7E:143 Art Teaching and Learning
Fall 2009
Saturday (Starting October 11) 9:00-12:00
Monday 8:30 – 10:20

Steve McGuire Office Hours: 10:30-1:30
Monday

Studio Arts Building and
15 North Hall
Office: 335-3011 Home354-2395
E-mail: s-mcguire@uiowa.edu

This course is directed toward the practice of teaching children art; participating meaningfully in children's interpretive practices.

∗ In addition to your teaching responsibilities in the Saturday Art Workshop Program (which include such things as ordering and purchasing materials, maintaining the environment in which your class meets, etc.) requirements for this course include:

∗ Text: Behavior in Art Classrooms: The Dynamics of Discipline, Design Standards for School Art Facilities .

∗ Weekly papers to be assigned during the first five weeks of the semester.

∗ Completion of all assigned readings and discussing them in class.

Thoughtful completion of weekly lesson plans and teaching examples fulfilling the criteria given. (Guidelines and a format for planning will be discussed later.) The first lesson plan will be due in class Monday, September 28; subsequent plans will always be due for presentation on the Monday before you plan to teach them and should be in detailed draft. All lesson plans must be prepared for presentation at the time they are due. Each lesson plan will be handed in on the Saturday of that lesson and must be typed. Note: We will not conduct workshops on the bookend Saturdays of Thanksgiving Break – November 21 and 28.

Upon completion of the first workshop, I will meet with you individually to go over your progress in the course and grade so far.

∗ A weekly narrative account of your teaching experience, which
(1) tells the story of what happened in your class; (2) relates your interpretation of the meaning of those events for art education generally; (3) relates the continuity you perceive between the experiences in this class and those preceding it--the story that is unfolding. Conclude your narrative account with a summative question. The narrative writing is intended to help you clarify the meaning in your encounters with children, art and teaching and to encourage you to reflect upon experiences which otherwise might pass unnoticed. The narrative writing should be viewed as ongoing questioning. It is a vital part of this course and deserves your most intensive energy and insightful intelligence. The narrative requirement is a minimum of 2 pages. All entries must be typed, double-spaced on 8 1/2" x 11" paper. Attention should be given to quality thinking/writing and the way the paper looks. Each narrative account will be handed in on Monday and be read in class. It is in these class sessions that I will respond to your lesson plans and Narrative accounts.

∗ Each week on Mondays, once the Saturday Art Workshops have begun, we will read in class both your narrative account and the draft of the next Saturday’s lesson plan (the final version of your lesson plan is handed in on the Saturday that you teach). This is the time I will provide feedback on your work, so being prepared is very important.

∗ For each class session in which we will be reading written assignments, I would like you to come prepared to take notes during each person’s presentation, identifying ideas and concepts you will then contribute to discussing.

∗ A final Narrative Account, photographic and written, uploaded on your ePortfolio.

• Your Narrative Account is the document from this course that must be
uploaded to your ePortfolio Performance Indicators Page.
Link to standards: B, C, I, and J.

∗ ATTENDANCE AT BOTH MONDAY AND SATURDAY SESSIONS IS ABSOLUTELY MANDATORY. Due to the nature of this course and the extent of your responsibilities as a teacher, perfect attendance, punctuality, and careful attention to deadlines and details are essential. This is a course in which you have to clear your calendar. I look at your teaching responsibilities as just that, a responsibility due to the commitment you have to your students. Illness and family emergencies are important enough that I will either arrange to find someone to teach your course or teach it myself.

∗ Final evaluation will be based equally on (1) your teaching; (2) your planning;
(3) your narrative account, and (4) your participation in class discussions. If your performance in all of these areas is consistently good, you will receive a grade of B.
If your performance in one or more of these areas is exceptional, your final grade will be an A. One journal entry may be presented late without effecting your grade.

If you consistently turn in 3 pages of narrative account and complete lesson plans with detailed attention to accomplishing the guide to lesson plans, and your teaching is characterized by an overall thoughtfulness--including promptness--you will get an A.

You will receive a grade of B if your attendance and participation is strong, you turn in your assignments on time and your teaching is characterized by an overall thoughtfulness.

You will receive a grade of C if you consistently (4 or more times) arrive late to class, turn in your assignments, but some weeks not on time. In fairness to you and others in the course, if you are absent a teaching day, and have let me know by the second week of the semester what week it will be, then your grade will simply be lowered a letter grade. If you should otherwise not attend a teaching Saturday (which has never happened in the twelve years I've taught this course) then your grade will be lowered two whole letter grades, due to the nature of your responsibilities to the children in your charge.

My overall idea concerning the issue of your grade and evaluation is: You are here because you want to become a teacher and therefore because you are thoughtfully attentive, a corresponding educational responsibility commands your performance, so that you quite naturally and thoroughly educate yourself with your students' responses, evidenced in quality writing, discussion and attendance.

Week 1

Monday, August 24, Introduction to course

Week 2
August 31,
Due:
Decide on the content of the class you will teach, using the Spring 2009 “Dear Parents and Students” letter to help brainstorm. Write a brief (1-2 paragraph) description of how you will frame or present the theme; activities you anticipate, equipment, etc.

Further below you will find two “final narrative accounts”, written by Ken Hallinan and Brook Mills in Fall 07.

January 25, 2009
Dear Parents and Students,
The Art Education Area of the University of Iowa is pleased to announce the Spring, 2009, Saturday Art Workshops. Classes will meet for eight sessions on Saturday mornings from 9:30 - 11:00. The first workshop session is scheduled for Saturday, February 21. (The last workshop session is April 25, and classes will not meet March 14 and 21, due to Spring Break.) Classes will be held in North Hall, at the north end of Madison Street.

The following classes will be offered (please choose one class per child):
Fashion Runway – Students will create projects centered around fabric – from paintings made of fabric to altered clothes, bags, and rugs – using a sewing machine, fabric dyes, paint, and other tools to implement their ideas into an entire line of personally inspired pieces.\
Monsters and Cards – Students will use a variety of two and three-dimensional materials to create mystic creatures and develop card games and trading cards based on monster adventures.
Building Forts and Hideouts -- Students will use a variety of construction materials to build life-size forts and will compose fictive clubs, upon which to base adventures in their forts and hideouts.
Magic and Wizardry – students will create spells, magic, mythical creatures, and costumes of wizards and witches using a variety of materials, and will create characters and stories of magic performance;
Life in a Comic Book – exploring storytelling through the development of a comic book, students will work with a range of comic book processes;
Clay Jewelry – with clay as the foundation of exploration, students will create wearable art, incorporating a variety of materials
Super Spies – using a variety of materials students will create super spy identities, as members of a “super team,” and will complete the workshop with a video production of super spy action sequences;
The Saturday Art Workshops are open to all children between the ages of 5 and 13.
The classes are taught by Art Education students and staff. To cover the cost of expendable materials and maintain the variety of Art Education outreach programs, including American Discovery Trail (http://www.uiowa.edu/~artlearn/outreach/index.html), we charge a $90.00 fee per student on the first day of class.
Please register by phone at 335-3013 – leave your name, address and phone number, and the student’s name, age and selected class, with the secretary in the Art Education Office between the hours of 9:00 am - 5:30 pm.
Or you may stop by the Office at 13 North Hall.
You may also register by e-mail: liz-voss@uiowa.edu.
REGISTRATION MUST BE COMPLETED BEFORE CLASSES BEGIN. ENROLLMENT IS LIMITED.
Sincerely,

Steve McGuire
Professor, Art Education
The University of Iowa
Iowa City, IA 52242-1223

Saturday Art Workshop Narrative
By Ken Hallinan

For the Saturday Art Workshops I decided on the idea of Monsters and Machines. From the start it was a popular class that, which meant I wanted very much to meet the high expectations I thought the kids would have. I brainstormed for weeks about different projects and assignments the kids could do and decided to build each project around the idea of the student as creative director of a yet-to-be-released Hollywood blockbuster film, and as such they had to create the most convincing, creative and exciting creations they could muster for each project. With this way of looking at the workshop, I mapped out my 7 weeks of assignments with the understanding that the class would help define what it is that was working, what it was that was missing, and what they really wanted to do during any given class.

The first class was a feeling out period between me and the 15 or so kids, ages 7-12. The age range was large and many if not all of the students had been in workshops before. I knew I wanted to create the classroom environment I thought would get the most from all the kids and I also knew that other less structured environments had come before me. So I kept them busy, exposed them to a lot and left them wanting more. The first day we talked about monsters, what they were, where we had seen them, what we thought about, etc. We then showed some pictures, read a couple narratives and generally got in the mood of the class. We did a series of 20 second drawings that built off each previous 20 second stage (for a total of 2 minutes) and then I handed out Monster Biography sheets and asked kids to brainstorm their monsters to be pitched for the Hollywood blockbuster. The rest of class was spent working on the biographies and their monster drawings from the information on their card. The second class we introduced out monster trading cards, which students were to work on off and on throughout the workshop. These were very successful and students worked on these during the down times of nearly every workshop and created a number of cards, each with a biography sheet on the back. Midway through the class we started another assignment – Monster Movie Posters – where students would work alone or in pairs to create a poster for their monster(s) complete with movie title, subtext, something to show scale and the monster’s name.

By the third class we had plenty to do with students finishing their original monster drawing, their poster and their monster cards, and the class was very productive and helpful to one another throughout. The goal was to complete the two main drawings that day, which was almost entirely successful. The fourth class we broke into three dimensional work and introduced clay to the class. The goal was to create a monster (the one they had drawn or another) and to become familiar with what the material could do. The students sat at tables of four and worked very well in their small groups to create exciting new creatures. The class was so successful, and we had some absences that same day, that we went back to clay again for session five. Students who had completed monsters were given the choice to make another one of the same monsters, a new monster (friend or foe), a monster shield, or something to scale the monster (a small house, building, etc.) By the end of the class everyone had at least one clay piece and some students had more than three. By the end of that class it was clear they were ready to move to something new. Because of the two week break students took their monster cards home to work on, if they chose, and were asked to think about a six panel comic book page for the next class.

We again changed gears after the following week was cancelled due to inclement weather. With one full class period remaining students finally got to the “machine” in Monsters and Machines and built mechanized monsters or weapons system scupltures from a variety of electronic and miscellaneous objects. Each piece had to be at least one foot tall and have an explanation sheet describing what it was, what it could do and how it was to be used in the movie. Students were extremely excited by the materials and worked with great focus the entire period.

Brook Mills
Final Narrative Account
December 2007

Under the theme Fairytales, Magic and Wizardry my workshop centered around each student choosing a character and with each project thinking, considering and coming to know that character as best they could. The workshop began with group brainstorming where we made a list of all the types of characters we could think of, and from that list each student picked one. Since we were working as a group no one could choose the exact same character, there had to be some recognizable difference in the characters look or personality. After characters were selected each student created a Wanted poster where they drew their character for the first time. The also listed characteristics of the character such as what they liked to eat, where they lived, hobbies, friends, enemies and so on. Some students also created a corresponding set of drawings where they focused on specific aspects of their character like their clothing and facial features. After the students had drawn their characters and had an understanding of what they looked like, the next project was intended to make the students begin to see their character as life size beings, as the students themselves would wear the costumes they would eventually construct. In this project students traced one another on large paper to create a life size template where they used fabric scraps to build a costume on to the flat body. Now the students could see that their character was their size. The next project was to use the tie-dye method to dye fabric for the costumes. In this project the students learned about basic color theory and experimented with it while dying several pieces of fabric. In this activity students followed the tie-dye station procedures and rules and respected the space and each other, and in return each student created many very nice pieces of fabric. After the pieces of fabric had been dyed the students began the actual construction of their costumes. I choose pieces of fabric that matched what they had chosen from the fabric scraps, for their life-sized template. Each student was given the fabric that best matched what he or she had originally chosen. Students began their construction by creating patterns for the parts of their costumes they wanted to construct. Students used yarn to measure the length and width of say an arm and then traced around that yarn on paper to create the pattern. Then the students placed the fabric on the pattern and cut around it to get the piece they wanted. Students used either colored duct tape or fabric glue to connect the pieces of the costume.

Through out the duration of the workshop the students have done projects and activities that focused on further exploration into their characters but at the same time also came to understand other art principles such as color theory and pattern making. The costumes that the students created resemble what they drew on the first class, although the characters have evolved as the students worked with new and different materials. It has been very interesting to see the students work with the same idea over several weeks, and how if given the time they will really invest in their ideas and allow them to change and grow. It has also been interesting to see how the materials provided to the student’s plays a big part in what they create. Many of the changes and evolutions of the characters have been due to the students seeing a material and wanting to incorporate it into their costume or character. The workshop has taught me many things but the most meaningful to me are the importance of setting up a positive, safe and fun environment that is governed by rules and regulations agreed upon by the participants. In addition I have seen how children will preserver with an idea or theme and really see it to its end if allowed the time and given support. I have also seen how important materials are to young artists, they can be very inspired by new and interesting, high quality materials. Most of all I have learned that very interesting, good and extremely creative art can be created when all of these things are in alignment.

Week 3

September 7 : No Class – Labor Day

Week 4

September 14

Due:
Generate two questions gleaned from the articles, “Becoming A Field Biologist” and “Fictive Play In Children’s Art Making” (to be handed in).

I will present stories of idiosyncratic meaning: the work of Louis and my
"Hot Wheels Story."

Week 5

September 21

Discussion: Behavior in Art Classrooms: The Dynamics of Discipline, Design Standards for School Art Facilities .

Week 6

Spetember 28
Due:
Presentation of first lesson plans

Week 7

October 5
Preparation for first Workshop

Saturday, October 11: First Workshop

Weeks 6 - 14

Lesson Plans due on Saturdays and Narrative Account Mondays.

Narrative Account 6,
Due:
From your place now, having taught the children you have, you can probably see several or more reasons why your class turned out as it did. These are natural reasons, "So and so made this, and that made me think . . ." These natural reasons are as varied in content as they are in the class situations in which they occurred. In the overall story of your class they range in importance from hardly noticeable to quite significant. Some of the approaches you took in class came into being and continued to grow through the modest mixing of practice and theory. I want to know what approaches you put to work and what practicing philosophy of teaching art you embraced. And I want to know what experiences and reasons these emerged from.

This content will be incorporated in the Narrative Account which you will upload to your eportfolio.

Friday, December 19, 5:00 PM
Due:
Final Narrative Account of Workshop: Incorporate images into Narr. 6 and expand to include last Sat. Workshop
.

GUIDE FOR LESSON PLANNING

A lesson plan is a way to view the meaning of a contingent history--a history which includes such things as student's responses to their work and the body of their art work as a whole. Recover the meaning, and then apply it. Planning is thinking about what has happened and what you are going to do. It insures that you have given careful consideration to the value of the experiences you will share, gathered the necessary materials and anticipated possibilities which may unfold. Put simply, a lesson plan is a way of committing the meaning of events, experiences and interpretations.

The lesson plans submitted for each week must give evidence of your reflection upon what you will teach, why you will be teaching it and how you see the events of that day unfolding; and be detailed and comprehensive enough that I will understand what you are going to do. Each lesson must include the following:

Lesson Plan Guide Template

Name Workshop number:

In one sentence write what activity the children will do? Be specific and realistic: confine what the students will do to the amount of time you have and only identify what you hope the students learn this day, considering the history you've observed, their participation in the experiences you plan and other endeavors that are related. Be simple and concise.

A list of knowledge and understanding: What new knowledge and understanding of concepts and skills will students gain as a result of this day’s workshop? Reflect upon the history of your class and then ask yourself what concepts, skills, techniques, a student has the opportunity to understand/learn from doing these activities. Be expansive with your list.

Contextual frame of reference: What real world idea can I use to frame the students’ interest, establish the purposeful exploration of materials, engage them in understanding relevant concepts, equip them with strategies, nurture reflection, thinking, revising, and refining, provide opportunities for students to self-evaluate?

Essential motivational questions: What questions will engage students and lead them to the enduring understanding? Write some questions that will stimulate students' meaningful participation - questions that put students in a position to understand, in a meaningful way, concepts, skills and techniques involved with the activity in general and their personal meaning in their artwork. What form and conceptual context will these questions have?

Story of the class:
Give a brief but detailed account of what you see happening in the workshop--what the students will do and how things will unfold. Include how you will present and convey your thoughts to the students this day.

How might the class temporally unfold? Picture your class as events might transpire?

C. Content standard(s):Reference the workshops learning activity with the National Standards.

D. Enduring understanding(s): How can concepts which students encounter as they work in class be partnered with active reflection upon the use of those concepts to conclude the studio workshop? Consider ways of questioning to culminate the workshop, such as discussion, displaying work, sharing ideas -- participation that involves the students in encountering meaning, inquiring into the medium and reflecting upon a body of art work.

Preparation:
What do you need to prepare for this workshop? What materials need to be gathered, for example? What do you need to have reserved? What do you need to know?

Materials:
List everything you will use, including visual resources, books, persons or examples.

Tools: What tools will be used?

Attention: How have I accommodated the needs of diverse learners?
A. How will students who have a basic knowledge of this material be challenged to find deeper knowledge?
B. How will I help students working at different paces?
C. What will students do if they quickly complete their work?

A weekly narrative account of your teaching experience, which
(1) tells the story of what happened in your class; (2) relates your interpretation of the meaning of those events for art education generally; (3) considers the meaning your experiences have for you as an individual; and (4) relates the continuity you perceive between the experiences in this class and those preceding it--the story that is unfolding. Conclude your narrative account with a summative question. The narrative writing is intended to help you clarify the meaning in your encounters with children, art and teaching and to encourage you to reflect upon experiences which otherwise might pass unnoticed. The narrative writing should be viewed as ongoing questioning. It is a vital part of this course and deserves your most intensive energy and insightful intelligence. The narrative requirement is a minimum of 4 pages divided among description, personal meanings, educational meanings and continuity between classes. All entries must be typed, double-spaced on 8 1/2" x 11" paper. Attention should be given to quality thinking/writing and the way the paper looks. Each narrative account will be handed in on Tuesday.

Teacher Leadership involves guiding a group of individual students to achieve learning goals. It does not require formal authority, power or prescription, but is a matter of integrity, paying attention, spirit and respect. Teacher leadership quality in this course will be evaluated using the four levels shown below. A passing grade for leadership quality will be achieved by a practice at Level 2. A grade of “B” will be achieved by participating at Level 3. A grade of “A” will be given for Teacher Leadership by practice at level four.

Level 1 Level 2 Level 3 Level 4
A. Gives an impression of reluctance or uncertainty about exercising teacher leadership -- setting up at the last minute consistently arriving late (Mon. & Wed) to class and after 9:00 but still before 9:30 on Saturdays. A. Shows occasional signs of insecurity about leading -- occasionally late or unprepared on Tuesdays or Tuesdays. Or, is overly confident about own leadership skills. Classroom management style reflects this. A. Looks comfortable and confident in exercising leadership duties -- understands their role and presence in classroom management. A. All of the positive features of proficient leadership, plus:
B. Focuses exclusively on skills of task to be accomplished without regard to the students, or focuses exclusively on the interpersonal relations of attitudes of students in the class without regard to establishing and achieving goals. B. Gives too much attention to the task or to students’ behavior. B. Informs students with a prepared agenda at the outset. B. Engages all students, continually, even when students’ responses indicate a lack of enthusiasm for the work.
C. Asks for ideas or suggestions without intending to consider them. C. Asks for ideas and suggestions but never will consider or act on them. C. Balances the need for productive accomplish-ment with the needs of individual students. C. Keeps the class on track by managing time, reinvigorating ideas and students attempts, coaching or guiding at a level defined by student needs, using humor.
D. May show favoritism to one or more students. D. Lets students settle for accomplishing work that is not as involving as work could be, or keeps students so rigidly on a specific idea that development
is ignored. D. Listens actively to students’ responses and shows understanding by paraphrasing or by acknowledging and building upon students’ ideas. D. Steps in a timely manner when productive work is not being achieved.
E. Takes the group (colleagues or students) off task. E. Has students on track during class. E. Shows respect to all students and colleagues. E. Involves colleagues
and students in setting challenging goals and planning for their accomplishment.

Level 1 Level 2 Level 3 Level 4
F. Shares information with colleagues. F. Helps others to provide buy in to teacher leadership.
G. Assigns tasks of classroom order (cleanup, etc.) by seeking volunteers, delegating as needed. G. Gives colleagues recognition and encouragement.
H. Checks for agreement, acceptance and goals for individuals and the group.

The National Standards for Arts Education
"What Every Young American Should Know and Be Able to Do in the Arts"

VISUAL ARTS (K-4)

These standards provide a framework for helping students learn the characteristics of the visual arts by using a wide range of subject matter, symbols, meaningful images, and visual expressions, to reflect their ideas, feelings, and emotions; and
to evaluate the merits of their efforts. The standards address these objectives in ways that promote acquisition of and fluency in new ways of thinking, working, communicating, reasoning, and investigating. They emphasize student acquisition of the most important and enduring ideas, concepts, issues, dilemmas, and knowledge offered by the visual arts. They develop new techniques, approaches, and habits
for applying knowledge and skills in the visual arts to the world beyond school.

The visual arts are extremely rich. They range from drawing, painting, sculpture, and design, to architecture, film, video, and folk arts. They involve a wide variety of tools, techniques, and processes. The standards are structured to recognize that many elements from this broad array can be used to accomplish specific educational objectives. For example, drawing can be used as the basis for creative activity, historical and cultural investigation, or analysis, as can any other fields within the visual arts. The standards present educational goals. It is the responsibility of practitioners to choose appropriately from this rich array of content and processes to fulfill these goals in specific circumstances and to develop the curriculum.

To meet the standards, students must learn vocabularies and concepts associated with various types of work in the visual arts and must exhibit their competence at various levels in visual, oral, and written form. In Kindergarten-Grade 4, young children experiment enthusiastically with art materials and investigate the ideas presented to them through visual arts instruction. They exhibit a sense of joy and excitement as they make and share their artwork with others. Creation is at the heart of this instruction. Students learn to work with various tools, processes, and media. They learn to coordinate their hands and minds in explorations of the visual world. They learn to make choices that enhance communication of their ideas. Their natural inquisitiveness is promoted, and they learn the value of perseverance.

As they move from kindergarten through the early grades, students develop skills
of observation, and they learn to examine the objects and events of their lives.
At the same time, they grow in their ability to describe, interpret, evaluate, and respond to work in the visual arts. Through examination of their own work and
that of other people, times, and places, students learn to unravel the essence of artwork and to appraise its purpose and value. Through these efforts, students begin to understand the meaning and impact of the visual world in which they live.

Content Standard #1: Understanding and applying media, techniques, and processes

Achievement Standard:

* Students know the differences between materials, techniques, and processes
* Students describe how different materials, techniques, and processes cause different responses
* Students use different media, techniques, and processes to communicate ideas, experiences, and stories
* Students use art materials and tools in a safe and responsible manner

Content Standard #2: Using knowledge of structures and functions

Achievement Standard:

* Students know the differences among visual characteristics and purposes of art in order to convey ideas
* Students describe how different expressive features and organizational principles cause different responses
* Students use visual structures and functions of art to communicate ideas

Content Standard #3: Choosing and evaluating a range of subject matter, symbols, and ideas

Achievement Standard:

* Students explore and understand prospective content for works of art
* Students select and use subject matter, symbols, and ideas to communicate meaning

Content Standard #4: Understanding the visual arts in relation to history and cultures

Achievement Standard:

* Students know that the visual arts have both a history and specific relationships to various cultures
* Students identify specific works of art as belonging to particular cultures, times, and places
* Students demonstrate how history, culture, and the visual arts can influence each other in making and studying works of art

Content Standard #5: Reflecting upon and assessing the characteristics and merits of their work and the work of others

Achievement Standard:

* Students understand there are various purposes for creating works of visual art
* Students describe how people's experiences influence the development of specific artworks
* Students understand there are different responses to specific artworks

Content Standard #6: Making connections between visual arts and other disciplines

Achievement Standard:

* Students understand and use similarities and differences between characteristics of the visual arts and other arts disciplines
* Students identify connections between the visual arts and other disciplines in the curriculum

VISUAL ARTS (5-8)

Students in grades 5-8 continue to need a framework that aids them in learning the characteristics of the visual arts by using a wide range of subject matter, symbols, meaningful images, and visual expressions. They grow ever more sophisticated in their need to use the visual arts to reflect their feelings and emotions and in their abilities to evaluate the merits of their efforts. These standards provide that framework in a way that promotes the students' thinking, working, communicating, reasoning, and investigating skills and provides for their growing familiarity with the ideas, concepts, issues, dilemmas, and knowledge important in the visual arts. As students gain this knowledge and these skills, they gain in their ability to apply the knowledge and skills in the visual arts to their widening personal worlds.

These standards present educational goals. It is the responsibility of practitioners to choose among the array of possibilities offered by the visual arts to accomplish specific educational objectives in specific circumstances. The visual arts offer the richness of drawing and painting, sculpture, and design; architecture, film, and video; and folk arts -- all of these can be used to help students achieve the standards. For example, students could create works in the medium of videotape, engage in historical and cultural investigations of the medium, and take part in analyzing works of art produced on videotape. The visual arts also involve varied tools, techniques, and processes -- all of which can play a role in students' achieving the standards, as well.

To meet the standards, students must learn vocabularies and concepts associated with various types of work in the visual arts. As they develop increasing fluency in visual, oral, and written communication, they must exhibit their greater artistic competence through all of these avenues.

In grades 5-8, students' visual expressions become more individualistic and imaginative. The problem-solving activities inherent in art making help them develop cognitive, affective, and psychomotor skills. They select and transform ideas, discriminate, synthesize and appraise, and they apply these skills to their expanding knowledge of the visual arts and to their own creative work. Students understand that making and responding to works of visual art are inextricably interwoven and that perception, analysis, and critical judgment are inherent to both.

Their own art making becomes infused with a variety of images and approaches. They learn that preferences of others may differ from their own. Students refine the questions that they ask in response to artworks. This leads them to an appreciation of multiple artistic solutions and interpretations. Study of historical and cultural contexts gives students insights into the role played by the visual arts in human achievement. As they consider examples of visual art works within historical contexts, students gain a deeper appreciation of their own values, of the values of other people, and the connection of the visual arts to universal human needs, values, and beliefs. They understand that the art of a culture is influenced by aesthetic ideas as well as by social, political, economic, and other factors. Through these efforts, students develop an understanding of the meaning and import of the visual world in which they live.

Content Standard #1: Understanding and applying media, techniques, and processes

Achievement Standard:

* Students select media, techniques, and processes; analyze what makes them effective or not effective in communicating ideas; and reflect upon the effectiveness of their choices
* Students intentionally take advantage of the qualities and characteristics of art media, techniques, and processes to enhance communication of their experiences and ideas

Content Standard #2: Using knowledge of structures and functions

Achievement Standard:

* Students generalize about the effects of visual structures and functions and reflect upon these effects in their own work
* Students employ organizational structures and analyze what makes them effective or not effective in the communication of ideas
* Students select and use the qualities of structures and functions of art to improve communication of their ideas

Content Standard #3: Choosing and evaluating a range of subject matter, symbols, and ideas

Achievement Standard:

* Students integrate visual, spatial, and temporal concepts with content to communicate intended meaning in their artworks
* Students use subjects, themes, and symbols that demonstrate knowledge of contexts, values, and aesthetics that communicate intended meaning in artworks.

Content Standard #4: Understanding the visual arts in relation to history and cultures

Achievement Standard:

* Students know and compare the characteristics of artworks in various eras and cultures
* Students describe and place a variety of art objects in historical and cultural contexts
* Students analyze, describe, and demonstrate how factors of time and place (such as climate, resources, ideas, and technology) influence visual characteristics that give meaning and value to a work of art

Content Standard #5: Reflecting upon and assessing the characteristics and merits of their work and the work of others

Achievement Standard:

* Students compare multiple purposes for creating works of art
* Students analyze contemporary and historic meanings in specific artworks through cultural and aesthetic inquiry
* Students describe and compare a variety of individual responses to their own artworks and to artworks from various eras and cultures

Content Standard #6: Making connections between visual arts and other disciplines

Achievement Standard:

* Students compare the characteristics of works in two or more art forms that share similar subject matter, historical periods, or cultural context
* Students describe ways in which the principles and subject matter of other disciplines taught in the school are interrelated with the visual arts

Note:
State Standards for the Arts
Iowa Department of Education recently published a new set of arts curriculum frameworks with reference to the National Standards for Arts Education for use throughout the state. These frameworks provide guidance to local districts in developing curriculum. State policy requires school districts to offer and teach visual art and music to students in grades 1-8. Fine arts instruction in grades 9-12 shall include any two of the four fine arts areas (dance, music, theater or visual arts) to equal three units of instruction.

State Assessment Measures in the Arts
The State Department of Education is participating in the national SCASS pilot program in the arts where a series of student assessment exercises in music, visual arts, drama and dance are being designed and implemented. Regional and district-wide assessment with workshops for professional development have taken place across the state and will continue. The issues of local control and local decision-making guide the development of assessment.

State Arts Education Legislation
Iowa Code Section 256.11 ties arts instruction to school accreditation. The state legislature has funded the Local Arts Comprehensive Educational Strategies program of the Iowa Arts Council and the Iowa Alliance for Arts Education. The program provides assistance to local school systems for the development and implementation of comprehensive arts education plans.

Fall 2009
School of Art and Art History Syllabus Information
The University of Iowa
Course policies are governed by the College of Liberal Arts & Sciences

Electronic Communication
University policy specifies that students are responsible for all official correspondences sent to their University of Iowa e-mail address (@uiowa.edu). Faculty and students should use this account for correspondences.

Homework Expectation
For each semester hour of credit that an Art and Art History course carries, students should expect to spend approximately two hours per week outside of class preparing for class sessions. That is, in a three-credit-hour course, instructors design course assignments on the assumption that students will spend six hours per week in out-of-class preparation.

Your Responsibilities
Your responsibilities to this class -- and to your education as a whole -- include attendance and participation. This syllabus details specific expectations the instructor may have about attendance and participation. You have a responsibility to help create a classroom environment where all may learn. At the most basic level, this means you will respect the other members of the class and the instructor and treat them with the courtesy you hope to receive in return.

Student Classroom Behavior
The ability to learn is lessened when students engage in inappropriate classroom behavior, distracting others; such behaviors are a violation of the Code of Student Life. When disruptive activity occurs, a University instructor has the authority to determine classroom seating patterns and to request that a student exit the classroom, laboratory, or other area used for instruction immediately for the remainder of the period. One-day suspensions are reported to appropriate departmental, collegiate, and Student Services personnel (Office of the Vice President for Student Services and Dean of Students).

Academic Fraud
Plagiarism and any other activities when students present work that is not their own are academic fraud. Academic fraud is a serious matter and is reported to the departmental DEO and to the Associate Dean for Undergraduate Programs and Curriculum. Instructors and DEOs decide on appropriate consequences at the departmental level while the Associate Dean enforces additional consequences at the collegiate level. See the CLAS Academic Fraud section of the Student Academic Handbook. www.clas.uiowa.edu/students/handbook/x/#2

Making a Suggestion or a Complaint
Students with a suggestion or complaint should first visit the instructor, then the course supervisor, and then the departmental DEO. Complaints must be made within six months of the incident. See the CLAS Student Academic Handbook.

Accommodations for Disabilities
A student seeking academic accommodations should first register with Student Disability Services and then meet privately with the course instructor to make particular arrangements. For more information see Student Disability Services at www.uiowa.edu/~sds/

Understanding Sexual Harassment
Sexual harassment subverts the mission of the University and threatens the well-being of students, faculty, and staff. All members of the UI community have a responsibility to uphold this mission and to contribute to a safe environment that enhances learning. Incidents of sexual harassment should be reported immediately. See the UI Comprehensive Guide on Sexual Harassment for assistance, definitions, and the full University policy.

Reacting Safely to Severe Weather
In severe weather, class members should seek appropriate shelter immediately, leaving the classroom if necessary. The class will continue if possible when the event is over. For more information on Hawk Alert and the siren warning system, visit the Public Safety web site.

Resources for Students
• Writing Center 110 English-Philosophy Building, 335-0188, www.uiowa.edu/~writingc
• Speaking Center 12 English-Philosophy Building, 335-0205, www.uiowa.edu/~rhetoric/centers/speaking
• Mathematics Tutorial Laboratory 314 MacLean Hall, 335-0810, www.uiowa.edu/mathlabTutor
• Referral Service Campus Information Center, Iowa Memorial Union, 335-3055, www.imu.uiowa.edu/cic/tutor_referral_service

CLAS Final Examination Policies
Final exams may be offered only during finals week. No exams of any kind are allowed during the last week of classes. Students should not ask their instructor to reschedule a final exam since the College does not permit rescheduling of a final exam once the semester has begun. Questions should be addressed to the Associate Dean for Undergraduate Programs and Curriculum.

Missed exam policy
University policy requires that students be permitted to make up examinations missed because of illness, mandatory religious obligations, certain University activities, or unavoidable circumstances. Excused absence forms are required and are available at the Registrar web site: www.registrar.uiowa.edu/forms/absence.pdf

University Examination Policy Final Examinations
An undergraduate student who has two final examinations scheduled for the same period or more than three examinations scheduled for the same day may file a request for a change of schedule before the published deadline at the Registrar's Service Center, 17 Calvin Hall, 8-4:30 M-F, (384- 4300).

Plus-Minus Grading
All the department's instructors can append plus or minus grades to the letter grades they assign for the course. If the instructor does not specifically indicate in the syllabus that he or she will not assign plusses or minuses, students should assume that this form of grading will be used.