Tag: relfection

Reflection: on Assessment Dimensions and Art Criticism

Reflections on Assessment, Art Criticism, and Student Attainment

Assessment plays a critical role in shaping students’ learning influencing how they engage in creative practice. The reading of Dimensions of Assessment (Anon, n.d.) highlights the need for different methods of evaluation that balance formative and summative approaches, while bell hooks’ Talking Art as the Spirit Moves Us (1995) critiques the power structures that shape artistic validation. Reflecting on these readings within my role as a technician, I recognise the challenge of ensuring students value formative feedback while advocating for assessment practices that acknowledge diverse artistic expressions.

The role of formative feedback in technical learning

In my workshops, I primarily provide formative feedback and offer students real-time guidance for their technical and creative decisions. However, as Dimensions of Assessment suggests, formative work is often perceived as less critical when it does not contribute to the final grade (Anon, n.d.). This is consistent with my observations — students sometimes overlook the importance of these sessions to their academic progress. To remedy this, structured reflection and peer feedback mechanisms are needed to help students recognise the formative process as essential to their learning.

Beyond the product: Assessing process and artistic intent

Traditional assessments in creative education often emphasise the end product, such as a fashion campaign or a 3D rendering, over the actual creative process. hooks (1995) refers to Sylvia Ardyn Boone’s discussion of the Mende aesthetic, in which true artistic perception requires a deep intellectual and cultural initiation. Similarly, assessment should move beyond superficial judgement and consider artistic intent and process. By encouraging students to document their experimentation, decision-making, and influences, a more holistic approach to assessment can be developed (Anon, n.d.).

Addressing power structures in assessment and art criticism

hooks (1995) critiques how mainstream art institutions often validate artists of colour if their work conforms to prevailing narratives. This raises critical questions about assessment in arts education: Who sets the criteria for success? Whose artistic values are given priority? Standardised grading systems run the risk of reinforcing dominant perspectives and excluding diverse, situated knowledge (Anon, n.d.). As educators, we must advocate for assessment frameworks that recognise multiple artistic languages and perspectives.

Using ‘Make the Grade’ to reduce referrals and resubmissions

The Dimensions of Assessment (Anon, n.d.), suggests that students often lose marks because they misunderstand the assessment criteria or overlook key elements (Anon, n.d.). One possible solution is to implement structured interventions, such as the Make the Grade approach. Finnigan (n.d.) explains that Make the Grade aims to help students manage assessment expectations by unpacking assignments, building checklists, and conducting structured workshops. By integrating this approach into technical workshops, students can gain a clearer understanding of what is expected, reducing the amount of revision and improving performance. In addition, using self-assessment checklists prior to submission can help students identify gaps in their work and make necessary adjustments (Finnigan, n.d.).

Conclusion: Rethinking assessment as a space for dialogue

hooks (1995) calls for a more engaged and dialectical approach to art criticism — one that encourages meaningful discourse rather than prescribing a rigid framework. Similarly, assessment should not just be a tool for judgment, but a space for dialogue, reflection, and growth. By integrating structured feedback, process-based evaluation, and inclusive assessment practices, we can better support students in bridging technical skills with conceptual depth, ultimately fostering a more critically engaged learning environment.

References

Anon. (n.d.) Dimensions of Assessment. Unpublished document.

Finnigan, T. (n.d.) Make the Grade. University of Derby.

hooks, b. (1995) Art on My Mind: Visual Politics. New York: The New Press.

Observation of my teaching practice by my tutor

(Part Two & Three: Feedback & Reflection)

ROT_Tutor-Kwame_17-3-25Download

Kwame’s feedback was a thoughtful and encouraging reflection on my teaching practice, highlighting both strengths and areas for further development. His observations reassured me that my approach is supporting students in meaningful ways, particularly in developing their portfolios and encouraging deeper engagement with their creative direction.

It was great to hear that my teaching not only provides technical support but also encourages students to critically evaluate the structure of their work. Kwame’s appreciation for how I balance technical considerations — such as colour theory, print formats, and sequencing — with creative intentions was particularly gratifying. I find his suggestion to develop a separate lesson on colour theory for photographers very valuable and will definitely explore further, as it would provide students with a more solid foundation in industry-relevant presentation techniques.

I also appreciate Kwame’s comments on my ability to create a supportive and empathetic learning environment. He noted that my approach encourages students to move confidently in different directions, which emphasises my commitment to student-led instruction. His comments on my calm manner and ability to adapt to students’ perspectives confirmed that my approach helps to build their confidence in their creative choices.

His feedback on accessibility and adaptability was also valuable. He acknowledged how I adapted my approach to ensure all students were included and highlighted the one-to-one support I provided to a student without a laptop as an example of inclusive pedagogy. This reinforced my belief that flexibility is essential in practical, skills-based teaching.

Thank you very much, Kwame! 

Observation of my teaching practice by a peer (Part Three: Reflection)

Ian’s feedback provided a valuable perspective on my teaching approach, highlighting both strengths and areas for further development. It was reassuring to hear that the session felt structured and effective, that students were actively engaging and producing work that met industry standards. Dealing with lateness was a challenge that I had anticipated, and I am glad that my approach helped to keep disruption to a minimum. His comments on the balance between the workshop and the concurrent one-to-one tutorials were also encouraging — it can be difficult to balance both, but it was great to have the workshop ran smoothly.

One of the key takeaways from Ian’s notes was the importance of prompting more student responses before offering explanations. Ian pointed out moments where I could have encouraged students to analyse visual elements on their own instead of immediately giving answers. More active participation in these situations could help students engage more deeply with the material and build their confidence in discussing visual concepts.

His feedback on cultural considerations in composition techniques was particularly insightful. The observation that reading direction influences composition and design, and that this varies from culture to culture is something I to consider more in future discussions during the workshop. His comment about L2 speakers and pronunciation difficulties was also useful — I had not previously considered how emphasising certain words can improve engagement and communication.

The structure of the lesson seemed to work well, and the use of previous student work to demonstrate real-life applications was effective in reinforcing key concepts. In the future, I will continue to refine my approach and ensure that students are more actively involved in the discussions while maintaining a structured and professional learning environment. This is also part of my ongoing case study research where I am investigating how different teaching methods impact on student engagement and learning outcomes.

Overall, Ian’s feedback was very helpful, and I will take these points into consideration when developing workshops.

Observation of a peer’s teaching practice (Part Two: Observer’s notes)

I attended Maria’s class on January 24th where she had a great command of her teaching style and created an open, welcoming and engaging atmosphere for the students. Throughout the course she remained approachable and actively engaged with the students, creating a sense of inclusion.

As the lesson was built on previous work, it was clear that the students had a good understanding of the tasks at hand. The learning environment was supportive and helpful for the practical work, as evidenced by the students being able to continue the trouser making project effectively.

Maria structured the lesson well with clear, concise instructions. She provided an engaging demonstration that all students could see clearly so that they could follow the steps required to make their trousers. She also supplemented the lesson with on-screen presentations that clarified key concepts and provided clear reference points for the students.

The blended learning approach, which included both digital resources (presentations, worksheets and technical resources) and practical demonstrations, was really well implemented. Allowing students to access the information as required and use the resources provided in advance ensures that students can develop their skills in a more flexible way and at their own pace.

Some students arrived after the lesson had started, which can lead to them not being able to follow the first instructions. Maria has already mentioned this challenge, but it might be helpful to think about strategies to mitigate the effects. One possible solution would be to introduce short review sections at key intervals during the lesson so that latecomers can catch up without interrupting the flow of others. Another option would be to set up a peer support system where students who are on track help those who are late.

There was quite a relaxed atmosphere in the class, with students dropping in and out all the time, which I could observe when I was there. Some students left the class for a while and then came back to continue their work. As this lesson was the penultimate of the unit, it is possible that the students had already progressed to the point where they could work more independently as they had already acquired the basic skills. However, it is uncertain how the interruptions affected the learning process, especially given the nature of the tasks being worked on.

In terms of suggestions for further development, a peer support structure or time-limited revision could effectively support students who arrive late and ensure that they do not miss important instructions. Clear rules for starting and catching up on material at the beginning of each lesson could also help to maintain continuity for all students. Maria’s engaging teaching style could be further enhanced by creating more opportunities for student participation, particularly for those who are less engaged, for example by asking them to demonstrate or support different aspects of the work. Although Maria’s blended learning approach is effective, due to the ongoing technical issues with Moodle, further platforms should be explored or ensuring that physical handouts are available for students who have difficulty accessing online resources. If learning materials are accessible outside of class time, this could further support student learning.

Reflection – The Self in Higher Education: Narrative as Pedagogic Practice

In developing my teaching practice at UAL, I am drawn to these ideas of self-reflexivity and narrative as research. The pedagogic challenge lies in fostering spaces where students can construct meaning through both individual introspection and communal exchange. As arts educators, we navigate the balance between structured knowledge and creative exploration, shaping learning environments that honour both accuracy and the generative potential of storytelling.

A key theme in the text is self as subject-matter, where the educator’s personal and professional identities merge through storytelling. Trish Osler reflects on the fragmented roles of artist, researcher, and teacher, noting how they merge in fleeting moments: “If the symbiosis we hope for can be felt in moments…” This tension between roles is a familiar challenge in higher education, where time and institutional structures often limit personal creative practice. Isabelle Guillard extends this idea, situating pedagogy within an ecological awareness: “I am constantly reflecting upon my actions at the personal and super personal level.” This suggests that teaching is not static but an evolving process of self-examination and relational learning.

Arianna Garcia-Fialdini’s research validates artistic inquiry as a method for exploring immigrant identity. Her work highlights how storytelling can be a means of reclaiming agency and forming connections within a community. This aligns with the workshop’s emphasis on understanding students’ diverse needs, particularly in institutions like UAL, where international and diasporic perspectives shape the student body. Sandrine Côté’s narrative, which explores generational storytelling, resonated deeply. Her reflections on inherited narratives and objects forming parts of identity highlight how material culture can serve as an anchor for memory and belonging.

A recurring question in the text is the balance between accuracy and storytelling in education. Sandrine’s work raises questions about embellishment—how much artistic license is permissible in shaping pedagogic narratives? This tension is relevant in higher education, where conventional research methods prioritise factual precision, often at the expense of emotional or cultural truth. The text suggests that narrative-based research operates in the intermezzo—a space between personal history and collective meaning-making. This aligns with heuristic phenomenology, where knowledge emerges through lived experience rather than objective observation.

The fifth narrative in the text emerges through threadscape, where individual stories intertwine to create a broader shared experience. This reflects the role of observation in teaching: learning does not happen in isolation but through entangled dialogues between self, community, and context. Teaching becomes an act of echolocation—a way of positioning oneself in relation to others through storytelling and shared inquiry.

Reading Reference:

Osler, A., Sibley, J., Canning, C., and McDonald, A., 2019. Storying the self as pedagogic practice. Journal of Writing in Creative Practice, 12(1-2), pp.109-124