review – PgCert Journal

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_17-3-25 Download

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.

Case Study 1: Knowing and Responding to Your Students’ Diverse Needs

Contextual Background

As a photography specialist at LCF, I teach and support students in a variety of courses with different levels of experience, learning styles and technical abilities. My current teaching approach is to offer standardised technical workshops in multiple courses that are consistent but do not always address the unique needs of each course. The emphasis is on hands-on experience with the equipment, but there is limited structured support for students who need additional help.

A technical workshop run in collaboration with a fashion styling technician needs significant revision. Originally designed as a full-day masterclass for MA Fashion Photography students, the workshop introduced composition techniques, the rule of thirds, the history and principles of still life, and techniques for photographing and lighting different surfaces and textures. The practical outcome was achieved through collaborative experimentation. The workshop has since been adopted by some courses in the School of Media and Communication and shortened to two hours, with no change in learning outcomes despite the drastically reduced timeframe. The students come with different levels of knowledge—many lack basic camera and lighting skills. The workshop has become a play space rather than an opportunity to engage in ‘desirable difficulties’—the process of learning through strenuous challenges that improve retention (Bjork & Bjork, 2011). Even if student engagement is high, refining the structure will deepen learning and improve the acquisition of technical skills.

Moving Forward

The limitations of the shortened still-life styling workshop have highlighted the need for a more structured learning process. To improve skill acquisition, retention and engagement, I would like to use strategies that align with the instructional hierarchy (Haring et al., 1978) and stages of learning.

Revise the workshop structure for progressive learning – Following scaffolded instruction, I would like to restructure the workshop into sequential phases. By providing basic online resources, the principles of composition and lighting will be introduced prior to the event so that participants can engage with the core concepts in advance. This allows participants to get to grips with the key concepts in advance. This pre-learning phase helps to manage cognitive load and ensures that time in the lesson is focused on application rather than fundamentals. The only challenge that may arise is that students often show up for class without having done their homework.

Differentiated instruction and gradual skill development – Based on peer observations and pedagogical research, I will try to incorporate graduated activities geared toward different levels of experience. For example, beginners could focus on basic camera operations and lighting setups, while more experienced students could explore more advanced composition and styling techniques through guided experimentation.

Incorporate ‘desirable difficulties’ for deeper learning – Rather than simplifying tasks, I could incorporate ‘retrieval practice’ (Roediger & Butler, 2011) and problem-solving tasks. For example, students could recreate an existing still-life image under different lighting conditions to promote critical thinking and adaptive learning.

Extended learning through post-workshop engagement – To consolidate knowledge, I could also introduce a structured follow-up. I could ask students to submit a reflection assignment or guide them to further develop these skills in their personal work. This corresponds to the fluency and generalisation stages (Haring et al., 1978) and ensures that students review and internalise the key techniques beyond the first lesson.

Introduce structured feedback loops – To test these improvements in the future, I will seek qualitative and quantitative feedback from students to assess engagement, understanding and confidence. Iterative adjustments based on this feedback could refine the delivery of the workshops and lead to wider improvements in the technical workshops.

By introducing these evidence-based strategies, I aim to move beyond a one-size-fits-all approach and create a more responsive, structured and engaging workshop environment. These improvements will improve both students’ confidence and technical skills, ensuring that they retain and develop their skills in a variety of learning contexts over the long term.

References

Groshell, Z. (2024) ‘S4E3: Brendan Lee and Zach Groshell on the nuances of teaching effectively’, Progressively Incorrect, 20 September. Available at: https://educationrickshaw.com/2024/09/20/s4e3-brendan-lee-and-zach-groshell-on-the-nuances-of-teaching-effectively/ (Accessed: 9 February 2025).

Bjork, R. A., & Bjork, E. L. (2011) ‘Making Things Hard on Yourself, But in a Good Way: Creating Desirable Difficulties to Enhance Learning’, in Gernsbacher, M. A., Pew, R. W., Hough, L. M., & Pomerantz, J. R. (eds) Psychology and the Real World: Essays Illustrating Fundamental Contributions to Society. New York: Worth Publishers, pp. 56-64.

Haring, N. G., Lovitt, T. C., Eaton, M. D., & Hansen, C. L. (1978) The Fourth R: Research in the Classroom. Columbus, OH: Merrill.

Roediger, H. L., & Butler, A. C. (2011) ‘The Critical Role of Retrieval Practice in Long-Term Retention’, Trends in Cognitive Sciences, 15(1), pp. 20-27.

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

Part Two: Observer’s notes, Ian Holmes

Architecture and Delivery

I was able to observe the initial briefing and teaching input element (10-11:30 AM) as well as the final student collaboratively produced work at the end of the whole day workshop (16:30-17:00).

The initial part of the session took place in a teaching space separated from the ‘open heart’ space by pillars – there were a variety of example objects on the table where the students were sitting that could then be used in the later photography workshop. The proximity to the objects set a strong haptic element to the class – they were within reach of the learners and would later be handled in the workshop in the design of the photographs.

As you had anticipated – some students arrived late – however there were 5 by 10:10 with one more arriving at 10:16 – and you managed this first 15 minutes of the class time well as an effective check in for the students. You have a relaxed manner with the group and there is a good rapport between you and the learners – “How’s the unit going?” – and the beginning of the lesson served well as an opportunity for students to talk through some ideas.

You made clear the Learning Outcomes for the session – ‘to create a fashion editorial piece’ – “to industry standard” (product) and to “work collaboratively” – and develop “studio photography skills” (process).

Students sat at table with objects facing the screen – where the slide deck was presented – you sat behind them to operate the slides remotely. There was a moment where some students (those who were directly between yourself and the screen) were not sure where they should be looking, however, you later moved round so that you and the screen were in the same frame for the students. At this point you began to elicit from students – “where do we see products?” You then provided the analysis of the purpose of such representations of products in advertising – “to attract the viewer – to sell the product” – however, maybe this could have been a further opportunity to elicit from them by asking – ‘what is the purpose of these images/representations?’

You then presented an example of how a professional has created a narrative with photography of a product – you suggested that the photographs had “a mediterranean feel – if that makes sense?” – Maybe you could have asked the students if they could identify any elements that suggest this. There was an interesting point about body parts being considered as still life. Another example where you talked helped explain the playful elements – the bold colours – the objects – the teeth – the tie as a tongue, etc. Was clear, however I thought that this could have been another opportunity to elicit some language from the learners what they could see in the images that created the playful effect/ feeling. In addition, it may have been useful to focus on the word tongue (especially for L2 speakers of English) – this is an example of difficult spelling and pronunciation relationship (obviously I’m looking at this from a Language Teaching perspective, but I think sometimes highlighting features like this can give L2 learners more confidence in actually using the words to refer to objects (essential to effective collaborative communication) – rather than just avoiding them.

The section on composition techniques was effective in helping the learners to understand how this work in practice – through the examples you showed and your explanations. This was especially well anticipated as one of the students remarked that she was not sure about ‘the rule of thirds’ and your demonstration using examples provided an excellent understanding for this learner – and the group. The student asking for examples and your response is very useful for those students who remain silent – and probably have the same questions. The insights gained for the students about the Fibunaci pattern and the composition of text and images on the cover of magazines – Dior vs Hello was very interesting and useful – as was the point about how we read left to right affects the choices of these compositions – although I thought it may have been a good opportunity to point out the cultural specificity of this idea – in Arabic culture the direction of reading is right to left.

Whilst I felt that the analysis of each example technique was clear – the initial thumbnails for each were a little bit small to read the text and see the detail in the sketch/images, maybe this could have been blown up a bit.

I feel that you gave some very good advice about how to approach the tasks – talking about your own practice: “In my personal work – I find it very useful” – and in reference to the techniques – “It’s a guide – not a rule.”

Setting music for when the collaborative task began was effective in setting the creative workshop focus mode for the group.

Overall, I feel that the session was well managed – even with some noise disturbance and the tutorials that were going on in the corridor at the same time. You were able to provide real insights into how professional photography works and set up the collaborative task for the day. Using the example of a previous students work – with which they gained professional work – was great at showing the real-world application of the skills that the learners were developing in practice.

At the end of the presentation section, you brought the objects into focus and this was effective in making the ideas that you had presented on the screen real (and haptic), you clearly set the agenda for the rest of the day’s workshop and provided advice about how to assign roles – decide on the product and think about the brand identity and narrative you want to tell – and effectively work collaboratively towards producing the finished work.

Achieved Goals

In the final presentation of the project at the end of the day it was evident that to had met the Key learning outcomes for this workshop through the development of students’ ability to work collaboratively in groups learners were able to produce work that meets industry standards. In this process they were also able to gain essential collaboration and studio photography skills.

You were then able to provide your expert analysis of the work produced as well as provide an opportunity for learners to reflect on the process – “what was the story/narrative?” – “what was the concept” behind what students were trying to achieve – “what would you have done differently?”

It was interesting to see how the examples that you used at the beginning ultimately informed the work the learners produced at the end of the day.

Summary

I felt that this was a very cohesive and valuable practical R&D lesson for your learners – having a whole day workshop for them to collaboratively work together and apply some the techniques that you had taught them. Some of the students were talking about how useful they had found the workshop and how much they had learned through participating in it.

In response to the key issues you asked me to look at:

Late attendance can sometimes be disruptive.

– You were able to manage this and integrate late arrivals

The workshop runs alongside 1-to-1 tutorials with their tutor, which can make it challenging for students to fully commit to the session. As a result, it can be difficult for them to stay motivated, attentive, and work efficiently within their group or team.

– Again – you managed this as best you could – the students, the other teachers and you working together to achieve multiple tasks at the same time – in a professional manner

Space is also an issue, particularly during deadlines and especially since moving to EB.

– Despite some noise – you were able to manage this without having to raise your voice too much

Some points to consider re eliciting from students – maybe think about more opportunities to get them to suggest the answers to potential questions before giving them all the information – even if they don’t know the answer they will be engaged and thinking about the content information. I feel that you have the instinct as teacher/technician instructor to do this – as you demonstrated, but this is something that I have learned to do more myself – even if half the time I get no response – at least I feel that I am drawing their cognition rather than them waiting for me to provide completely new information/ thinking for them.

Observation of my teaching practice by a peer (Part One: Observee’s notes)

Part One (provided to the observer, Ian Holmes)

What is the context of this session/artefact within the curriculum?

This session is part of a series of industry classes for MA Fashion Photography (Year 1). It is one of the technical workshops within the ‘New Iterations in Fashion Photography’ unit. This unit is designed to foster a deep and integrated engagement with both theory and practice, leading towards a more self-directed and individualised research and development phase in the course.

How long have you been working with this group and in what capacity?

Since the beginning of the academic year. I am one of their specialist technicians, delivering inductions and technical workshops, contributing to their unit briefs, and providing support through 1-to-1 tutorials.

What are the intended or expected learning outcomes?

Key learning outcomes for this workshop include developing students’ ability to work collaboratively in groups to produce work that meets industry standards. They will also gain essential collaboration and studio photography skills.

What are the anticipated outputs (anything students will make/do)?

In this workshop, students will work together to produce a series of images or a single image based on the given brief. They will be provided with the necessary products, accessories, and props to create a fashion editorial piece.

Are there potential difficulties or specific areas of concern?

Late attendance can sometimes be disruptive.
The workshop runs alongside 1-to-1 tutorials with their tutor, which can make it challenging for students to fully commit to the session. As a result, it can be difficult for them to stay motivated, attentive, and work efficiently within their group or team.
Space is also an issue, particularly during deadlines and especially since moving to EB.

How will students be informed of the observation/review?

I will send students a reminder email a few days in advance to inform them of the observation. I will also introduce the observer in class.

What would you particularly like feedback on?

Any feedback will be greatly appreciated.
Feedback on the challenges mentioned above would also be helpful.

How will feedback be exchanged?

Through this form and, if possible, through an in-person conversation.

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.

Observation of a peer’s teaching practice (Part One: Observee’s notes)

Part One (provided by the observee, Maria Thelin)

What is the context of this session/artefact within the curriculum?

This session is the second to last tailoring session in a 40 credit unit, Tailoring, Design and Identity (1st year Bespoke Tailoring). During this unit students are making samples, a pair of tailored trousers, a technical resource and a sketchbook.

Resources for this session:

I will show a short presentation at the beginning of the session. There is a worksheet with the steps of the trouser construction process. There are also videos showing how to make the trousers.

I have shared a folder with the Technical Resources for this unit (presentations, worksheets, patterns). All of this is available on the student’s Moodle page, but unfortunately it doesn’t work this year. I have also provided the students with printed worksheets.

How long have you been working with this group and in what capacity?

Since the beginning of the academic year. I am one of their lecturers, delivering their tailoring sessions, conducting personal tutorials, formative reviews, MTG sessions, briefings, assessment.

What are the intended or expected learning outcomes?

Learning Outcomes and Assessment Criteria related to this session:

LO 3: Draft, cut and construct a bespoke tailored trouser. (Process, Knowledge, Realisation).

LO 5: Accurately record bespoke tailoring processes and techniques and design narrative. (Communication

What are the anticipated outputs (anything students will make/do)?

In this session they will work on their bespoke tailored trouser (a classic tailored trouser cut in appropriate material, constructed using handcraft tailoring methods). We will complete the seat seam and finish the fly front. They will also take notes, photos and do sketches for their Technical Resource.

Are there potential difficulties or specific areas of concern?

Late attendance: Difficulties include students arriving late and missing the intro and first practical demonstration.

Low attendance: Another challenge is students who have fallen behind in the making of their trousers. It can be hard to keep them motivated, attentive and working efficiently.

How will students be informed of the observation/review?

The students were informed in the previous week’s session. I will remind them during again at the beginning of the session.

What would you particularly like feedback on?

I would appreciate any feedback.

How to handle no/low/late attendance.

How will feedback be exchanged?

Through this form.

It would be nice with an in-person chat if possible (TBA).