Tuesday, June 17, 2014

FATE: Call for Presentations

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.

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?

The College Art Association Conference will be held in New York, February 11- 14, 2015.  Proposals should be sent by July 15 to Monica Anke Hahn by email at: ccpaah@gmail.com