Eugene wrote:
> I'm so glad that you brought the issue of portfolio assessment in art.
Of course, artists (and everybody else) can use a sample of their work
for reflection. But it is a private matter. I know many artists (both
friends and famous once) who make efforts never to see their own work once is
being done. They often say that they don't want to see their past work
because they think that their past work interferes with future work (they also
may not want to see their mistakes to avoid undermining their
self-confidence).
I, too, know artists who say they do not want to reflect on their past
work for fear of "contaminating" future pieces. However, during artistic
activity artists do reflect on how well they are "carrying out" their
goals for that activity. I am currently looking at children's (1st, 3rd,
& 5th grade) private speech while drawing and have found that all students
at some point look at their drawing and remark on how well or not well
they are carrying out their own ideas in their drawings. This, I believe,
helps students monitor and regulate their own goal-directed activity.
To relate this self-evaluation/self-reflection to professional artists,
there is a practice (in both formal and informal art education) of
evaluation called a "critique". Critiques, for anyone not familiar with
the practice, are often very tramatic for an artist (I have seen peers cry
after brutal critiques). A critique is when an artist displays a
work-in-progress or a finished piece and others comment upon it, pointing
out the strengths and weaknesses of the piece. (I bet if you ask your
friends they will say that they have been through this and hated it.
Traditionally, critiques are very critical, focusing on the weaknesses of
the piece rather than the strengths). Critiques are a very public activity
of evaluation and reflection (usually you are required to explain your
goals, process, etc.)---not private at all. Yes, an artist may evaluate
their work privately (like I mentioned above)...however, as soon as that
work is "out there" art work is evaluated publicly and socially (One of
my favorite sayings by Vgotsky is "Art is the social within us".)
Teaching art through master's apprenticeship does not
> require student's portfolio, does it?
I think it depends upon the professional goals of the student, but the
critique process that I described above is used. Doesn't the Master
evaluate the apprentice's progress (and process??)? In the arts, the
Master traditionally enculturated the apprentice into the "school" or in
a particular artistic style (utilizing similar goals (usually subject
matter), artistic skills (based upon media), and products).
> I wonder how, when, and where the practice of artistic portfolio has been
> developed and whether and how market (e.g., art galleries) contributed to
> this development.
I don't really know when the practice of artistic portfolio originated. I
definitely believe that economics plays a role. Choosing pieces for a
show or exhibition is a self-reflective and evaluative process (an artist
is usually confined by space allowed) and very similar to choosing pieces
for a portfolio. Usually the goals of an artist exhibiting work is to
receive a favorable critique or sell pieces (hopefully both)--since both
feed new work. Money (to buy more supplies, etc) is usually a means to an
end (to create new works). The relationship between artist and patron ($)
(whether a wealthy individual or organization) is an incredibly long and
fascinating one.
> What do you think?
I think that we engaged in self-evaluative and self-reflective activities
in both formal and informal educational environments. When we apply for
academic positions we are, essentially, putting together pieces of our
best work that illustrates who we are. When we select a paper to submit
for publication, etc. Is it really "us" or a "true" example of that
research project? No, but we are constantly asked to choose pieces of "us"
to represent the reality of us (think tenure review). I think that this
returns to your original objection to portfolio assessment in that it is
not a representation of reality (Or maybe I am remembering incorrectly).
Do I have that right? I think I just slipped into semiotic territory...
Anyway, I think that the differences may be (and I'm just thinking outloud
here) that in the arts the act of creating a portfolio is an artistic
activity (as Ricardo said tied to theory, etc.) where by portfolio
assessment has been interpreted as the result of activity. I think Nate
or Bill mentioned the problem of interpretation and translation of a
practice from one domain to another.
I have a question. What, do you feel, would be the "best" way to teach
pre-service teachers (who are going to be required to evaluate their
students) about evaluation and assessment?
>
> Eugene
>
> > -----Original Message-----
> > From: Julia Mame Matuga [mailto:jmatuga@indiana.edu]
> > Sent: Friday, February 26, 1999 11:30 AM
> > To: xmca who-is-at weber.ucsd.edu
> > Subject: Portfolio Assessment
> >
> >
> > Thought I would throw this into the mix with Eugene, Nate, & Bill:
> >
> > As an artist, former art teacher, and ed. psych. instructor, I have
> > utilized portfolio assessment (as my primary method for evaluation) for
> > self AND student evaluation. Portfolio assessment,(from my own experience
> > and understanding) is asking the "owner" of the portfolio to reflect upon
> > their initial goals for the activity, the activity itself, and the final
> > product(s) of that activity. In the arts, there are
> > perimeters/constraints
> > for artistic activity. It's my understanding that perimeters and
> > constraints during activity may be(are?) determined by the teacher (by
> > inviting students to participate in an activity), the student,
> > co-constructed or negotiated by teacher and student, by the media
> > or tool used for the activity, and the social resources available for
> > that activity within the context. But in the arts (and perhaps other areas
> > as well) the goals of activity are, for the most part, individually
> > constructed....a student has an idea, a plan, a thought regarding the
> > product of their artistic activity. I see portfolio assessment as an
> > opportunity for students to reflect upon the goal-activity-product process
> > and how well I, as a teacher, supported/hindered that process (by
> > hindering goals or not providing the social resources needed during the
> > activity, etc.).
> >
> > I usually ask students to include pieces/activities that they felt helped
> > them learn most and pieces/activities did not help them learn at all
> > or were least helpful. I believe that this activity, in itself, is a
> > valuable one for students self-reflection and self-evaluation AND
> > help me identify my own strengths/weaknesses as a co-constructor
> > of those activities. While I agree with points that Bill, Nate, and Eugene
> > made regarding portfolio assessment, I feel that the act of creating a
> > portfolio does not grow out of practice, nor does it follow practice but
> > it is a practice of self-reflection and self-evaluation.
> >
> > -Julia
> >
> > Julia M. Matuga
> > Dept. of Counseling and Educational Psychology
> > School of Education, 4021B
> > Indiana University, Bloomington
> >
> >
> > "The theoretician's prayer: 'Dear Lord, forgive me the sin
> > of arrogance, and Lord, by arrogance I mean the following...."
> >
> > --Leon Lederman
> >
>
Julia M. Matuga
Dept. of Counseling and Educational Psychology
School of Education, 4021B
Indiana University, Bloomington
"The theoretician's prayer: 'Dear Lord, forgive me the sin
of arrogance, and Lord, by arrogance I mean the following...."
--Leon Lederman