Beyond Good, Bad and "I like it": A New Take on Critique
Isn't
it
enough
that
"I
like
it"?
For
many
professors,
this
is
a
very
familiar
response
to
their
beginning
critiques.
For
many
students,
the
"Crit"
invokes
fear
and
dread.
"Is
my
work
good?”
"Is
it
bad?”
"What
do
other
people
think
of
me
and
my
work?"
As
facilitators
of
the
critique,
how
can
we
help
students
to
discover
the
value
in
discussing
their
work
and
that
of
their
peers?
How
can
the
experience
of
critique
help
students
create
an
understanding
of
their
process
and
their
artistic
practice?
How
can
we
get
them
to
internalize
serious
ideas
while
still
using
humor
and
making
it
fun?
How
can
we
get
students
to
be
more
engaged
and
responsible
for
their
own
discoveries?
How
do
we
help
them
"find
their
voice"?
What
about
art
history
classes?
Can
we
use
the
concept
of
critique
to
engage
students
to
become
better
writers
and
thinkers?
This
session
invites
innovative
critique
strategies
for
use
in
both
studio
and
art
history
classes.
What
new
techniques
for
critique
have
worked
in
your
classes?
How
can
we
make
students
excited
about
critique?
How
can
the
foundation
year
build
the
groundwork
for
a
lifetime
of
introspection,
reflection
and
most
importantly,
artistic
growth?
The FATE Conference "Tectonic Shifts" will be held March 25-28, 2015 at the Herron School of Art and Design in Indianapolis. Proposals should be sent by July 1 to Susan Altman by email: saltman@middlesexcc.edu.
Tuesday, June 17, 2014
CAA: Call for Presentations
Foundations Flipped? Active Learning in Art History and the Studio
One of the most talked about pedagogical ideas in higher education is “Flipping the Classroom.” In a “Flipped Classroom,” students control their own learning through studying the course materials in preparation for a more active and engaged course session. Students may be required to listen to an online lecture, watch a YouTube video demonstration, do additional readings or research the subject - all before they step into the classroom. Class time is spent on more in depth discussions and active engagement with the material.
The studio is already an active learning environment.
Artists learn by doing. Does this pedagogical approach work in a studio class?
Can this model provide students with the necessary skills to succeed as they
move forward in their discipline? Would
the flipped classroom work better in art history classes? How can we cover
content and still allow students to do independent learning?
This session invites presenters who have successfully
flipped their classroom, or part of their class to share their Best Practices in both studio and art
history. What worked for your students and what didn’t work for them? Is this
an appropriate model to introduce into studio and art history classes? Or is it
just a hot trend? How can this pedagogical approach improve learning for studio
and art history students?
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