A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 2 Acknowledgments I want to express appreciation for those who have helped and encouraged me to continue with this program. Dr. Louise Moulding, who gave me hope when I was feeling lost. For Dr. Dianna Huxhold for influencing, improving, and editing my work endlessly. And for my instructors who taught me to value critique as opportunities to improve. Without their advice, I would not be receiving a graduate degree. For my coworkers who listened, proof read, and showed excitement for me through this process. I cannot state how much it meant to have their encouragement. Finally, for my parents and other family members who supported, consulted and listened as I was trying to accomplish my goals. Daily they struggled with me and became true mentors. Their love and acceptance of me during this long period showed me how important it is to remember the blessings that life can bring. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 3 Table of Contents NATURE OF THE PROBLEM...................................................................................................... 7 Literature Review ........................................................................................................................ 9 Critique Defined ...................................................................................................................... 9 Critique as conversation.. ................................................................................................... 12 Critique as critical thinking. ............................................................................................... 13 Importance of Integrating Critique Conversation .................................................................. 14 Cultural differences. ........................................................................................................... 15 Feedback concerns. ............................................................................................................ 15 Emotional response ............................................................................................................ 17 Existing Approaches for Critique .......................................................................................... 18 Edmund B. Feldman .......................................................................................................... 19 Michael J. Parsons ............................................................................................................. 19 Tom Anderson. .................................................................................................................. 20 Teresa L. Cotner................................................................................................................. 21 Abigail Housen and Phillip Yenawine. .............................................................................. 22 Laura Trafi ......................................................................................................................... 22 Andrea R. English .............................................................................................................. 23 Ciler Gozde Gunday Gul and Yasemin Afacan ................................................................. 23 Alternative Suggestions for Critique Discussion in the Classroom ...................................... 24 Dialogue. ........................................................................................................................ 24 Information ..................................................................................................................... 25 Environment.. ................................................................................................................. 25 Art History as a Facilitator .................................................................................................... 25 Streamline the Curriculum..................................................................................................... 27 PURPOSE .................................................................................................................................... 29 METHODS .................................................................................................................................. 30 Production of Curriculum ...................................................................................................... 30 Context. .............................................................................................................................. 30 Scope of project. ................................................................................................................ 30 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 4 Procedures.. ........................................................................................................................ 31 Evaluation .......................................................................................................................... 31 DISCUSSION ............................................................................................................................... 33 Project Description ................................................................................................................ 33 Making the Curriculum Available ......................................................................................... 34 Implementing the Methods .................................................................................................... 35 FEEDBACK ................................................................................................................................ 38 Website Survey Responses .................................................................................................... 38 Worksheet Survey Responses ................................................................................................ 38 Presentation Survey Responses ............................................................................................. 39 Adjustments ........................................................................................................................... 39 REFLECTION .......................................................................................................................... 41 Production of Curriculum ...................................................................................................... 41 Limitations in Production ...................................................................................................... 41 Usage in the classroom .......................................................................................................... 42 Limitations in the Classroom ................................................................................................. 42 Diversity in Artists................................................................................................................. 43 CONCLUSION ............................................................................................................................. 45 REFERENCES ............................................................................................................................. 47 APENDECICES ........................................................................................................................... 53 Appendix A: Home page ........................................................................................................... 53 Appendix B: Modules Page....................................................................................................... 54 Appendix C: Module 1 .............................................................................................................. 55 Appendix D: Module 2 .............................................................................................................. 59 Appendix E: Module 3 .............................................................................................................. 63 Appendix F: Module 4 .............................................................................................................. 67 Appendix G: Module 5 .............................................................................................................. 71 Appendix H: Module 6 .............................................................................................................. 75 Appendix I: Module 7 ............................................................................................................... 78 Appendix J: Module 8 ............................................................................................................... 84 Appendix K: Module 9 .............................................................................................................. 89 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 5 Appendix L: Module 10 ............................................................................................................ 94 Appendix M: Module 11 ........................................................................................................... 98 Appendix N: Module 12 .......................................................................................................... 103 Appendix O: About Me Page .................................................................................................. 106 Appendix P: Contact Page....................................................................................................... 107 Appendix Q: Survey Page ....................................................................................................... 108 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 6 Abstract Critique conversations differ in each classroom. A poorly conducted critique can affect the way people give feedback both in school and beyond in a negative way. Combining different methods for critique into one streamlined curriculum can improve the way a person may respond. Using art history as a context to further teach critique to secondary school aged students can enable students to safely learn critique by practicing on well-known and often critiqued artists before engaging in self-reflection and peer feedback. In the provided curriculum, both teachers and students are given the opportunity to work online through 12 modules based on an art history timeline. Each module has a provided worksheet and presentation that may be used in or out of a classroom. The modules focussed on eight different method, for critique with four repeated methods. Other critique suggestions have been added to enhance each method based on dialogue and response techniques. The curriculum was evaluated based on suitability for a secondary classroom. To expand beyond a one semester art course, extended curriculum would be needed. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 7 NATURE OF THE PROBLEM In the visual arts and art education, critique is used as a tool for discussion aiding the giving and receiving of constructive feedback (Garoian, 1988). Critique is further explained as a series of observations, interpretations, and judgments given as a response to another person, or as a response towards something tactile (Donmoyer, 1993; Feldman, 1970; Subramanian, Hanafi, & Putih, 2016). Critical thinking strategies are used during critique to enhance observations, reflections, and personal interpretations (Rasmussen, 2017). The use of vocabulary terms such as evaluation, interpretation, translation and articulation, provide context for conversations worldwide dealing with interpretations and responses (Cotner, 2001; Subramanian et al., 2016). The ability to engage in a critique conversation has implications in the workplace. Employers have stated they witness in those they employ a distinct lack of background knowledge dealing with proper and adequate constructive conversations (Manning, 2013; Wiggins, Chanho, Trivedi, & Preece, 2017). Medical fields, law enforcement, and online stores have learned it is necessary to train new employees how to use critique conversation strategies, like those used during an art critique, to improve the way their businesses run (Huang et al., 2016; Miller, Grohe, Khoshbin, & Katz, 2013). Without learning how to think critically, responding accordingly, or knowing how to process feedback, communication issues may arise that can carry over into adulthood (Nekmat, 2012; Sawyer & Sawyer, 2018). Students are affected by critique conversations in-and-out of classroom situations (Thorkidsen, 1991). It is important for students to learn how to process and engage in the language or methods of critique conversation. If a student does not learn how to properly construct or process feedback from a critique, they may not learn that flaws are not failures A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 8 (Strowd & Lambros, 2010). Students may also bypass developing resiliency skills, or opportunities to discuss improvement, which would not promote character development and higher self-esteem (Fleming, et al., 2015; Strowd & Lambros, 2010). Many approaches have been used to incorporate critique into a classroom or institutional setting (Anderson, 1995; Cotner, 2001; Donmoyer, 1993; English, 2016; Feldman, 1970; Gunday Gul & Afcan, 2018; Housen & Yenawin, 2001; Subramanian et al., 2016; Trafi, 2004.). These approaches discuss a step by step processes for the development of critique, conversation, and language usage. Other suggestions such as providing a learning environment, teaching strategies for dialogue, and making sure the information can be added to enhance methods for a more balanced idea of critique leading to a wide variety of expectations for a critique conversation (Barrett, 2000; Chin, 2017; Cotner, 2001; Emanuel, 2013; Hendricks, Taylor, & Pulford, 2017). Art and art history are often used as popular subjects for learning critique. Structuring critique in an art history class can help provide a communication bridge between societal learning and observational awareness by discovering the process and cultures behind the art works (Nawar, 2012). Using an art history context as a steppingstone can further the idea of critique as a common area for study in other subjects, such as history and literature, due to similar timelines and processes of creativity (Donmoyer, 1993). Some concerns with how critique is used in art history arise when dealing with the accuracy of information concerning culture appreciation. These concerns are based on how one person can alter the perception of the artwork with an inaccurate or uneducated interpretation that discredits the work in question or finding the work may not be necessary to include in the classroom (Rampley, 2005). A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 9 Due to the many techniques for critique, providing a streamlined curriculum for critique is needed to help students develop experience, personal reflection, and opportunities to engage in feedback that go beyond superficial responses (Rose, 2016). Teachers have created their own methods for involving critique into their classrooms, but by repeating one technique, the students lack the ability to respond in different ways. By having a streamlined critique curriculum that incorporates many methods into one curriculum, the diversity of response and reflection can translate to other classrooms and subjects (Cotner, 2001; Donmoyer, 1993). A curriculum that incorporates methods for visual thinking strategies, critical thinking opportunities, and deeper observations, and interpretations will help students to better understand how to converse in and out of an art history context (English, 2016; van Schie et al., 2018). Literature Review Incorporating critique in an art classroom may enhance a student’s perception and appreciation, deepen a student’s feelings for other human beings, elevate a student’s level of humanity, and offer an opportunity to “better understand themselves, their culture and the culture of others” (Subramanian et al., 2016, p. 63). Critique Defined Critique is explained as a series of observations, interpretations, and judgments given as a response to another person, or as a response towards something tactile (Donmoyer, 1993; Feldman, 1970; Subramanian et al., 2016). Critique refers to the process of exercising a serious and objective examination that seeks to increase one’s understanding, provide people with meaning, and build appreciation (Subramaniam et al., 2016). Edmund B. Feldman author of Becoming Human Through Art: Aesthetic Experience in the School (1970) reduced critique into A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 10 a process of description, analysis, interpretation, and judgment (Cotner, 2001; Donmoyer, 1993; Garoian, 1988; Subramaniam, et al., 2016). As similar groupings of Feldman’s four processes reoccur often in research, for explaining the purpose of critique, they need to be further defined. Learning to observe is not just seeing, it is to inspect, question, and describe a subject’s context to the fullest (Rose, 2016). In Feldman’s first two steps, the description and analysis stages, would fall under the term observation. In the descriptive stage, one is to look no deeper than the surface. This would be about finding the basic information for what can be quickly seen or understood. The description would also include information from identifying the title, date, location, artist, and quick or well-known facts. It is important to know the facts of who was involved, the location of where it was made, and what medium it was made of, before listing an observation (Feldman, 1970). The analysis stage would take observation a step deeper as Sam Rose (2016) suggested, which was to find the small or obscure details that others would pass by, and asking the question “Given what we know, what is different here from what we might expect?” (p.157). Details found while observing analytically may be crucial for the discovery of meaning, and if the details were not found, one could entirely miss the meaning (Rose, 2016). The interpretation phase, or component of critique, is about finding the intent, the context, and the objective (Rose, 2016). Feldman suggested that interpretation comes after his first two steps of description and analysis. Interpretation would use the findings from the first two steps and explain the meaning for the work observed (Feldman, 1970). Interpretations can change throughout time. An example shared by Oscar Arbadia and Manuel Morales (2013) was when they discussed how interpretation of paleolithic art of the Altimira Cave has changed since its discovery. Based on the culture who examines the work and the era at which it was created, A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 11 interpretations will differ. This may also change due to the type of product that is being observed. Laura Trafi (2004) similarly stated: Art interpretation is not about the reproduction of knowledge of the truth of paintings and other art works, as tends to be assumed by formalist art historical discourse, it is rather a participatory practice of reading/writing ‘contexts’, and of ‘subject constitutions’ of student teachers as interpreters who search for (re)location in discourses that are suffused with issues of gender, class, and race. (p.34) Interest typically increases at the stage of adding context, allowing for higher-level analysis. A person becomes invested when exploring the meaning and purpose behind the basic inspection (Rose, 2016). Though when creating context, it has been suggested to eliminate empathy or emotion when interpreting and observing certain topics such as violence, passion, and other emotions because it may become a trigger and produce subdued responses (Hubbard, 2015). Arbadia and Morales (2013) also showed in their research that even though they were discussing how interpretations of the same art changes through time, they in turn were interpreting other art interpretations for contemporary review. They showed this by using their research and fact finding to discover meanings of multiple points of view. The Judgment component of critique is creating, reflecting, and responding to an informed opinion, which should not be done at the beginning of the critique process because there is no information leading to an educated judgment (Donmoyer, 1993). Often judgments have been regarded as subjective and lacking substance to back up the claim (Carr, 2004). In an art or art history classroom a student should be able to, after taking a closer look at a work of art and evaluating the scenario, place a judgment regarding the success or needed improvement of A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 12 the work. During the critique, the interpreter should inquire why something was done, and what the reasoning was behind the opinion when placing a judgment (Subramaniam et al., 2016). Critique as conversation. There is a certain type of dialogue that critique uses to decipher meaning, not only for one’s self, but for others as well (English, 2016). Enabling this dialogue will help build a sense of community in and out of the classroom (Yang, 2016). There are concerns that teachers are not allowing critique conversations because of inconsistency in teaching method. Meaning that not all teachers are trained or practice how to engage students in a critique dialogue, which would teach students how to express, listen, respect, question, critique, and debate (English, 2016). A critique may be presented in multiple forms, but the spoken word far outweighs the written one (Cotner, 2001; Garoian, 1988). Writing a critique down will solidify one’s description, interpretation, and opinion. When writing, the discussion stays personal and subjective rather than needing to be objective when speaking with others (Fleming et al., 2015). Teaching dialogue for critique has been described by Andrea R. English (2016) as incorporating three processes of: (a) Self-critique, (b) Narrativity, and (c) Building community. Self-critique is the key to the discussion, this is when the student learns to understand themselves and others. This is when they learn to listen and have a voice also known as self- monitoring. Narrativity, is learning to be attentive to the class and to whom the students are responding to. Like Feldman (1970) suggested, with interpretation, this narrativity suggests that discussion be used for discovery and meaning, allowing students to find mutual recognition and relationships when their knowledge extends beyond themselves. Having the discussion out loud also helps students to better understand one another and allows for the discussion to be built upon by others A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 13 (Fleming et al., 2015). Building community is the dialogic capacity to use language as a process for ‘sense making’. In a classroom, this needs to be navigated by a teacher to prevent oppressive and anti-dialogical interactions. English (2016) asserted, that, if done correctly, this type of discussion will help students to learn with respect. When Mei Yang (2016) researched critique, some of the findings were that critique forms tolerance, appreciation, reflection, and self-cultivation. Yang observed that the process began with a self-evaluation which expanded outward to family and community, strengthening bonds between peoples of many diverse backgrounds. In Grant Kester’s book Conversation Pieces: Community and Conversation in Modern Art (as cited in Rasmussen, 2017) it stressed the need to be socially engaged with community rather than the products people produce. Critique as critical thinking. While the product has been glorified as the highest learning, the critical analysis and student understanding of the subject has suffered (Sawyer & Sawyer, 2018). It has been suggested that incorporating critique in the classroom may enhance a student’s ability to deepen personal relationships with others, increase a student’s perceptions, and lead to better opportunities for appreciation and understanding for themselves and the culture of others (Subramanian et al., 2016). Critique interpreted as critical thinking, facilitates intellectual connections between rational and abstract concepts (Garoian, 1988). Garoian described critical thinking as a cognitive process that is developed in stages similar to Benjamin Bloom’s Taxonomy, which is dialogical ladder that, in theory, produces a higher level of critical thinking. The more analytic part of critique appears later in the process which takes a simple definition and recontextualizes and reinterprets it into a deeper and more profound study of knowledge (Trafi, 2004). A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 14 “Recent educational initiatives have emphasized the importance of fostering critical thinking skills in today's students in order to provide strategies for becoming successful problem solvers throughout life” (Broome, Pereira, & Anderson, 2017, Abstract). The process of critiquing may help to access information, improve arguments, and initiate self-reflection (Gunday Gul & Afcan, 2018). Internationally many final examinations seek out critical thinking skills. In the Netherlands, for example, art criticism has been given as a final examination for cultural studies due to the nature of experiencing, understanding, investigating, adaptation, and demonstration of skills within context (Schonau, 2018). Critical interpretation of art helps to exercise the formation and testing of ideas and judgments (Leshnoff, 2003). Critique used often in art interpretation is an intellectual process (Gunday Gul & Afacan, 2018). Critique may enhance the ability for the written and spoken word. When a critique is written it allows for teachers and students alike to provide a more detailed response and allow for assessment, whereas an oral response provides opportunities for discussion and immediate feedback from peers and instructors (Epstien, 1994). Peer review and critique increases feedback and revision and require students to clarify their personal values and solve complex problems of meaning-making and expression, also allowing for more opportunities for cross curricular transitions (Hendricks, Taylor, & Pulford, 2017). Importance of Integrating Critique Conversation The effects of not having the ability to decipher information, can harm one's ability to communicate cross culturally, in the work force, and socially (Anderson, 1995, Molloy, Molesworth, & Williamson, 2017; Neckmat, 2012; Trimmer & Warnock, 1992). This poor A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 15 knowledge of communication may even effect personal mental wellbeing when dealing with motivation, anxiety and self-reflection (Manning, 2013). Cultural differences. To better help understand how culture differs from one society to the next, there is a need for a developed dialogue. There are challenges in understanding another culture, but the ability to better understand another culture unifies people across continents (Anderson, 1995). The study of cultural differences changes the outlook of interpretive notions. Without studying culture, curriculums lose their historical context and understanding of transformation over time (Trimmer & Warnock, 1992). The critique conversation process could be used as a tool for teachers as a means for gathering information to help grow student interest and understanding about different cultures. Learning these critique skills and incorporating them into conversation will help students learn the values of humility and empathy when dealing with diverse perspectives (Trimmer & Warnock, 1992). Feedback concerns. Feedback given using conceptual understanding, instead of opinion without substance, is a skill lacking in today's education and technologic communication (Sawyer & Sawyer, 2018). Through technology and social media many have found that opinions are stated without finding the factual evidence. Valid arguments are rare to see without belittling others and highlighting mistakes. Sawyer and Sawyer (2018) explored the use of social media and online mathematical discourse and found that when students practice communicating conceptual understanding, they are more likely to vocalize and explain processes over social media and at home, which in turn eliminates communicative confusion. The ability to effectively communicate objectively without resorting to emotion leads to factual and honest communication (Sawyer & Sawyer, 2018). A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 16 Researcher Elmie Neckmat (2012) expressed that ‘personal message making’ in both receiving and expressing have a direct impact on mental effort and learning (p. 219). The social phenomenon that ‘word of mouth’ communication, as correct information, has become more evident in commercial success, campaigning, social media influence, and participatory activities. Neckmat suggested the ‘middle man’ has become the research or information instead of returning to the origination of fact, which in turn incorporated personal beliefs and interests into finalized opinions which negate the originators intentions therefore losing credibility. The psychological effects of this are that when one takes the time to gather information and communicate fully, they can retain more credible information that lasts longer rather than one who is not expected to do so. The result of Neckmat’s research was that in an online setting those who chose to dig deeper were able to learn more, elaborate effectively, and form stronger attitudes. Online reviews have changed due to the lack of positive or constructive response. Many responses to online products are negative and organizations have needed learn to cope with the potential permanent responses posted online. Wiggins, Chanho, Trivedi and Preece’s (2017) study has explained that there is limited knowledge about how to interact in constructive dialogue in the workforce. The types of composed responses in reaction to negative responses also effect the organization and how the consumers perceive them. They discussed that there were three types of common responses which were; only positive (only replying to the positive parts of the feedback), no response, and full response (touching on both positive and negative feedback). The full response is most likely to fulfill the consumers wishes, therefore creating a positive interaction. When critique was incorporated into the study the consumers response was A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 17 positive towards a full disclosure critique where more information was given instead of censored (Wiggins et al., 2017). Therefore, choosing the correct type of feedback is necessary for organizational success. An article written by Molloy, Molesworth, and Williamson in 2017, focused on driving rather than on technology, and they concurred that success in driving is based on the type of feedback given, at what time the feedback was given, and if it was constructive feedback. Without receiving constructive feedback, drivers were less likely to manage tasks, observe their surroundings, and understand situational importance. The article stated that the content of feedback is more important than the presence of feedback because the content is what helped drivers know what to do in order to improve (Molloy, Molesworth, & Williamson, 2017). Emotional response. Brain matter changes based on the type of feedback received (van Schie et al., 2018). Shane and Weywadt (2014) conducted a study, including three tasks, which demonstrated that after receiving negative feedback the brain decreased in motivation to complete the next task. Another article stated that law programs are suffering due to lack of applicants because of the mental wellbeing of their students (Manning, 2013). The issue comes when the feedback is non constructive and more vindictive. Manning’s (2013) article stated that depression levels rose, motivation decreased, and drop-out rates were high. The problem was the lack in training about how feedback should be given and why. Secondary school students are largely affected by their emotions. As a result, a poor critique could greatly decrease their belief in self and others. (Barrett, 2000; Overby, 2012). Barrett researched multiple reactions to feedback given in an art classroom based on studio critiques. Negative feedback and harsh wording produced the feelings of embarrassment, A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 18 frustration, and shame. With these emotions students stated that a bad critique produced physical tears, and stifled creativity. Positively, a critique, if done correctly, encouraged reflection, responsibility, discussion, communication, and mentoring opportunities (Barrett, 2000). Students are shy when they do not feel comfortable or confident resulting in lack of participation during discussion (Overby, 2012). Relevant critiques of art heighten student sensitivity and awareness of others around them (Leshnoff, 2003). Art teachers teach their students to be stewards, and that individual actions make a difference. Studying critique in the classroom can improve the way a student advocates for their own viewpoints. Though opinions will differ, learning to accept other opinions develops a socially conscious person. Judgments need to be practiced and not given without discussion to promote good character, respect, and communication in and out of the classroom (Leshnoff, 2003). Engaging students in learning to critique will give them practice at looking at problems, seeing in different ways, thinking metaphorically, and learning to examine themselves in a creative way (Emanuel, 2013). Learning how to critique makes a big difference in the lives of students. Appropriate methods of critiquing will allow for constructive feedback and better communication skills. Existing Approaches for Critique Many approaches have been used to incorporate critique into a classroom or institution. From Feldman’s (1970) judgment theory to Housen and Yenawine’s (2001) Visual Thinking Strategies (VTS) critique has been introduced into the classroom in steps of subject matter, observation, meaning making, and assessment. Building upon developed methods for critique teachers and researchers alike have wanted to find a way to incorporate critique discussion in the classroom. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 19 Edmund B. Feldman is often cited when discussing methods for critique. As expressed above in defining critique, Feldman suggests a four-step process for critique: 1. Description: The immediate facts. 2. Analysis: A close observation of the work. 3. Interpretation: Finding the meaning or purpose of the work. 4. Judgment: Using previous knowledge to create an educated opinion. (Donmoyer, 1993, Feldman, 1970; Subramanian, et al., 2016) Feldman’s work has also been compared to Blooms Taxonomy, because they both follow a step by step process and each receive, in the end, higher order thinking skills (Garoian, 1988). Michael J. Parsons (1987) developed levels for cognitive discussion based on age. The 4 levels of discussion were broken down in order, with the same 5 subgroupings (a.,b.,c.,d.,e.) for each level of discussion (Cotner, 2001). Discussion is as follows: 1. Subject matter: Discussion about what is recognizable, what the topic is, what the focal points are, etc. a. Favoritism: What stands out as favorable to the viewer. b. Beauty and Realism: How the image or artifact looks. c. ‘Expressivism’: First impression of how the artist expressed themselves. d. Form: What the main characteristics of the work are. e. Autonomy: How the artist decided to put it together. 2. Expression: Discussion about what the purpose or meaning of the work is. a. Favoritism: What the artist wanted to convey. b. Beauty and Realism: Does the artistry follow a theme? A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 20 c. ‘Expressivism’: How was the meaning expressed? d. Form: Do the forms accentuate the meaning of the work? e. Autonomy: How did the artist choose to express the meaning of the work? 3. Style: Discussion of the method the artist used to portray the work of art. a. Favoritism: What is the medium of choice? b. Beauty and Realism: What are the aesthetic choices the artist made? c. ‘Expressivism’: Why did the artist choose to express themselves in this style? d. Form: How did the artist put form into play within the work? e. Autonomy: What choices did the artist make to create a style of their own? 4. Judgment: Discussion about the viewers informed opinion based on their acquired knowledge. a. Favoritism: What turned out to be a favorite part of the work? b. Beauty and Realism: How well was the meaning portrayed? c. ‘Expressivism’: Did the expression add any value to the work? d. Form: How well was the image put together? e. Autonomy: Did the artist develop a successful piece? Tom Anderson (1995), defined five tools for better understanding culture by critique. 1. Reaction; used as a hook to gain interest. 2. Perceptual analysis; divided into three categories with the understanding that the student should not be informed of another’s analysis before they themselves form their own opinions. a) Representation A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 21 b) Formal analysis c) Formal characterization 3. Contextual examination; provides a foundation for discovering the meaning of the work. This examination has four typologies being; a) Ceremonial b) Utilitarian c) Decorative or aesthetic d) Play/ fantasy/ education They are further broken down into 14 different categories for identification (not listed). 4. Personal Interpretation; incorporates a human meaning within context and should not have a universal meaning. 5. Synthesis; which has both a resolution and an evaluation. Meaning those who are critiquing need to express how it was represented, the significance of the work, and an examination of the work. The examination should fall under three categories asking the question ‘What is it for?’ The categories are as follows; practical function, social function, and belief systems (Anderson, 1995). Teresa L. Cotner (2001) suggested there are four levels of conversation in an art classroom: 1. Talking art criticism: The ability to synthesize and assess information. 2. Talking art history: Places relevance to historical context including information about artists and individual works of art. 3. Talking aesthetics: A discussion about style. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 22 4. Talking studio practice: Actual use of materials in the classroom (Cotner, 2001). Abigail Housen and Phillip Yenawine developed Visual Thinking Strategies (VTS), which are based on four concepts. All these steps are timed and can happen within one class period. 1. Constructivist: The student is actively engaged in learning, as well as building connections that contribute to the world around them. 2. Extended engagement and contemplation: Encourage students to linger and contemplate on a piece of art. 3. Meaning Making: Actively using the imagination to decipher meaning. 4. Facilitation of Discussion: Students use their knowledge to prompt discussion about the work (Housen & Yenawine, 2001). Laura Trafi (2004), designed critique in four observations titled “the Gaze”. In the gaze the viewer will try to find the subject, subjectivity, try to make sense of the work, and find social exchange or historical background. This may be done using the cognitive tools of concept, argument, and statement. The observations are ordered as followed: 1. Previous Assessment: Examining closer using the subcategories categories: a) Culture b) History c) Identity 2. Description: How the work is seen. 3. Contextualization: How the gaze interacts with expert knowledge and is then reconstructed. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 23 4. Transference: uses the previous assessment and the contextualization to find relevance to current situations. Andrea R. English (2016), emphasized that critique involves providing experiences where students can find their own ‘blind spots’, and the blind spots’ of others. These ‘blind spots’ may be found when self-reflecting on one's own work or allowing others to help in finding areas on which someone may improve. English breaks this process down into three categories for critique conversation: 1) Self-critique 2) Narrative capacity 3) Building community These categories identify what improvements are needed by asking the questions ‘what has happened’, ‘what is happening’, and ‘what is necessary’. By asking these questions, English states that students will discover the limits of their own knowledge and seek new ways of seeing. It is about learning to be in the world and understanding their surroundings (English, 2016). Ciler Gozde Gunday Gul and Yasemin Afacan (2018), use reflection as an action which allows for students to figure out relationships between listening and telling, as well as theory and practice. There are three types of suggested critique and they happen at different times during the semester: 1. The desk critique; which is personal and happens during the duration of the semester. It is one on one with the student and their work, making it more readily available for questions. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 24 2. The pin-up critique; where work is hung up and a commentary begins on the art work. More people are involved, and more reflection and explanation are given. This should be more constructive in feedback. 3. Group critiques; are made for small groups gathered around a desk to discuss the work and allows for individuals to work on their public speaking in small doses (Gunday Gul & Afacan, 2018). Alternative Suggestions for Critique Discussion in the Classroom Many others have suggested improvements dealing with how one should approach these methods and what questions should be asked, and the environment surrounding the information (Barrett, 2000; Chin, 2017; Cotner, 2001; Emanuel, 2013; Hendricks, Taylor, & Pulford, 2017). Dialogue. Vocabulary development is necessary for conducting appropriate discussion. Learning the language of curriculum, language of control, and language of personal identity are three ways students would learn art concepts, social concepts, and personal identity (Cotner, 2001). There should be more than just judgment and should incorporate multiple interpretations with open ended questions, and there should also be provided input for future improvement rather than negative responses (Barrett, 2000). Ask open interpretative questions such as “what is going on, what do you see that makes you say that, and what more can we find” (Chin, 2017, p.64). Expectations for useful feedback have been noted as; always suggest a solution or improvement, be specific, be sure that the reviewer feedback is clear, positive feedback is appreciated, be kind but constructive, focus on the creator's experience, and at the end of giving a critique make time for discussion and assessment of student experience (Hendricks, Taylor, & Pulford, 2017). A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 25 Information. “A critique is effective when the students leave the experience better informed [and] slightly more literate in the language of criticism and aesthetic analysis” (Barrett, 2000, p.32). Based on an individual and where they are at in learning style, maturation, and need for information question based on theme and concrete understanding (Barrett, 2000; Chin, 2017). Direct the conversation to alignment, motivation, connection and direction (Emanuel, 2013). Environment. A critique should be conducted in an atmosphere of caring, good will, protection, inspiration, and encouragement. The environment for critique should focus on students building sharing relationships and responsibility (Barrett, 2000). The environment should help the student to see, learn, listen, make choices, make connections, reflect, practice looking at problems, examine, and form relationships (Emanuel, 2013). Art History as a Facilitator Art history easily lends to critique environments due to availability of material and a wide scope of time, culture, and location. Critiquing art history develops an ability to better understand other cultures and provides information in a well-rounded manner (Anderson 2018). The study of art history lends to differed interpretations and open-ended discussion. Arbadia and Morales (2013) gave an example of how art history changes throughout time based on interpretation, and historical connotations are constantly being revised and renewed with new insights. By following the history of two objects, Arbadia and Morales explain that the interpretation differs from art movement to art movement allowing for discussion and development of critical thinking skills. In 2016, a preschool in Mosgiel New Zealand chose to explore art history as a means for better learning in visual art, mathematics and literacy. The findings were after going through a A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 26 unit from research to on site exploration to reflection, the students were able to improve their connected learning, extended learning, empathetic learning, descriptive analysis, connection to broader contexts, communication, and reflection (Bell, Bell, Collins, & Spencer, 2018).Fernando Luis Zanetti studied 329 articles dealing with issues based on how schools, students, and teachers respond to having art at their institutions. An overview of the articles suggested that art would positively change the pedagogy of the school. It would allow for students to learn more of themselves, revitalize the school culture, and provide opportunities to further examine culture and style of others, bringing unity and harmony into a school. Garoian (1988) stated that in using critique in an art classroom, students become; visually literate, have the ability to decipher meaning from characteristics, judge aesthetic merit, and be more aware of qualities in their surrounding environments. Critique may help students develop critical thinking and afford them the means to make more mature and thoughtful choices (Subramaniam et al., 2016). Learning how to give constructive feedback would be at the service of an economic, political, and cultural model (Zanetti, 2017). Some concerns appear when discussing the cultural aspect of art history. Matthew Rampley (2005) asked many questions about how critique of culture study and art history can work together in a unified manner. Problems were found when asking about the separation of aesthetics and meaning, as well as reorientation of history to fit traditional concerns. Rampley suggested that critique would need to focus equally on differences and commonalities to be of any value. Much of art history discussion is based on the western world, but Rampley asked how the ideologies of the western world can fit with nonwestern art. More research would need to be done in this area. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 27 Streamline the Curriculum Art history teachers could use a streamlined tool to aid them in teaching different methods for critique within one classroom. Due to the many techniques for critique used in a variety of classrooms, a curriculum that incorporates these techniques into one curriculum would widen the prospects to mastering the critique technique. Providing a streamlined curriculum for critique will help students to develop experience, personal reflection, and opportunities to engage in appropriate feedback as well as involve evaluation, translation and articulation, making critique a prime tool for intellectual development (Rose, 2016; Subramanian et al. 2016). With a streamlined curriculum the participants comfort levels will rise when dealing with critique conversations and become more constructive in their responses. The students would be afforded the chance to try multiple strategies in discovering and reflecting about their learning styles and how to better converse critically in a safe environment (Barrett, 2000; Cotner, 2001; Emanuel, 2013; Housen & Yenawine, 2001). Each method for critique has a specific purpose, but if altered to flow as one curriculum critique will only enhance a student's abilities to communicate with themselves and others, raising awareness for the cultures and community surrounding them. Considering that information is translated differently as time goes on, and depending on location, streamlining critique conversation could help with understanding and unifying thought (Arbadia & Morales, 2013). This may also transfer into socially cognizant citizens having the ability to participate appropriately within their communications online, in person, in educational endeavors, and in the work force (Neckmat, 2012; Molloy, et al., 2017; Sawyer & Sawyer, 2018; Wiggins, et al., 2017). Personal growth will come when the students learn how to give and receive feedback in A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 28 multiple ways, learn to develop communication skills, and how to reflect on differences and commonalities, relationships, and building opinions (Emanuel, 2013; Leshnoff, 2003; Manning, 2013). A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 29 PURPOSE Critique is a tool for discussion used to give and receive constructive feedback (Garoian, 1988). There have been many conceptions of critique and what it should entail. The aim for this critique curriculum was to study previous practices and streamline them within one curriculum. Streamlining critique for student curriculum is important due to the need to provide better constructive feedback, not only intellectually, but for individual growth as well (Cotner, 2001). Art history was a good starting context for practicing methods of critique. If students do not receive a streamlined critique curriculum, their current and future interactions within all communication aspects of life may suffer (Rasmussen, 2017). The purpose of this project was to develop a curriculum for critique conversation as a tool for giving and receiving feedback and learning to hold opinionated discussions in a secondary art classroom. A curriculum has been developed to diversify methods for critique conversation while streamlining processes for teacher use in the classroom. By having teachers incorporate this curriculum into their class's students can deepen their observations, use critical thinking skills, and learn to give adequate feedback. Goals for this curriculum: 1. Dig deeper into art history curriculum to allow for personal growth by studying culture and different societies. 2. Develop a curriculum that provides for streamlined conversations in a secondary art classroom. 3. Transform techniques for critique in a way that molds together theory, method, and suggestions so that teachers and students may follow and learn at their own pace. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 30 METHODS Production of Curriculum The curriculum has been made of 12 modules studying different eras of art history. Each module includes aspects of previously developed conversational strategies along with additional suggestions for dialogue. Within the curriculum there are work sheets, discussion prompts, and accompanying Prezi presentations for access to larger imagery and information. The information has been made for the use in secondary schools and is accessible online along with links for both presentations and worksheets. Evaluators have surveyed and reflected on interest, usability, and professionalism dealing with the completed curriculum. Context. Secondary educators and their students are the target audience for this curriculum. It was constructed so middle school, junior high, and high school art programs can use it despite the age range of students. Art history and general arts are the starting courses where the curriculum could be incorporated, although other subjects such as, world languages, literature studies, world history and geography may also benefit from the added critique curriculum. Scope of project. An online website has been created using the Weebly website builder so that the website can be easily accessed and holds all the information in one location. Separate pages, named modules 1-12, identify each week’s topic with linked resources and its accompanying presentation and worksheet. Twelve worksheets have been created, one for each week of study. Each worksheet will contain information about a specific artist(s) dealing with an art era and prompts for discussion leading up to providing constructive feedback. Accompanying Prezi presentations for each of the 12 mini modules provide larger scale imagery for better viewing as well as basic information for completing each worksheet. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 31 The curriculum is planned for 12 weeks’ worth of discussion, the teacher will be able to choose whether they do the lesson all in one day or extend over multiple days. With this extension the modules are equal to the majority of one semester class. The timeline of each discussion would be minimally invasive to daily lesson activities. Each module is designed for teachers and students to spend 10 to 15-minute increments on each worksheet topic or 40-50 minutes for an entire lesson. This time schedule was made to enhance discussion while still giving time for planed studio time or previously planned instruction. Procedures. Each single worksheet has instructions outlined on the website that allow students to converse about observations, interpretations and give feedback. The worksheets will need to be printed out for an entire class as there is not an input field within the worksheets for typing online. By using these worksheets and presentations, students will learn vocabulary terms appropriate for giving a positive critique and learning diverse ways in which to critique art. Having the methods accompanied by suggestions from theorists and researchers allows each week to vary in technique to give a well-balanced outlook at discussion and response. Online additions such as article links and alternative webpages coordinate with the weekly art history topics. Evaluation. There were three evaluators that surveyed the curriculum at its finish. They were made up of two secondary art teachers and one secondary art administrator. The evaluators volunteered after being introduced to the program. I approached teachers from both junior high and high school settings and two teachers responded to the affirmative for being willing to help. The administrator was chosen because of their ability to evaluate and know what to look for in a lesson, the administrator also needed to have an art background. After approaching the A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 32 administrator that would be the best fit for surveying the curriculum, they as well responded to the affirmative for helping with the evaluation. All three evaluators completed a survey located on the last tab of the webpage and their submissions were anonymous. The survey consisted of questions pertaining to the usability, interest, and usefulness of the curriculum for their specified subjects. Once the surveys were completed the anonymous information was made available anonymously, through the websites email for further reflection on the curriculum. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 33 DISCUSSION Critique conversation is necessary for students to develop a way to produce educational feedback to their peers and in other areas of their lives. By transforming eight different methods of critique and melding them into one streamlined curriculum teachers and students alike will be able to learn in a variety of ways about history, art, culture, and different societies through the lens of critique conversation. A twelve-week online curriculum has been developed, providing worksheets and presentations that can be used to fit a teacher’s needs within a daily instructional period that will ultimately cover one semester worth of work. Project Description The reason for a new critique curriculum was to inform and give apprentice to both teachers and students in how a critique conversation can be built. Using art history as the context for instruction, the curriculum provides the teacher and students with twelve modules which discuss different topics and eras of art history. Each module was designed based upon developed methods for critique conversation and critique interaction. Included are also suggestions for vocabulary use, dialogue prompts, and reminders about how feedback needs to be constructive and kind. The curriculum was made to have lessons build upon one another using taught methods and vocabulary usage. Some methods were repeated for practice in critical thinking and response. The purpose for this curriculum is to help grow a student’s mind set and responses to different cultures, eras, and peer response. The student should be able to converse, question, and reflect about opinions made by themselves or judgments that others have made. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 34 Making the Curriculum Available Beginning the production decidedly was choosing the domain for the website. Weebly.com was easy to use and provided templates that would help with organization for modules, presentations, and worksheets. The domain name and search created for the project is www.mastercritique.weebly.com, which leads the viewer straight to the home page for Mastering Critique. The Home page introduces the project objectives and outlines the national standards for teaching visual arts grades 8-12 (see Appendix A). How to use the modules is explained on the Module page (see Appendix B). Included on this page is an overview of the resources used for the developed methods and suggestions. The Module page explains that each module has an accompanying worksheet and presentation following the information given on the website. Links are provided to each module at the top of the page if the viewer chooses. A drop-down menu is also available for the viewer for accessing the individual modules. Each module is designed based on a developed method for critique interaction. There are 12 modules total, each with an accompanying worksheet and presentation (see Appendices C-N). Originally, I planned on providing a powerpoint for each of the presentations and adding it to the designated module. However, the website builder I was using did not allow for powerpoints due to the large amount of data usage. Prezi.com was the next choice because it was already based online, therefore the only thing that needed to be added to the website was a link which has limited data usage. The links worked well, and they were easy to build. When trying to access the webpage with a cell phone however, the links could not be accessed while on the Prezi presentation. That specific issue is something Prezi is currently addressing. The website builder Weebly.com, worked wonderfully because the presentations are easily accessed, navigation A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 35 through the information was easy to build, and each link works and can be viewed on both computer and phone. Additional pages were created for the view to better understand the background of the website builder and how to contact if necessary. The About Me page consists of my educational background, experience as an artist, work that has been produced and museums visited (see Appendix O). With this information it may help the viewer to better understand why I created the curriculum as I did. A basic Contact page is available if the viewer has any questions for me (see Appendix P). For the use of retrieving evaluations, a Survey page was created for easy access as the evaluator was critiquing the curriculum. The surveys were set up as submissions that would instantly and anonymously send responses via email (see Appendix Q). Implementing the Methods There are eight methods presented in this curriculum. Four of them are repeated. I chose to start the curriculum with Edmund B. Feldman’s (1972) method because of its simplistic and direct information (see Appendix C). For example, Module 1: Pre-history, followed Feldman’s method by explaining how to describe, analyze, interpret, and place judgment. An addition of suggested dialogue was made to Feldman’s method to enhance the analysis stage. Also added was that the teacher should review the art elements (i.e., line, shape, form, space, texture, and color) with their students before starting the module. Art elements are points of production that students can identify when talking about art. The art element dialogue extended through each of the 12 modules. Module 2: Roman Sculpture was focused on Gunday Gul and Afacan’s (2018) group critique (see Appendix D). By combining Feldman’s questioning with Gunday Gul and Afacan’s A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 36 group critiques the students can discuss the description, analysis, interpretations and judgments in small groups. Gunday Gul and Afacan suggested that small group critiques will help students with their public speaking. Having the small groups continue with Feldman’s method students can feel at ease with the discussion topics. The second type of critique I based a lesson off of was the “pin-up” critique where the imagery is posted up somewhere in the classroom and the students then have opportunities for commentary. This technique was used for Module 10: Surrealism with four paintings from Frida Kahlo (see Appendix L). The methods that provided the most critical thinking opportunities were Tom Anderson (1995), Michael Parsons (Cotner, 2001), and Laura Trafi (2004). Each method has subcategories that the students can use to further examine art work and their own opinions. Those chosen methods were repeated in this curriculum for better practice in further examination, and finding deeper meaning (see Appendices E, F, G, I and M). The reason they delve deeper is because the methods ask the students to relate to, research, question the purpose for the artwork, and answer why it has meaning for the society in which it was made. Module 8: Advertising, took a different approach by using Housen and Yenawins (2001) concept for Visual Thinking Strategies (VTS) (see Appendix J). The module takes the students through a research and understanding portion but then is broken into a second part for production. Housen and Yenawin suggested that critique happens after a student’s knows how to produce the work. The curriculum for this lesson was created so that the students, using Housen and Yenawin’s VTS, can create in groups an advertisement, present the advertisement, and then respond to other groups as they present. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 37 Modules 6: Reflection, 9: Impressionism, and 12: Graffiti were based mostly on the discussion and reflection portions of a critique (see appendices H, K, & N). Cotner (2001) and English (2016), focus on the importance of how classroom talk should happen as well as an internal perspective for reflection. These modules are more individual based study with peer response interactions for discussions on the topic. Personal reflection is important for a student to learn so that they may get to know a little more about themselves and how they react to others (English, 2016). Suggestions were added to each lesson through comments on either the website, presentation, or worksheet. The students were reminded to be kind in their commentary, constructive in their feedback, and remember to use quality vocabulary when describing the work of art. These suggestions were made, but not distinguished in the curriculum due to overlapping suggestions, by: Barrett (2000); Chin (2017); English (2016); Emanuel (2013); and Hendricks, Taylor, and Pulford (2017). Their suggestions were used in how the worksheet questioned the viewer and also by asking mostly open-ended questions and giving room for reflection. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 38 FEEDBACK The website provided a survey that questioned the usability and usefulness of the provided information as well as interest for the students and teachers (see Appendix Q). Three evaluators were chosen from secondary education teaching positions and were asked to review the website, click the links, and evaluate the worksheets and presentations. Their responses were submitted anonymously and recorded via email. The survey consisted of questions that rated the experience, as well as short answer response. Website Survey Responses The survey consisted of multiple-choice responses and some short answers. In the multiple-choice sections, the ratings of yes, mostly, and no were available choices. Responses were unanimous that the website was extremely useful and easy to navigate. Submitter 3 responded that the links were “mostly” workable, while Submitters 1 and 2 responded with “yes”, they were workable. Submitter 2 responded that the website “mostly” provided alternative resources for information while Submitters 1 and 3 stated, “yes” the resources were well provided. An improvement suggested by Submitter 3 was that “The "About" page where you click on "View My Work" takes you to the "Module" page.” Submitter 2 found that “Module 8 [at the] end of part two has spelling error, has on instead of one.” Submitter 1 commented that over all “This is an amazing way to teach students about looking at, learning about, and problem-solving ideas and images for their own work as they become artists.” Worksheet Survey Responses The submitters were unanimous in selecting “yes”, the questions do create potential for developing critical thinking. Submitter 2 selected “mostly” when asked if the “potential for better A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 39 classroom discussion is provided”. When asked if the worksheets could be useful Submitter 1 stated, “writing information is a great way to remember and use that information”, and Submitter 2 stated, “yes, even if not using them, [the provided worksheet] has ideas for prompts and activities.” As for what needs to be improved with the worksheets Submitter 2 wrote, “Some wording on worksheets too vague for younger students. Include definitions or clarifications that the teacher makes for students who didn’t listen or have forgotten terms.” Presentation Survey Responses The Submitters were unanimous in selecting “yes”, that the art content is relevant, it provides help for teachers, and it is thought provoking. When asked what the most successful part of the presentations was Submitter 1 wrote, “Great blended learning tool, students can watch them at their own pace.” Submitter 2 wrote that the presentations are “visually appealing”, and Submitter 3 liked that there are “multiple resources for learning”. They were all unanimous that there were no improvement necessary. Adjustments The presentation of the work went smoothly, the responses, in majority, were positive with few suggestions for alterations. After receiving the feedback from the evaluators, I went back and fixed the found spelling error, and access button for the “View My Work” page. The comment from Submitter 2, about how the worksheets can become monotonous, does create interest in how the presentation could be improved by incorporating different ways to record and store information. There are new platforms that this may also transfer to that would work even better in a classroom, and without the necessary paper printing that this project requires. This alludes to new technology discoveries and forms that teachers may use in the classroom that will A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 40 improve consistently. This curriculum would still be of use even when transferring onto a different learning platform. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 41 REFLECTION Even with the best of intentions there will always be a different way to present a curriculum to others. The streamlined curriculum works well for one class, but not for multiple courses and would need to be added to if needing a full year or for teaching different courses. The curriculum discusses a wide variety of different cultures, but subject matter was limited due to the twelve-week timeline and including even more diverse artists would also be of benefit when discussing social and contemporary issues. Production of Curriculum Overall, the production of the curriculum went smoothly. The website can be easily navigated, the links are provided for additional information, a thought-out presentation is available for classroom presentation, and worksheets are readily available for printing or referenced for critique conversation. Allowing the information to come from three separate sources improves the chances that students will understand more information due to differentiated learning strategies. Limitations in Production The production of a 12-week curriculum dealt with limitations of subject matter, but also can focus in on topics that are relevant and interesting. This happened with how the website could be put together, and how the curriculum was reported on. The limitations also can be found in how a teacher should use the curriculum without repeating themselves, and limits the diversity found within such a short amount of study time, which has a large historical time span to cover. There were a few difficulties when the presentations were not working with the website builder, and in the downloading the presentations to insert into the appendices. First when power points A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 42 were too data heavy to be inserted into the webpage, and secondly when Prezi needed a subscription to access printable versions of the presentations. Other limitations came when creating the survey for the evaluators. The website builder has limited questions that can be inserted for any given survey, therefore I had to create three separate surveys for the evaluators to submit: One for the website, one for the worksheets, and one for the presentations. It still was designed to flow, but less convenient due to multiple submissions. Usage in the classroom This curriculum is good for teaching one, twelve-week, course for foundations art. If the teacher is only teaching one subject this specific curriculum can be used without further expansion. Using this basic outline for additional courses, including the worksheets and presentation, new questions can be asked about different artists, eras, or cultures. Other than a foundations art course, subjects such as; painting, two-dimensional art, three-dimensional art, or even creative writing may use the basic outline for each module to create their own curriculum. Not only can this outline transfer to other subjects, but this curriculum is easily transferred to online or home-based schooling. The presentations and modules were built in a way that lends to the student, teacher, or class setting their own pacing as desired. This curriculum is beneficial to any teacher who would find use for it. It will provide practice in critique conversation, help students to think critically, and take time to search, ponder, and reflect on any subject matter that is put in their path. Limitations in the Classroom When identifying the specific topics designated for this curriculum, I found it difficult to limit the works of art to be studied. Students could benefit from learning about more artists than A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 43 what this curriculum can provide. Because this is built for one twelve-week course, some expansion is needed when thinking of a teacher who would possibly teach four different subjects, or age groups, in a single semester. If the teacher using this curriculum teaches different age groups or different class topics, they will find that they are unable to overlap the curriculum from one year, or one class, to the other without repeating themselves. Submitter 2 suggested as well that “Too many worksheets gets old fast”, meaning worksheets may become overdone and students can become disinterested in the worksheet, but that the worksheets do provide activities that still may be useful even if the teacher decides not to use them. Diversity in Artists The curriculum provides a wide variety between time and culture that is not of the usual art history context of the western world. There came a point in production when I realized that I had been trying to incorporate many different cultures and different stages of art history, but that I was still not outwardly recognizing minority groups. In a 12-week program, it is difficult to touch on all that could be talked about. One example being that women do not appear in mainstream art history until much later. There were women artists, but many were not placed in any type of professional position within the art world. A change came later in the 19th century, and that is where I placed the first woman, Mary Cassatt (see appendix K). This is not to say that Mary Cassatt was the first female artist, but that she was well recognized and created a large impact in her home country dealing with the topic of art. Another minority group that was not outwardly stated was that of the LGBTQ community. Some artists that were studied in the curriculum were of these minority groups, but I felt that a statement about their personal affiliations were not needed to enhance their importance A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 44 to the art world. The first would be the rumor that Michelangelo was gay, because of his lonely character and the fact that he never married. Another was Andy Warhol, who was openly gay, and ultimately was discriminated against because of this. Addicts and those struggling with mental wellbeing were other minorities lightly discussed, but not focused on because of this. Mention of death and struggles that impacted their art work was mentioned due to historical importance. Vincent Van Gogh, Jackson Pollock, and Jean-Michel Basquiat are a few in the curriculum that had an early death due to these complications. Ethnicity was not a large focal point in explaining the demographics of the artists, but I did try to go beyond the traditional western art focal point and expand to different cultures not widely known. With the addition of the Peruvian Moche people, the masks around the world, and topics such; as political statues, which have been seen in different eras and locations influenced my choices in placing diversity, culture, and ethnicity into the curriculum. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 45 CONCLUSION This project was initiated by a concern I have that conversations in schools, online, and in society are evolving into uninformed and harshly given feedback. If there were more opportunities to study about how to state opinions, my concern may diminish. Existing critique conversation could be improved by this new critique curriculum that is made specially to train students in discussion, analyzing, and interpreting. Judgments can be better informed when following researched methods that develop critical thinking opportunities. Students who learn to produce and receive feedback in a kind and constructive manner will not need to feel anxiety when speaking to others about their opinions. Using art history as the facilitator for this conversation takes the pressure away from personalized criticism and instead transfers the feedback to a general topic that peers are also trying to find meaning for. Learning to discuss different topics such as culture, diversity, production, and society promotes positive interactions and reflections with others and individually. I have high hopes that a curriculum that focuses on positivity when discussing opinions will benefit students and teach them to observe and interpret in a way that does not hurt or harm. I appreciate the diverse nature that art can bring to a classroom and was excited to divert shortly away from traditional art history studies which deal mostly with western art. As a current art teacher, I am partial to art history as a facilitator for critique but understand that other subjects could benefit from similar techniques in their classrooms. With this project, I developed a curriculum built on conversational strategies. There were 12 modules built to show online, and provide worksheets and presentations for each weekly module. The main objective for this course of study was to create a curriculum that would help A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 46 teachers and students about better discussion, critical conversation, and meaning making. Problem solving when limitations were reached helped to discover alternative methods for preparing the course. Topics were chosen to provide a wide diversity of time, location, and people for discussion. Critique was the teaching method that each lesson fundamentally tried to accomplish. In summation, critique discussion would be greatly enhanced by the use of the provided curriculum for a teacher which is teaching one course load. Extension is needed if the teacher is needing to provide curriculum for multiple courses. The curriculum can be used as a template for additional topics and course work. The methods used were from previously researched and published scholars and theorists. Following a curriculum that incorporates many researched methods into one course load will better diversify a student’s learning capacity and allow for personal growth in critical thinking, in ability to give and receive feedback, and allow for deeper self-reflection. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 47 REFERENCES Abadia, O. M., & Morales, M. R. G. (2013). Paleolithic art: A cultural history. Journal of Archaeolgical Research, 21, 269-306 doi: 10.1007/s10814-012-9063-8 Anderson, T. (1995). Toward a cross-cultural approach to art criticism. Studies in Art Education, 36(4), 198-209. Barrett, T. (2000). Studio critiques of student art: As they are, as they could be with mentoring. Theory Into Practice, 39(1), 29-36. Bell, D., Bell, H., Collins, L, & Spencer, A. (2018). Young children’s experiences with contemporary art. International Journal of Education Through Art, 14(2), 145-159. Broome, J., Pereira, A. & Anderson, T., (2017). Critical thinking: Art criticism as a tool for analyzing and evaluating art, instructional practice and social justice issues. The International Journal of Art & Design Education, 37(2) 265-276. Carr, D. (2004). Moral values and the arts in environmental education: Towards an ethics of aesthetic appreciation. The Journal of the Philosophy of Education Society of Great Britain, 38(2) 221-239. Chin, C. (2017). Comparing, contrasting and synergizing visual thinking strategies (VTS) and aesthetic education strategies in practice. International Journal of Education Through Art, 13(1), 61-75. Cotner, T. L. (2001). Why study classroom art talk? Art Education, 54(1), 12-17. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 48 Donmoyer, R. (1993). Art criticism as a guide to student evaluation. Theory Into Practice, 32(4), 252-160. Emanuel, R. C. (2013). Creativity and the transformation of higher education: The need for a black mountain college approach. Forum on Public Policy, 1-16. English, A. R. (2016). Dialogic teaching and moral learning: Self-critique, narrativity, community and 'blind spots'. Journal of Philosophy of Education, 50(2), 160-176. Epstein, T. L. (1994), The arts of history: An analysis of secondary school students’ interpretations of the arts. Journal of Curriculum & Supervision, 9(2), 174-194. Feldman, E. B. (1970). Becoming human through art: Aesthetic experience in the school. Englewood Cliffs, NJ: Prentice Hall. Fleming, J., Gibson, R., Anderson, M., Martin, A., & Sudmalis, D. (2015). Cultivating imaginative thinking: Teacher strategies used in high-performing arts education classrooms. Cambridge Journal of Education, 46(4), 435-453. Garoian, C. R. (1988). Teaching critical thinking through art history in high school. Design for Arts in Education, 90(1), 34-39. Gunday Gul, C. G., Afacan, Y., (2018). Analyzing the effects of critique techniques on the success of interior architecture students. International Journal of Art & Design Education, 37(3), 469-479. Hendricks, D. G., Taylor, A. C., & Pulford, S. (2017). Implementation of peer review to enhance written and visual communication learning in bioengineering capstone reports. (Capstone A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 49 reports, ASEE Annual Conference & Exposition). Retrieved from Ebsco host database (Paper ID No. 19434) Housen, A., & Yenawine, P. (2001). Visual thinking strategies: Understanding the basics. New York: Visual Understanding in Education. Huang, J. T., Reynolds, S. D., DiGiovanni Evans, B., Zimmermann, C., Joyce, C. J., Katz, J. T. (2016). Fine art curriculum improves observational skills of dermatology trainees: A pilot study. British Journal of Dermatology 175(4), 815-817. doi: 10.1111/bjd.14616 Hubbard, O.M. (2015). "How does this artwork make you feel?" A "no-no" question in art museum education? Journal of Aesthetic Education, 49(2), 82-98. Leshnoff, S. K. (2003). Teaching art, moral conduct, and John Dewey for today. Art Education, 56(6), 33-39. Malloy, O., Molesworth, B.R.C., Williamson, A. (2017). Improving young drivers’ speed management behaviour through feedback: A cognitive training intervention. Transportation Research Part F, 54, 324-337. Manning, P. J. (2013). Understanding the impact of inadequate feedback: A means to reduce law student psychological distress, increase motivation, and improve learning outcomes. Cumberland Law Review, 43(2), 225-257. Miller, A., Grohe, M., Khoshbin, S., Katz, J. (2013). From the galleries to the clinic: Applying art museum lessons to patient care. Journal of Medical Humanities, 34(4), 433-438. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 50 Nawar, H. (2012). Multilingualism, visual integration, and transculturalism. Technoethic Arts: A Journal of Speculative Research, 10(2/3), 239-246. Nekmat, E. (2012). Message expression effects in online social communication. Journal of Broadcasting & Electronic Media, 56(2), 203-224 Overby A. (2012). The class critique: Get beginning art students to talk about art. Arts & Activities, 150(5), 22. Rampley M. (2005). Art history and cultural difference: Alfred Gell’s anthropology of art. Art History 28(4), 524-551. Rasmussen, M. B. (2017) A note on socially engaged art criticism. The Nordic Journal of Aesthetics, 53, 60-72. Rose, S. (2016). Close looking and conviction. Association of Art Historians, 40(1), 156-177 DOI: 10.1111/1467-8365.12259 Sawyer, A. G., & Sawyer, D.L. (2018). Students as commentators. Teaching Children Mathematics, 24(5), 324-327. Schonau, D. (2018). Experiencing and understanding the arts as a compulsory final examination subject in the Netherlands: Purpose, problems, revision and effects. International Journal of Education Through Art, 14(2), 211-219. Shane, M. & Weywadt, C. (2014). Voluntary modulation of anterior cingulate response to negative feedback. PLoS ONE, 9(11), 1-10. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 51 Strowd, R. E., & Lambros, A. (2010). Impacting student anxiety for the USMLE step 1 through process-oriented preparation. Medical Education Online, 15(1) 1-6. Subramanian, M., Hanafi, J., & Putih, A.T. (2016). Teaching for art criticism: Incorporating Feldman’s critical analysis learning model in students’ studio practice. Malaysian Online Journal of Educational Technology, 4(1), 57-67. Thorkidsen, T.A. (1991). Students’ critiques as motivation. Educational Psychologist, 26(3/4), 347-369. Trafi, L. (2004). Art interpretation as subject constitution research on the role of critical art history in teacher education. JADE, 23(1), 26-34. Trimmer, J., Warnock, T. (1992). Understanding others: Cultural and cross-cultural studies and the teaching of literature. National Council of Teachers of English, Urbana, IL. ISBN 0-8141-5562-6 van Schie, C. C., Chiu, C., Rombouts, S.A.R.B., Heiser, W.J., & Elzinga, B.M. (2018). When compliments do not hit but critiques do: A firm study into self-esteem and self-knowledge in processing social feedback. Social Cognitive and Affective Neuroscience. 13(4) 404-417. Wiggins, J., Chanho, S., Trivedi, D., & Preece, S. B. (2017). Consumer perceptions of arts organizations’ strategies for responding to online reviews. International Journal of Arts Management, 20(1), 4-20. A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 52 Yang, M. (2016). Rethinking critique as ethics in higher education institutions. Critical Arts: A South-North Journal of Cultural & Media Studies, 30(2), 158-170. Zanetti, F. L. (2017). The aesthetics of existence and the difference in the encounter of art and education. Educação & Realidade, 42(4), 1439-1458 DOI: 10.1590/2175-623662543 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 53 APENDECICES Appendix A: Home page A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 54 Appendix B: Modules Page A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 55 Appendix C: Module 1 Website: Module 1 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 56 Worksheet: Module 1A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 57 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 58 Presentation: Module 1 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 59 Appendix D: Module 2 Website: Module 2 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 60 Worksheet: Module 2 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 61 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 62 Presentation: Module 2 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 63 Appendix E: Module 3 Website: Module 3 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 64 Worksheet: Module 3A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 65 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 66 Presentation: Module 3 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 67 Appendix F: Module 4 Website: Module 4 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 68 Worksheet: Module 4A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 69 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 70 Presentation: Module 4 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 71 Appendix G: Module 5 Website: Module 5 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 72 Worksheet: Module 5A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 73 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 74 Presentation: Module 5 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 75 Appendix H: Module 6 Website: Module 6 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 76 Worksheet: Module 6 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 77 Presentation: Module 6 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 78 Appendix I: Module 7 Website: Module 7 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 79 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 80 Worksheet: Module 7A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 81 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 82 Presentation: Module 7 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 83 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 84 Appendix J: Module 8 Website: Module 8 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 85 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 86 Worksheet: Module 8A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 87 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 88 Presentation: Module 8 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 89 Appendix K: Module 9 Website: Module 9 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 90 Worksheet: Module 9 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 91 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 92 Presentation: Module 9 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 93 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 94 Appendix L: Module 10 Website: Module 10 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 95 Worksheet: Module 10A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 96 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 97 Presentation: Module 10 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 98 Appendix M: Module 11 Website: Module 11 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 99 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 100 Worksheet: Module 11A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 101 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 102 Presentation: Module 11 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 103 Appendix N: Module 12 Website: Module 12 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 104 Worksheet: Module 12 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 105 Presentation: Module 12 A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 106 Appendix O: About Me Page A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 107 Appendix P: Contact Page A CURRICULUM FOR STREAMLINING CRITIQUE CONVERSATION 108 Appendix Q: Survey Page