PRATT INSTITUTE SCHOOL OF ART AND DESIGN

DEPARTMENT OF ART AND DESIGN EDUCATION ADE 621 Special Topics College Teaching: Teaching, Learning and Research in Art and Design FALL 2013 [3 Credits]

Image credits a. Bashkirtseff, In the Studio, b. Networked learning technologies in art and design

Section 1:

Tuesdays 9:30-12:20pm South Hall 205 Professor T. Camille Martin Tel: 718 638 1240 tmarti12@pratt.edu Professor Aileen Wilson Tel: 718 636 3637 awilson2@pratt.edu

Office Hours: Course Website:

By appointment. www.teachinglearningartdesign.weebly.com Email professor for password.

Course Description This course examines the theories and praxis of teaching, learning, and research in art and design in the context of higher education. This includes a look at the history of studio teaching, various research techniques, methodologies and assessment criteria. We will examine contemporary pedagogical approaches and examine how artists and designers are educated. Current debates centered on arts-based research and practice-based research, syllabus and curriculum planning, assessment in art and design, professionalism, and art school doctorates will also be integrated into the course work. The course builds a strong foundation for students interested in teaching at the college level and welcomes students from all majors. It will include discussion, fieldwork research and project-based work assignments. Guest lecturers are scheduled throughout the semester. Course Goals 1. Students will acquire knowledge of key issues in teaching and learning in art and design in the context of higher education. 2. Students will begin to develop a knowledge base for syllabus and project development. 1

3. Students will gain exposure to critique and assessment techniques 4. Students will have the opportunity to engage in a forum that will foster creative collaboration across disciplines at the Institute. Student Learning Outcomes: 1. Students will demonstrate their knowledge of the history of higher education particularly the history of art and design education (as evident in Weekly Assignments) 2. Students will know and recognize key pedagogical approaches (as evident in weekly assignments and Assignment #3) 3. Students will know and be able to engage in a critical debate on the key contemporary issues in teaching and learning in art and design (as evident in weekly assignments) 4. Students will integrate their knowledge of their particular discipline, their knowledge of research, of designing assignments and assessments, the standards and requirements of higher education and the requirements of their particular professional field and produce a syllabus ( as evident in weekly assignments and Assignment #3- summative assessment). 5. Students will be able to synthesize theory and practice in a single case study research project (as evident in Weekly Assignments, Assignment#2 6. Students will be able to lead small group discussions and will have exposure to facilitating a class this semester. Assessment Learning Outcomes as demonstrated in the following assignments: o Formative portfolio 30%: weekly assignments, additional weekly work as assigned. Assessment: Student, teacher, peer review o Mid semester conferences with each student o Summative portfolio 50%: Assignment #1 (10%) The Art of the Art Assignment Project Assignment #2 (10%) Lead a Class Discussion Assignment# 3 (15%) Case Study of a Professor Assignment #4 (15%) Curriculum Design: Writing a syllabus. Assessment: Holistic Grading, Grading Rubrics, Peer/Instructor review. o Attendance 20% Course Requirements Weekly readings will be assigned and are available on the website as PDFs. Written work You can expect comments on your two page weekly reading responses. Course expectations are that all written work be word-processed (12-point type, double-spaced and spell and grammar checked). All citations from a text should follow APA format according to: http://owl.english.purdue.edu/owl/resource/560/02. Each weekly reading response should have one citation from each assigned text. All weekly assignments should be brought to class as a hard copy and be clearly labeled with your name and date.

The three graded assignments (final versions) will be submitted by email to the instructor and then posted onto your Weebly Assessment Portfolio page. You may also be asked to submit work to a dropbox.com folder as Pratt email has a file size limit by email. There are a number of guest lectures scheduled. Some are open to the Pratt community. Your attendance at these events is required. Please check the dates now and have them on your calendar.

Course Calendar Week 1 Introduction 8/27 Course Expectations and Requirements Create learning groups according to students majors and/or interests. Introduce Assignment #1 In class reading and discussion Daichendt, G.J. (2010). Artist teacher: A philosophy for creating and teaching. Intellect Books: Chicago, USA. (pp. 103-117) SNAAP Annual Report http://snaap.indiana.edu/pdf/2013/SNAAP%20Annual%20Report%20203.pdf Introduce required texts: Paper Monument (2012). (ed.). Draw it with your eyes closed: The art of the art assignment. Paper Monument: Brooklyn NY. Allen, F. (2011). Education: documents of contemporary art. MIT Press: Cambridge, MA. (optional). Write personal teaching history statement in class. Assignment 1) Two page reading response (see guidelines and bring a hard copy to class): Pujol, Ernesto. (2007). On the Ground: Practical Observations for Regenerating Art Education. Madoff, S, H. (Ed.) (2009). Art School: Propositions for the 21st Century. pp. 3-13 Cambridge, MA: MIT Press Singerman, S. (1999). Art Subjects: Making Artists in the American University. Berkeley: CA. (pp. 97-123) Wax, Melinda H. (2010). Out of the Bauhaus and Into the Future. Chapters 3 and 4. Thesis. Brooklyn, New York: Pratt Institute Diaz, Eva. We Are All Bauhauslers Today. Art Journal_ Optional Elkins, J. (2001) .Why Art Cannot Be Taught: A Handbook for Art Students. University of Illinois. (pp. 5-39)

Inquiry Question (the inquiry question is designed to help focus your reading response and our class discussions): In what ways are the historical roots of art and design education evident in the approach to teaching and learning you see/experience in art schools today? Week 2 History of Teaching and Learning in Art and Design School 9/3 Inquiry Question: In what ways is the education of artists and designers determined by the wider cultural context? Guest lecturer: Professor Heather Lewis, Pratt Institute History of the Bauhaus - Slideshow of Pratt Studios 1890s Class DiscussionInquiry question: In what ways are the historical roots of art education evident in the approach to teaching and learning in art schools today? Discussion and Guidelines: Assignment#1 Inquiry Response 1) Two page reading response (see guidelines and bring a hard copy to class): Pujol, Ernesto. (2007). On the Ground: Practical Observations for Regenerating Art Education. In Madoff, S, H. (Ed.) (2009). Art School: Propositions for the 21st Century. MIT Press: Cambridge, MA

Week 3

Inquiry Question: In what ways is the education of artists and designers determined by the wider cultural context? 9/10 1. Reading Response (bring a hard copy to class): Singerman, S. (1999). Art Subjects: Making Artists in the American University. Berkeley: CA. (pp. 187-214) Baldessari, John and Craig Martin, Michael. Conversation. In Madoff, S, H. (Ed.) (2009). Art School: Propositions for the 21st Century. MIT Press: Cambridge, MA Optional. Additional readings by Professor Eva Diaz (Art History) on Black Mountain College may be assigned. 2) Begin work on Assignment#1. Read Paper Monument (2012). (ed.). Draw it with your eyes closed: The art of the art assignment. Paper Monument: Brooklyn NY. (pp. 8-46).

1st submission due week 3. Class discussion http://www.tate.org.uk/download/file/fid/7298 http://www.rowenafund.org/publications/rrk_publications_about.html http://www.blackmountaincollege.org/

1. Inquiry question: In what ways is the education of artists and

designers determined by the wider cultural context? 2. Assignment #1 First submission 3. Introduce Assignment 2 Case Study Week 4 Inquiry Question: Is teaching an imperative? 9/17 Guest Lecturer: Kamau Patton The Integration of Practice into Praxis: The Relationship Between Scholarship, Practice and Teaching http://www.kamaupatton.com/
Kamau Amu Patton is an interdisciplinary artist based in New York. His work issues from an ongoing involvement with the generative intersection of sound, light and electronics. He received his MFA from Stanford University in 2007 and is a graduate of the University of Pennsylvania with a degree in Sociology. Patton has exhibited his work in solo exhibitions at the Yerba Buena Center for the Arts and Queens Nails Annex in San Francisco, Machine Project in Los Angeles and Tilton Gallery in New York. He has worked collaboratively on artists projects at MOMA in New York and the Los Angeles County Museum of Art. Patton was a 2010-2011 A.I.R. at The Studio Museum in Harlem. His work was shown at the San Francisco Museum of Modern Art in the fall of 2011 as part of the 2010 SECA Art Award exhibition and in 2012 as part of the Pacific Standard Time Performance and Public Art Festival.

1) Reading Response (bring a hard copy to class): Elkins, J. (2001) .Why Art Cannot Be Taught: A Handbook for Art Students.University of Illinois. (pp.91-110) Jeffrey Slateniks essay, Josef Albers , Eve Hesse and the Imperative of Teaching. (http://www.tate.org.uk/research/tateresearch/tatepapers/07spring/ saletnik.htm) (pp. 41-110) 2) Continue work on Assignment#1. Read Paper Monument (2012). (ed.). Draw it with your eyes closed: The art of the art assignment. Paper Monument: Brooklyn NY. (pp. 8-46). 5

3) In Class RSA Animate New educational Paradigms http://www.youtube.com/watch?v=zDZFcDGpL4U 2nd submission due Week 5 Inquiry Question: What is research in the context of an art and design education? 9/24 Guest Lecturer: Deborah Schneiderman

Research in Design Education and Practice

Deborah Schneiderman is an Associate Professor of Interior Design in the School of Art & Design

at Pratt Institute, and a registered architect and LEED Accredited Professional. Before becoming a design educator, Ms. Schneiderman founded deSc architecture/design/research with a focus in environmentally sustainable design. Her research explores sustainable built environments, the integration of sustainability into the design curriculum, and sustainability and prefabrication. Recent publications include The Prefabricated Interior: Design and History in the Journal Interiors: Design/Architecture/Culture, Prefabricated Kitchen: Substance and Surface in Home Cultures: The Journal of Architecture Design and Domestic Space, the chapter Integrating Sustainability into Design Curriculum in Sustainability at Universities Opportunities, Challenges and Trends, ed. Walter Leil Filho, the chapter Integrating Sustainability in Design Education co-authored by Schneiderman will be published in The Sustainable Design Handbook, edited by Stuart Walker and Jacques Giard, will be released in 2012, and her book Inside Prefab: The Ready-made Interior, published by Princeton Architectural Press.

1. Reading Response (bring a hard copy to class): Sullivan, G.( 2005). Arts practice as research: Inquiry in the visual arts. Sage Publication. (pp. 187-222) Elkins, J. (Ed.) Artists with PhDs: On the new doctoral degree in studio art. (pp. 111-133) Read Paper Monument (2012). (ed.). Draw it with your eyes closed: The art of the art assignment. Paper Monument: Brooklyn NY. (pp. 8-46). Assignment #1 due. Email to instructor, bring hard copy to class. 2. Bio for case study subject is due. Week 6 Inquiry question- How are artists and designers taught and how do they learn? 10/1

Student Facilitated Class: Reading Response (bring a hard copy to class): 1) Re-read from week 1: Madoff, S, H. (Ed.) (2009). Art School: Propositions for the 21st Century. MIT Press: Cambridge, MA. (pp. 3-13) Also read: Sennett, R. (2008). The Craftsman. Yale University Press: New Haven & London. (pp. 147-178) Allen, F. (2011). Education: Documents of contemporary art. MIT Press: Cambridge, MA. (pp. 44-46) Refer to the PDF on the website on Curriculum Development in Studio Teaching. 2) Field trip to Interior Design Department Pratt Studios to discuss critique methods relative to spatial arrangement Week 7 Theories of Learning 10/8 Inquiry Question: How are artists and designers taught and how do they learn? What is the role of supported research? Student Facilitated Class: Guest Lecturer Cindie Kehlet- Tentative http://www.pratt.edu/academics/liberal_arts_and_sciences/ math_and_science/faculty http://mathsci.pratt.edu/artscilab/index.html

1. Discuss Assignment#2. In class reading on Case Study in

Education Merriam, S. B. (1988). Case study research in education: A qualitative approach. San Francisco, CA: Jossey-Bass Publishers. Merriam, S. B. (1998). Qualitative research and case study applications in education. San Francisco, CA: Jossey-Bass Publishers.

2. Interviewing as Qualitative Research.

a. Seidman, I. (2006). Interviewing as qualitative research: A guide for researchers in education and the social sciences (3rd ed.) New York: Teachers College Press.

b. Preparing a series of Interview Questions.

/////////NO CLASS FALL BREAK 10/15///////////

Week 8

The Critique 10/22 Inquiry Question: How are artists and designers taught and how do they learn? What are the purpose(s) of a critique? Student Facilitated Class Reading Response (bring a hard copy to class): Guest Lecturer: TBD Roundtable on the critique Tentative Groat, Wang (2013). Architectural Research Methods. Wiley Elkins, J. (2001) .Why Art Cannot Be Taught: A Handbook for Art Students.University of Illinois. (pp. 111-166) Barrett, T. (2000). Studio Critiques of Student Art: As They Are, as They Could Be With Mentoring. In Theory into Practice (39)1. (pp. 28-35). Buster, K. & Crawford, P. (2010) (2nd ed.) The critique handbook: The art students sourcebook and survival guide.T Prentice Hall: Upper Saddle River, NJ. (pp. 87-111) Refer to the PDF on the website on Critiquing the Crit.

1. Critiquing the critiquehttp://www.adm.heacademy.ac.uk/projects/adm-hea-projects/learningand-teaching-projects/critiquing-the-crit/index.html 2. Discuss Assignment#2. Class discussion on readings, case study and interviewing. First draft due In Class Peer Review 3. Mid-semester conferences: in class and by apt. Week 9: What is a school? 10/28 Inquiry Question: In what ways are art college programs and curriculum responding to shifting paradigms in art and design and new perspectives on teaching and learning? Student Facilitated Class: 1) Readings:

Allen, F. (2011). Education: documents of contemporary art. MIT Press: Cambridge, MA. (pp. 197-201) Review the reading- Diamond, S. (2009). Moving out of bounds: Expanding the field of art education. In Buckley, E. (Ed.) (2009). Rethinking the contemporary art school: The artist, the PhD, and the academy. The Press of the Nova Scotia College of Art and Design. (pp. 145-158) Darling-Hammond, L. (2001). How people learn: Introduction to learning theories. Retrieved at http://www.stanford.edu/class/ed269/hplintrochapter.pdf In addition look at: http://www.cmu.edu/teaching/principles/index.html http://gsi.berkeley.edu/teachingguide/theories/overview.html 2) Case Study Due 3) Assignment for week 9: Revise case study. Final draft due week 9. 4) Reading response: Inquiry Question: In what ways does assessment inform instruction? de la Harpe, B., Peterson, J. F., Frankham, N., Zehner, R., Neale, D., Musgrave, E., et al. (2009). Assessment focus in studio: What is most prominent in architecture, art and design? The International Journal of Art & Design Education, 28(1). Allan, D. (2000). Effective Assessment in Art and Design : writing learning outcomes and assessment criteria in art and design. Project Report. CLTAD, University of the Arts London. Driscoll, A., Wood, S. (2007). Assessment for learner centered education: A faculty introduction. Stylus:VA. (pages TBD) 5) Review: National Association for Schools of Art and Design (NASAD) http://aqresources.arts-accredit.org/index.jsp?page=AQGeneralObservations 6) Introduce and begin work on Assignment#3. Write a narrative (two paragraphs) of an idea or a course. Altman, H. and Cashin, W. (1992). Writing a Syllabus. An IDEA Paper, #27 from the Center for Faculty Evaluation and Development, Kansas State University.

Week 10:

The Art of Teaching 3/19. Bring to class the best and worst syllabi you have ever received. 1) Review personal teaching statements 9

2) Review Course Narratives 3) Share syllabi

Week 11:

Teaching in Higher Education. A Professional Life 3/26 1) Final draft of case study due. Email as a PDF to instructor 2) Class discussion Reference: Foyle, H. C. (ed.). Interactive learning in the higher education classroom: Co-operative, collaborative and active learning strategies. NEA: Washington, DC. 4) Inquiry question: From good teaching to the scholarship of teaching and learning? Reading Response Review and comment on College and University Teaching and Learning Centers: http://www.temple.edu/tlc/ http://bokcenter.harvard.edu/icb/icb.do http://risdcollegiateteaching.com/ 5) Write goals and outcomes for your course. Review the Pratt Institute template 6) Assignment #3: Writing a syllabus Draft#1

Week 12:

Teaching in Higher Education. A Professional Life 3/26 1) Professional Ethics in Higher Education 2) Discussion and workshop: Writing a syllabus and designing assignments for the syllabus. 3) Final revisions to draft 6) Assignment #3: Writing a syllabus Draft#1 Review the journals, in class discussion: http://www.uww.edu/learn/journalsotl.php http://www.isetl.org/ijtlhe/current.cfm http://www.studioteaching.org/

Week 13:

Discussion and workshop: Writing a syllabus 11/19 1) Reference: OBrien, J., Millis, B. & Cohen, B. (2008). The Course Syllabus: A Learner-Centered Approach (2nd ed.). Jossey Bass. 2) Review and share syllabi from other disciplines at Pratt 3) Assignment #3: Writing a syllabus Draft#3 Guest: TBD

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Week 14:

Discussion and workshop: Writing a syllabus 11/26 Reference: Parini, J. (2005). The art of teaching. Oxford University Press: Oxford, UK. 1) Discussion and workshop: Writing a syllabus and designing assignments for the syllabus. 2) Final revisions to draft Presentation: Writing a syllabus 12/03 1) Submit final Assignment#3 as a PDF bring hard copy to class. 2) Course evaluations 3) Present syllabi to class.

Week 15:

Week 16: 12/10 No Class Exam Week -By appointment only. _______________________

Class Workload As per NASAD guidelines: In lecture/discussion courses requiring outside preparation, one hour of credit represents one hour each week of the term in class, and two hours of work outside class. http://nasad.arts-accredit.org/index.jsp?page=FAQ%3A+NASAD+Standards+Review Community Standards Plagiarism Plagiarism means presenting, as ones own, the words, the work, information, or the opinions of someone else. It is dishonest, since the plagiarist offers, as his/her own, for credit, the language or information, or thought for which he/she deserves no credit. (see page 68, Pratt Institute Student Online Handbook) Attendance and Conduct The continued registration of any student is contingent upon regular attendance, the quality of work and proper conduct. Irregular attendance, neglect of work, failure to comply with Institute rules and official notices, or conduct not consistent with general good order is regarded as sufficient reasons for dismissal. There are no unexcused absences or cuts. Students are expected to attend all classes. Any unexcused absences may affect the final grade. Three unexcused absences may result in course failure at the discretion of the instructor (see page 68, Pratt Institute Student Online Handbook). It is not permitted to hand in work for this class that was produced for other classes (Pratt Institute Student Online Handbook).

Conduct As a courtesy to your classmates, please arrive to class prepared and on time. In the interests of learning, there is no text messaging or emailing permitted during class time and all laptops and cellphones MUST be turned off. Arriving late twice (arriving more than 5 min. late) will count

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as one unexcused absence. Please note that the syllabus is a plan of what might happen every week but is likely to change in response to interests and ideas that emerge during the course. It is your responsibility to keep up with any changes.

Accommodations for students with disabilities Pratt Institute is committed to assisting students with documented disabilities who are otherwise qualified for admission to the institute. Students requesting accommodations must submit appropriate written documentation to Director of Disability Services and Parent Programs: Mai MacDonald on 718 636 3711 in the office of the Vice President for Student Affairs. The course meets the NYS Teaching Standards in that it addresses: Standard VII: Professional Growth Element VII.1: Teachers reflect on their practice to improve instructional effectiveness and guide professional growth. Performance Indicators: a. Teachers examine and analyze formal and informal evidence of student learning. b. Teachers recognize the effect of their prior experiences and possible biases on their practice. c. Teachers use acquired information to identify personal strengths and weaknesses and to plan professional growth. Element VII.4: Teachers remain current in their knowledge of content and pedagogy by utilizing professional resources. Performance Indicators: a. Teachers benefit from, contribute to, or become members of appropriate professional organizations. b. Teachers access and use professional literature and other professional development opportunities to increase their understanding of teaching and learning. c. Teachers expand their knowledge of current research as it applies to curriculum, instruction, and assessment methods.

This syllabus is a living document and is subject to change and revision. Instructor Biographies Aileen Wilson

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Aileen Wilson is currently Acting Department Chair/Professor in Art and Design Education at Pratt Institute. She has a B.A. (Hons) 1st class Printmaking/Painting, Grays School of Art, Aberdeen, Scotland, an M.A. in Printmaking, Chelsea School of Art, London, UK, and an Ed. D. Art/Art Education, Teachers College, Columbia University, New York City. She was recently confirmed as a Fulbright specialist roster candidate 2010-2015 and was a Fulbright specialist grantee in Art Education to Iceland Academy of the Arts, 2011 and 2012. Her current research interests are drawing, studio pedagogy and the role of art and design in youth and community development. Current projects include co-curating (with Tara Kopp) The Imperative of Teaching: Studio Pedagogy at Bergen Community College, New Jersey, February 2013, a group exhibition with Kim Beck, Adam Brent, Nina Katchadourian and Sheila Pepe and others. Her interest in the education of artists began as a student at Peacock Printmakers a public access print workshop run by Arthur Watson in Aberdeen, Scotland, where she worked alongside Scottish artists Paul Nesbitt, Callum Innes and Beth Fisher and visiting artists and printmakers, Phyllis McGibbon, and Cima Katz. Public access print workshops welcome and encourage established artists to work alongside children and local people interested in taking classes in printmaking. Her current curatorial projects examine the nature of studio pedagogy and the impact of the context on the education of artists and designers.

T. Camille Martin T. Camille Martin is the founding principal of Brooklyn based architecture and interiors firm, TCM Studio and is a Visiting Associate Professor at Pratt Institute. Camilles work and interests span across scale and typology but focus on developing material strategies that expand the definition of sustainability and speak to an improved quality of life. She was a senior designer at Studio Sofield, a firm internationally renowned for designing for retailers like Tom Ford, Gucci, and The Gap and ultra-high-end residential projects. She also worked for the international powerhouse firm, Cannon Design on multi-million dollar institutional projects as well as several other respected New York architecture studios. Camille earned a Master of Architecture from Washington University in St. Louis and Bachelor of Arts in Architecture from Miami University Oxford, Ohio with a concentration in East Asian Art. Camille is a Visiting Associate Professor at Pratt Institute in the Interior Design and Art and Design Education Departments. She has also taught at Parsons the New School for Design in the School of Constructed Environments and is an Adjunct Professor at the New York School of Technology and The Fashion Institute of Technology. Camille worked for the Cleveland Museum of Art as a Curriculum Writer and Special Lecturer in the Education and Public Programs Department. She wrote a curriculum entitled A World of Difference: Beauty, Race and Ethnicity and Religion in the Arts, in collaboration with the AntiDefamation League and focused on middle school aged students. She also gave lectures on art to the public at large, predominantly focused on American Art Post-1940 and Dance and Movement in Art. She has been an invited guest critic at Columbia University, The Helsinki University of Technology [TKK], Washington University in St. Louis, The Fashion Institute of Technology, the New York Institute of Technology, The New York School of Interior Design, and The New York City College of Technology. She was also a T.A. for a course on Service Learning and Student Leadership as well as History of Architecture I & II, while at Miami University.

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Camilles passion for sustainable, local, culturally contextual design was developed while studying architecture in Finland and Argentina and working with the town council of Dudelange, Luxembourg on a public art installation. She has served on Architecture for Humanitys Steering Committee and co-authored a national design charrette in the Cincinnati, Ohio Overthe Rhine-Neighborhood. Camille combines her affinity for public work and background in large scale institutional projects with a talent and intuition for fine detailing and craft cultivated while working on exclusive, high end residential and design projects. The studio draws on its relationships with local artisans, designers and crafts people to create forward thinking, culturally relevant projects that mediate between temporal and contextual constraints to create meaningful work in New York.

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