The significance of conflicting discourses in a professional degree: assessment in undergraduate fine art practice

This paper expands on empirical research which revealed that, whether or not an institution's interpretative community was explicitly informed by outcomes-based assessment, the more powerful and implicit discourses that emerged in assessment practices were those of their professional practice and academic traditions. Tensions, between the emerging dominant discourses, had their roots in academic perspectives and traditions; professional practice(s) and ways of being; and the more recent educational development discourses. The significance of these tensions for the discursive positioning of staff and students is discussed, with suggestions made for possible ways to negotiate these problematics more purposefully     

Learning to Be: The Modelling of Art and Design Practice in University Art and Design Teaching

Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.     

An Analysis of the Presentation of Art in the British Primary School Curriculum and its Implications for Teaching

This article presents an analysis of the way art is conceptualised in the British primary school curriculum and provides an historical framework that maps an evolution of ideas that have shaped the way art is presented in the modern day primary curriculum. In order to achieve this a Foucauldian style genealogical analysis is utilised to trace the discourses (systems of meaning) surrounding the nature of children's artistic development and how these discourses are used in the present day British primary curriculum to construe art in different ways. The analysis in this article is threefold. It explores the presentation of art in the curriculum as (1) an expressive subject, (2) a skills based subject, (3) a subject which focuses on art history and art appreciation. Second, the teaching positions associated with each approach are identified as follows (a) the facilitator, (b) the expert and (c) the philosopher; as well as the issues teachers face when adopting these positions. Third, attention is given to how these theoretical principles might be linked to practice. In so doing this article contributes to the debate surrounding the value of art in the primary curriculum and the way in which the curriculum serves to shape teaching practice.     

Discourse and Practice in the Art Curriculum and the Production of the Pupil as a Subject

The development of enquiry into language this century has implications for pedagogy. This development concerns the transition from viewing language as a transparent medium, identifying an external objective reality, to a view in which language constitutes reality as we understand it. The paper begins by outlining some contemporary theoretical developments concerning the ‘productive’ or material nature of discourse. The paper shows how particular curriculum practices in art can be viewed as discursive sites which perpetuate particular discourses in which the pupil as art practitioner is produced. By focusing upon drawing practices the paper shows that the notion of ‘ability’ does not refer to some absolute skill possessed by pupils, but to particular ideological interpretations through which ability is conferred. However, such interpretations do provide us with stable forms which allow us to act as if they were absolute. Such interpretational states reveal the circular structure of interpretational practices such as evaluation and assessment. The paper shows how the reflexive nature of hermeneutic analysis can be helpful in providing a suitable space for reflection when such interpretational states break down during the practice of teaching art. By analysing a series of pupil's drawings the paper discusses how our interpretational discourses identify the pupil's ability and constitute the pupil as a subject in the ait curriculum. The paper forms part of a larger body of work in which the author is exploring how different practices in the art curriculum constitute discursive fields within which pupils as subjects are produced.     

Developing an Assessment Stance in Primary Art Education in England

Many English primary teachers find the notion of assessing children's work in art difficult. This paper reports on work carried out with non‐art‐specialist primary teachers’ and student teachers’ use of a three‐point assessment model and related tasks, which supported teachers and students to engage critically with children's development, or lack of it, in observational drawing. This enabled teachers and students to develop appropriate planning and differentiated strategies for children's work in art. Equally important is that in engaging with these assessment tasks they were able to develop aspects of the critical language needed for teaching and learning in art.     

Mathematics Teachers' Positions and Practices in Discourses of Assessment

Recent curriculum reforms have led to a wider variety of methods of assessment in formal 'high stakes' assessment regimes in many countries. Morgan's study of mathematics coursework assessment in UK schools identified a number of positions adopted by teachers as they assessed student texts. Using Bernstein's theoretical framework, we revisit Morgan's study in order to construct a model for understanding teachers' assessment practices and positionings. The model consists of opposing forms, generated by modelling agencies, agents, practices and specialised forms of communication, to identify their principles of construction, displayed as changes in the strength of boundary. This helps to distinguish practices of assessment as different modalities of regulation, and to understand the tensions within and between discourses and practices. Thus, for example, by interpreting tensions between discourses of 'mathematical investigation' and of 'assessment' in terms of the contradictory demands made by different modes of pedagogic practice, we can reveal the social assumptions of the pedagogic discourse.     

Expressing the Not‐Said: Art and Design and the Formation of Sexual Identities

Central to this paper is an analysis of the work produced by a year 10 student in response to the ‘Expressive Study’ of the art and design GCSE (AQA 2001). I begin by examining expressivism within art education and turn to the student's work partly to understand whether the semi‐confessional mode she chose to deploy is encouraged within this tradition. The tenets of expressivism presuppose the possibility that through the practice of art young people might develop the expressive means to give ‘voice’ to their feelings and come to some understanding of self. I therefore look at the way she took ownership of the ‘expressive’ imperative of the title by choosing to explore her emerging lesbian identity and its position within the normative, binary discourses on sex and sexual identity that predominate in secondary schools. Within schooling there is an absence of formal discussion around sex, sexual identity and sexuality other than in the context of health and moral education and, to some extent, English. This is surprising given the emphasis on self‐exploration that an art and design expressive study would seem to invite. In order to consider the student's actions as a situated practice I examine the social and cultural contexts in which she was studying. With reference to visual semiotics and the theoretical work of Judith Butler, I interpret the way she uses visual resources not only to represent her emerging sexual identity but to counter dominant discourses around homosexuality in schools. I claim that through her art practice she enacts the ‘name of the law’ to refute the binary oppositions that underpin sex education in schools. This act questions the assumptions about the purpose of expressive activities in art education with its psychologically inflected rhetoric of growth and selfhood and offers a mode of expressive practice that is more socially engaged and communicative.     

Fighting for space in supervision: fantasies,fairytales, fictions and fallacies

In higher education the supervision of graduate research students is an uncertain practice. When given the opportunity, supervisors and students ask what it means and how it should be done. In this paper, the author interprets the uncertain state of supervision affairs as an effect of many competing and contradictory social discourses that offer us more ways of making sense of supervision than in the past. Each discourse figures its Loyal Supervisor and Student, its ‘Proper’ Supervision, in particular ways. These are the multiple and contradictory fantasies, fairytales, fictions and fallacies of the title. First each discourse is described and then a close reading is given of some extracts of data from the author's research with Master's students and their supervisors to illustrate various discourses at work. Finally, there is discussion of which discourses are the most powerful at the present time and some implications, both dangers and fruitful possibilities, of the author's interpretation are suggested.     

‘Who Thinks this Teaspoon Is Art?’ A Discourse Analysis of Elementary School Students' Negotiation of Meaning During Art Museum Visits

This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.     

Spaces of Mediation: Excavating Art's Boundaries

Ideas of social responsibility and exploring art's place in society are widespread and prevalent. Access, community, participation, empowerment are words that appear with increasing frequency within disparate discourses. From Glasgow's successful bid to be UK City of Architecture and Design 1999, [1] to lottery guidelines [2] and policy research [3], there appears to be a preoccupation with such terminology. However, does this demonstrate a true desire to find a point of mediation between discourses, between one place or one group and another? Do projects establish sustainability in the relationships that are built up between apparently disparate elements or are these terms linked mainly to high profile events that intervene, then move on, leaving people with little more than a memory of the encounter? This paper proposes that in order to shift the topography of art practice – the where, how and on whose terms it occurs – spaces and forms of mediation have to reconstruct the very sub structure on which they are founded.     

A Critical Reading of the National Curriculum for Art in the Light of Contemporary Theories of Subjectivity

In this paper I show how pupils become visible as pedagogic subjects in the art curriculum. With reference to the work of Foucault and Lacan I theorise how pupils’ subjectivities, or identities, are formed within discursive practices which constitute the art curriculum. A critical reading of practice is presented as it is conceived in the English National Curriculum for Art orders and the School Curriculum and Assessment Authority’s document, Exemplification of Standards, in order to show how pupils’ abilities are constructed and regulated. I argue that these documents are underpinned by an inadequate understanding of practice and assessment, which fails to acknowledge the difference and legitimacy of pupils’ semiotic/representational strategies. I proceed to offer some thoughts for reconceptualising the art curriculum by employing the term ‘difference’. My purpose is to highlight the need to develop a curriculum which offers a more inclusive space for practice, a space which is not driven by normative assessment frameworks, but which celebrates difference in practice and vigorous enquiry.     

Going to War with the 3 Rs

This article describes the experiences of a mature dyslexic university art student in a predominantly word-based education system. An autobiographical form is used, placing the writer's personal experience into broader contexts where commentary is made on typical as opposed to good practice. The paper concludes by offering some recommendations which would be beneficial for all art students, but are absolutely vital for dyslexic students.     

Acknowledging Ambivalence in Teaching about Art and Aesthetics

In this article Daniel Brodén explores the ambivalence in teaching about art and aesthetics in the humanities. By comparing and contrasting Gert J. J. Biesta's educational theory and Jacques Rancière's writing on aesthetics, he hopes to bring some of the particularities of aesthetic experiences into focus and to discuss a tension in educational situations that concern students' interpretation of aesthetic texts: how the teacher, on the one hand, will serve as a representative for a formal system of education — or what Rancière calls a system of inequality — and, on the other hand, should respect the autonomy of the aesthetic experience. Brodén argues, however, that more interesting than the ambivalence itself is the question of how we can acknowledge this tension in productive ways. Thus, his aim here is to show how the teacher can contribute to the verification of an interpretive approach to art, with Rancière's axiom of equality in mind. Drawing on Biesta's writings, Brodén also highlights how the teacher can provide students with possibilities to pursue a subject-ness and how the risks involved call for a deconstructive approach to the enactment of teacher power. The article concludes by suggesting that we would do better not to view the ambivalence in focus as a problem, but instead to see it as something that calls for continuous engagement and critical reflection.     

Political and Aesthetic Equality in the Work of Jacques Rancière: Applying his Writing to Debates in Education and the Arts

This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in the classroom—both over‐hyped claims about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art.     

Students' recognition of educational demands in the context of a socioscientific issues curriculum

Students' difficulties in interpreting what counts as knowledge have been addressed in past research on science education. The implementation of progressivist pedagogy in terms of more student-active classroom practice and the introduction of a variety of discourses into the science classroom deepens students' difficulties. The integration of different forms and demands of knowledge and discourses typified by Science-in-Context initiatives, such as within the socioscientific framework, exemplifies this development in science education. Here, the diffuse boundaries between school subjects and other silos of knowledge lead to considerable difficulties for students to interpret what is expected from them. Such contexts having diffuse boundaries between, for example, subject discourses and other forms of knowledge, have been describes as contexts with weak classification. The present study aims to explore students' interpretation of what knowledge or meaning they are requested to produce in contexts with weak classification, here exemplified within an SSI-task. We use Bernstein's concepts of recognition rules and classification to analyze how 15- to 16-year-old students develop their discussions in groups of 4–6 students. This study reports how students' recognition of the educational demands enabled integration of different discourses in their discussion, and that the use of both universalistic and particularistic meanings can produce new understandings. Students who had not acquired recognition rules were found to keep discourses apart, expressed either as rejection of the relevance of the task, answering questions as in a traditional school task, or just exchange of personal opinions. Furthermore, they included discourses irrelevant to the issue. An important outcome of the study was that socioscientific thinking was hampered when students kept universalistic and particularistic meanings apart. This hampering results from the inhibition of dynamic exploration during SSI discussions. The results provide new insights with relevance for teachers' guiding students toward a fruitful SSI-discourse.     

Litigation and Learning: Tensions in improving university lecturers' assessment practice

Current debate about assessment in higher education raises educational and political issues. Lecturers who wish to make their assessment more reliable and rigorous, as well as more effective in improving students' learning, need more than technical help to do so. This paper reports findings from an action research project which focused on assessment practice at the University of Sunderland, UK. It highlights tensions between genuine educational concerns to improve practice and more instrumental pressures, for example, to defend one's assessment practice from challenges by students, colleagues and external bodies. It is argued that improvement, rather than mere change, will require the commitment of people who possess intimate day-to-day contextual knowledge of assessment, and who recognise its educational and political complexities. The findings highlight two areas for further research: ways of inducting and involving students in an 'assessment community', and institutional staff development designed to improve assessment practice.     

Identity Politics and the Queering of Art Education: Inclusion and the Confessional Route to Salvation

In this article I discuss the relationship between theories of identity and making practices in secondary art and design. Of particular interest is the way students are invited to explore identities in relation to a sense of self and the extent to which this is informed by schools' concern to make diversity visible through multicultural celebration, thus framing and possibly limiting exploration. It is notable that non‐heternormative sexual identities remain largely invisible in the official curriculum and I examine the disjunction between this absence and their hypervisibilty in the mass media and its culture of confession/exposure. I revisit Michel Foucault's discussion of the history of sexuality as a way to understand the development of confessional discourses in modern culture and to provide an alternative and ambivalent reading of the power relations implicit in work exploring identities by art and design students. Specifically, I look at the position of gay and lesbian students and teachers, and ask whether their sexuality can figure within the injunction ‘explore your identity’. Given the heteronormative culture of schooling, I end by recommending that individuals should be wary of outing themselves in the name of self‐expression but that art teachers could use strategies of distancing to engage students with issues of sexuality and join with others to counter homophobia by queering the curriculum.     

Reconceptualising equity: Pedagogy for Chinese students in Australian schools

Education Queensland’s New Basics project has extended conceptions of ‘equity’ to incorporate dimensions such as higher order thinking and student control of classroom activity. This requires a critique of the outcomes attained by even high achieving students. It is therefore useful to interrogate professional discourses that shape pedagogies for particular groups of students. In this paper, discourses on ‘the Chinese learner’ are reviewed. The review raises new issues of equity because Chinese students are often high achievers in Australian schools, but are frequently criticised for learning in ways that seem to fit uneasily with the types of pedagogy now valorised in Queensland. The paper concludes with a note of caution about the definition of high quality academic outcomes in the new policy, and the effects of a gap between understandings of equity and professional discourses and practice.     

Correspondence

Abstract

A profile of teacher competences is described and interrogated in the light of inherent, language‐based problematics. It is argued that such texts tend to constrain the modes and parameters within which to think about one's practice, in addition to masking possible deficiences in education systems through a pathologisation of the individual practitioner. The importance of keeping alive alternative discourses is stressed. Such discourses, it is argued, should recognise the complex idiosyncratic, contingent aspects of teaching and learning, and should include students’ reflections on their own in‐ and out‐school experiences through dialogic, autobiographical writing.     

Paint and Pedagogy: Anton Ehrenzweig and the Aesthetics of Art Education

Anton Ehrenzweig's work training art teachers at Goldsmiths College in London was groundbreaking in its field. The work of the studio fed back into Ehrenzweig's writings through his reflections on teaching and the work produced in end of year shows. In The Hidden Order of Art (1967), he theorised the creative process in psychoanalytic terms and elsewhere likened the task of the art teacher to that of a psychotherapist. In this article I argue that, by taking psychoanalytic art theory into the teaching studio, Ehrenzweig provided a psychic space within which students were freed from convention and encouraged to pursue their own practice.