Reflection, Assessment,
LESSON 5 Reflection, Assessment, and Critique (3 blocks) Concept: Reflection
5. Acceptance Find Evaluate; examine all
sides, the pros and cons.
Will this really work?
Is it the best idea for the design?
What problems do I anticipate in the process? How will they be solved?
SUBSTITUTE:What could be used instead of it?
COMBINE:What could be added?
ADAPT:How can it be adjusted to suit a condition?
PUT TO OTHER USES:What else can it be used for?
ELIMINATE:What can be removed or taken away from it?
EXAGGERATE:What about it can be enhanced?
MODIFY:
How can the color, shape, or form be changed?
MAGNIFY:
How can it be made larger, stronger, or thicker?
MINIMIZE:
How can it be made smaller, lighter, or shorter?
REVERSE:How can it be turned around or placed opposite its position?
How can the pattern, sequence, or layout be changed?
REARRANGE:
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Drawing by Tyler Matson
I.Classparticipation Criteria3—Exceeds2—Meets1—Missed/NotYet*S**T PunctualityInseatwhenbellrings.Inseatwhenbellrings.Tardyorabsentoften. On-Task BehaviorSelf-motivated;focusedonwork.Focused,butneedsoccasional redirection.Unfocused;easilydistracted. Cooperation andRespectSupportiveofothers;engagesin peerteaching;showsmasteryof material.
Supportiveofothers;usesmateri- alsappropriately.Disruptive;rudetoteacherand classmates. LearningSkillsCapableofworking independently.Followsdirectionswell;requires occasionalredirection.Doesnotfollowdirections; requiresregularredirection. CleanUp andSafety Compliance
Cleanstableareaandassists others;modelsandusessafe behavior.
Cleansowntablearea;iscooper- ative;demonstratessafebehavior.Rarelyhelpscleanup;sitsand watches;demonstratesunsafe behavior. Total *S=Studentself-assessment,**T=Teacherassessment
SAMPLE 4.8—Project Rubric
II.ArtworkEvaluation A.UnitRequirements Criteria3—Exceeds2—Meets1—Missed/NotYet*S**T Adherenceto DeadlinesCompletedbyduedate.Completedbyduedate.Late. UseofProcess/ Complex LearningLog
Completedeverytaskinthelog.Sometasksnotcompleted.Manytasksnotcompleted. Useof SketchbookSketchbookhashighlydeveloped evidenceofdesignresearch, includingnotesandsketches,skill learning,diagrams,reflective writingandiswellorganized.
Sketchbookshowsevidenceofan attempttoincludequalitynotes, sketches,andreflectivewriting, butcouldbebetterorganized anddeveloped.
Sketchbookhasnotbeenused forcollectingevidenceoflearn- ing,manyconceptsarenotpres- ent,andthereislittle organization. B.UnitStandards CommunicationandHeritage(SD1,SD4) Criteria3—Exceeds2—Meets1—Missed/NotYet*S**T AbilitytoCom- municatethe Themeand Concept
Themeandconceptareevident andunderstandable.Notastrongrepresentationof originaltheme/conceptas expressedintheoriginalplan.
Noevidenceofthemeorconcept.
SAMPLE 4.8—Project Rubric—
(continued)Perception(SD2) Criteria3—Exceeds2—Meets1—Missed/NotYet*S**T Evidenceof Researchand Planning Thetheme/conceptshowsorigi- nalanduniqueaspects.Theme/conceptshowssomeorig- inalideas,butdoesnotgo beyondusualimages.
Littleevidenceofanoriginal theme. Design DevelopmentAdvanceddesignelementsare evident.Strongdesignelementsare evident.Designelementsarelacking. PlanExecutionThefinalworkresultedin completionoftheoriginalplan.Thefinalworkshowssomevaria- tionfromtheoriginaldesign.Thefinalworkdoesnotreflect theoriginaldesign. Application(SD3) Criteria3—Exceeds2—Meets1—Missed/NotYet*S**T Techniquesand Skillfor Ceramic Materials
Advancedworkinallaspectsof theconstruction.Someportionsoftheconstruc- tion,firing,andsurfacetech- niqueswerenotsuccessful.
Verylittleevidenceofskills developed. Solutionto Hangingthe Work
Hangingsolutionisvisuallybal- ancedandpleasingtotheeye.Theworkhangs,butthehanging solutiondoesnotcomplement thework.
Workwasnotabletohang. LevelofCraftWorkshowsexcellentuseof ceramicmediaandtechniques.Workshowsgooduseofmedia andtechniques,butlackssome finishing.
Workshowsevidenceofpooruse ofmediaandtechniques,below thelevelofcourseexpectations.
SAMPLE 4.8—Project Rubric—
(continued)Aesthetics(SD5) Criteria3—Exceeds2—Meets1—Missed/NotYet*S**T Critique Participation (Informaland Formal) Consistentlyoffershighlydevel- opedcommentsininformal (verbal)andformal(written) critiques.
Showsaverageparticipationin informalcritiques;higher-levelart vocabularywasnotevidentinfor- malcritiques.
Showsbelow-averageparticipa- tionininformalcritiques;formal critiquesshowedalackofart vocabularyorincludedtrite responses. WrittenArtist’s StatementArtist’sstatementreflectsthehigh levelskillsdevelopedthroughthe exercisesandfromthegraphic organizer.
Developedagoodartist’sstate- mentthatshowsevidenceof somelearninggainedthrough thefiveexercisesandgraphic organizers.
Artist’sstatementwasincomplete andofferedlittlepersonalinfor- mation. PersonalCriteria Criteria3—Exceeds2—Meets1—Missed/NotYet*S**T GradescaleforArtworkEvaluation:Atotalof42pointsarepossible(36pointsasset,plusupto6pointsrelatedtostudent’spersonal criteria). A=38–42B=34–37C=30–33D=26–29F=25andbelow
SAMPLE 4.8—Project Rubric—
(continued)What is an artist’s statement?It’s about your work and your thoughts about your work. It’s about words, which are different than wedging clay, painting with a brush, or drawing with charcoal; these are the world of senses, while words are the landmarks in our mind.
Why bother with a statement?It builds a compelling bridge between you and your audience and becomes a way to reflect on your work.
How are learning to paint, draw, or shape clay and learning to write an artist’s statement the same?
Both have to be learned and practiced, and both can be scrapped and started over.
Here is an example of an artist’s statement.
Night Creature by Tyler Matson
Inspired by characters and fantastic beings from popular culture, I chose to sculpt a ceramic Night Creature. Taking on an almost lizard/humanoid form, Night Creature definitely seems surreal.
Because I had never done a life form, I wanted to really push the figure and make it
large-scale. The sculpture form was made to appear as if it were scaling a wall or ceiling, increas- ing its surreal effect. As a creature of the night, the piece was designed with large eyes and no mouth. It is a silent animal.
Night Creature was sculpted in one piece. Due to it being so large, I had to adapt my form in order to fire it. I had to cut it in half to fit it into the kiln. I cut it in such a way that the divisions would look like the natural way a creature would be crawling and climbing.
I chose to use an experimental slip coating that was fired in the Raku kiln. I envisioned a high-contrast, smoky black-and-white finish. The firing was successful and the surface treatment made the Night Creature look out of this world. However, the firing was high stress and cracked the piece in many places. I problem solved and decided a way to use the cracks as part of the piece: I mounted it on a rust-colored board and put “stringy” oak wood moss in the cracks. This firing problem and my solution not only hid the cracks, it enhanced the form immensely.
The Process
Step 1: The Warm Up
• Work in your sketchbook.
• Set a timer for 3 minutes or watch the clock.
• Then, without thinking about spelling, grammar, or punctuation, quickly write about the work you’ve done.
Imagine that it’s a note to a friend.
• Stop. Read what you wrote, but do not erase, edit, or do anything to change it. What is important isthat you wrote,notwhat you wrote.
Step 2: Silence Your Inner Critic
• These exercises prompt you to reflect on your work and make a personal revelation about it. Remember, the goal of an artist’s statement is to create a bridge between you and your viewing audience.
Complete the following exercises in your sketchbook. Take no more than 3 minutes for each exercise.
Exercise 1
Your art piece starts talking to you. Write down everything it says, no matter how absurd, and be free, truthful, or funny.
Exercise 2
Imagine that a friend you have not seen in a long time wants to know about your work. The words should spill out—so much to write, so little time.
Exercise 3
Imagine your piece of work comes alive and can move around and interact with the world. What does it do?
Think about the adventure, the magic that could happen.
Exercise 4
Write personal comments on the technical aspects of your work. What were you thinking as you created the ceramic piece, painting, or drawing? Reflect on the way the media or tools worked, your mistakes, if and how you started over, or how you solved a problem or challenge you encountered.
Exercise 5
Do a “pair-share” with a classmate.
Talk together about what you’ve done to create your piece and why you have done it. As your partner is talking, take notes to record your conversations. Sometimes the perfect words come from talking, not from writing.
An artist’s statement can easily take shape while executing the art piece. As you work, take notes on the learning process: the problems you encounter and the solutions you come up with; the choices you make and how and why you make them. Writing about your work will become easier and you will be able to communicate its uniqueness. GOOD LUCK.