonder about what you see

  • Instructions Now begin to read each others See,Think,Wonder and begin

    making connections where there are similarities and differences. Begin to have a dialog about what has been recorded and what connections you see to artists work you know.!

    Next brainstorm artworks, one from each category on the forms chart. Each person will brainstorm one artwork, on the paper, for all to see.!

    Next have a dialog about the artworks and how you might present them in the exhibition. Develop a visual plan and a curatorial statement about your hypothetical exhibition

  • Plenary Each group will share what they have created in the session. Each

    person in the group will speak about their experience. ! This exercise can be seen as a metaphor for the 2 year course, a

    map of how to develop the work. The teacher, or students, can put sticky notes on the areas that need research or more thought, or simply suggestions of what to investigate further.

  • Ten Best Made Visible

  • Ten Best Curatorial ProjectThe Ten Best: In your Visual Art Journal prepare a presentation for an Art Magazine of ten Art works linked thematically. Each image will be accompanied by a short text (60 words) (From Georgina Montignago) !How to deal with the task: 1. Choose a theme. This could be a subject, such as Mother and Child, a cultural link, such as Benin sculptures or through technique, such as Relief Sculptures. Select a theme which interests you, perhaps something which connects with your career aspirations? Neo Classical Architecture perhaps if you want to be an architect, Silk Weaving if you want to studyTextiles etc. (Use thought boxes or a mind map to select your theme) !2. Now spend time collecting a range of images from which you will select your key works. Aim for about 20 to select down to 10. (Remember to record details as you select them and the websites so that you can gather more information later if needed)

  • Ten Best Curatorial Project3. You need to have basic information on each piece.

    Title Dates Media Size Location Provenance this is who owns it now and where it came from.

    !4. Write about 30 words - Contextual Information - why it was created and how it relates to your theme on each piece? !5. And 30 words Critical information, formal qualities and your own opinion on each piece. !6. Now you are ready to produce your graphic layout on Pages. Consider:

    Font size and style Relationship between image and text Use of background colour etc. Choose a title; include your own photo as arts correspondent/author and a subtitle that

    introduces the topic.