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| Preface | |
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| Introduction | |
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| The Project | |
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| The Florida Project | |
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| The Illinois Project | |
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| The Indiana Project | |
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| Project's Rationale | |
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| Organization of the Book | |
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| The Assessment Context | |
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| The National Assessment Context | |
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| Impact of the Standards Movement on Assessment | |
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| Enter the National Assessment of Educational Progress | |
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| The Role of the Art Teacher in the Assessment Context | |
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| Large-Scale Studies of Assessment in the Art Classroom | |
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| Why Do Art teachers Assess? | |
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| What Types of Assessments Do Art Teachers Use? | |
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| What Assessment Training Have Art Teachers Had? | |
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| What Attitudes Do Art Teachers Hold About Assessment? | |
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| Attitudes about Purposes of Assessment | |
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| Attitudes about Implementing Assessments | |
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| Attitudes about Assessment Training | |
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| General Attitudes about Assessment in Art Education | |
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| Negative and Positive Effects of Assessment in Art Education | |
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| The Art Classroom Assessment Context | |
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| Selecting Criteria for Evaluating Works of Art | |
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| What Factors Contribute to Such Changes and Why? | |
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| Examining Criteria Used to Evaluate Works of Art | |
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| A Study of Art Teachers in the ATI Project and Assessment | |
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| How Art Teachers Select Evaluation Criteria for Studio Work | |
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| Criteria Art Teachers Use to Evaluate Students' Artwork | |
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| Criteria Art Teachers Use to Evaluate Students' Performance | |
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| How Criteria Used to Evaluate Student Artwork Changed Over Time | |
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| Asking Students About Assessment in Art Education | |
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| Criteria Students Use to Evaluate Artwork at School | |
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| Students' Art Making at Home | |
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| Criteria Students Use to Evaluate Artwork Made at Home | |
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| Looking at Artists and Assessment | |
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| Criteria Artists Use to Evaluate Their Work | |
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| Criteria Artists Use to Evaluate Other Artists' Work | |
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| Comparing Criteria Used by Art Teachers, Art Students, and Artists to Evaluate Works of Art | |
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| Considering the Nature of Evaluation Criteria Identified in Sets | |
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| Identifying Similarities and Differences Among Evaluation Criteria Sets | |
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| Reflections about Assessing Studio Production in Art Education | |
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| Study Questions | |
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| References | |
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| Alternative Assessment Strategies for Schools | |
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| The Politics of the Assessment Process | |
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| The Competition to Perform | |
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| Relationship Between Evaluation, Assessment, and the Curriculum | |
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| Does Assessment Drive the Curriculum? | |
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| State-Wide Testing Programs and Their Effects on the Curriculum | |
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| The Negative and Positive Effects of the Top-Down Evaluation Model | |
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| The Need for Alternate Models for School-Based Assessment | |
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| Alternative Models for Assessment of Expressive Learning in the Visual Arts | |
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| Quantifying Art Products in the Art Classroom | |
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| The Portfolio as an Alternative Assessment Instrument | |
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| Journal Portfolio | |
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| A teacher's Portfolio or Log | |
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| Controlled Task Portfolio | |
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| International Baccalaureate Schools Portfolio | |
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| The Advanced Placement Portfolio in the Visual Arts | |
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| Electronic Portfolio Assessment Design | |
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| Assumptions About the Process of Visual Modeling | |
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| The Process of Visual Modeling of Information | |
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| The Acquisition of Knowledge Stream | |
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| Reaction Stream | |
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| Interpretation and Analysis Zone | |
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| Visual Modeling | |
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| Sample Electronic Portfolio Based on the MVMIS | |
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| Study Questions | |
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| References | |
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| The Character of Expressive Learning and Its Assessment | |
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| The Pressures for Reform | |
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| The Art Teacher's Role in Reform | |
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| What We Need to Assess | |
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| Art Learning as Part of the Total Curriculum | |
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| Combining Critical and Creative Modes of Thought | |
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| Creative Thinking and Creative Performing | |
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| Discovering Alternative Modes of Thought | |
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| The Quantification of Qualitative Learning | |
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| Art Learning | |
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| Art Learning Standards | |
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| Art Practice | |
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| Students Needing to Know That and How to Do That | |
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| Students Learning to Know What | |
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| Students Learning to Know How | |
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| Assessing Expressive Learning | |
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| Setting Assessment Objectives | |
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| Knowing What Performances to Assess | |
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| Assessing Expressive Performances | |
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| Assessing Program Knowledge and Skills | |
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| Assessing Conceptual Development | |
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| Making Assessment Manageable | |
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| The Development of Test Instruments | |
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| The Art Teacher's Involvement in Assessment | |
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| Assessing What Art Teachers Teach | |
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| The Art Learning Environment | |
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| Learning Through Doing | |
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| Summary | |
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| Study Questions | |
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| References | |
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| Teacher Training and Student Portfolio Assessment | |
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| Aims of the Project | |
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| The Study Design and Methodology | |
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| Procedure | |
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| Teacher Training | |
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| Project Assessment Goals and Standards | |
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| State art content standards | |
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| The Local School District Art Context Standards | |
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| The Construction of the Assessment Instruments | |
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| Converting Art Content and Achievement Standards to Assessment Practice | |
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| Authentic Assessment | |
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| Developing Authentic Performance Tasks | |
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| Specifying Performances | |
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| Using Rubrics in Assessment | |
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| The Design of the Scoring Rubrics | |
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| Teacher Training in the Use of Rubrics | |
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| Deciding What Would Be Judged | |
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| The Gestalt Method | |
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| Score Spread | |
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| Portfolio Assessment Plan | |
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| Insuring score spread | |
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| Interjudge Reliability | |
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| Discrepancies | |
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| Field Tests of the Project Instruments | |
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| Method | |
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| Results of the Field Test | |
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| Conclusions of the Field Test | |
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| Project Portfolio Goals | |
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| Workshop Organization | |
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| Curriculum Development | |
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| Critiques | |
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| Summary | |
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| Study Questions | |
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| References | |
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| Electronic Portfolio Studies | |
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| Elementary School Case Studies in Electronic Formats for Portfolio Design | |
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| Spring Brook Elementary Model | |
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| Objectives for Student Learning | |
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| Benefits of Electronic Portfolios in the Art Education Classroom | |
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| Description of the District 204 Project | |
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| Assessment Component | |
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| Self-Assessment | |
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| Standards and Goals | |
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| Forest Road Elementary Model | |
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| Getting Started | |
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| The Benefits of the Electronic Portfolio as an Assessment Tool | |
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| The Importance of Visual Presentations and Electronic Formats | |
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| Promoting the Art Program | |
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| The Future, Next Steps | |
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| Hardware and Environment Needs for Project | |
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| High School Case Studies in Electronic Formats for Portfolio Design | |
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| The Mundelein High School Model | |
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| University Case Studies in Electronic Formats for Portfolio Design | |
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| The Northern Illinois University Model | |
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| Application of the Electronic Portfolio to Evaluation of Expressive Learning | |
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| Study Questions | |
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| Conclusions and Recommendations | |
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| Results of the Student Portfolio Assessment | |
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| The Study of Student, Teacher, and Artist Behavior | |
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| The Electronic Portfolio Alternative | |
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| Electronic Portfolio Conclusions | |
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| Recommendation for Further Study | |
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| References | |
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| Art Teachers' Studio Product Evaluation Criteria | |
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| Student Performance Criteria | |
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| At-School-Students' Studio Product Evaluation Criteria | |
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| At-Home-Students' Studio Product Evaluation Criteria | |
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| Artists' Studio Product Evaluation Criteria | |
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| Summary of Student Portfolio Findings (Tables F.1-F.6) | |
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| Author Index | |
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| Subject Index | |