COURSE SYLLABUS | Spring 2024

ARTE 548 Sections of this Document:

 Syllabus
COURSE NUMBER: ARTE 548  Timeline
DATE: 01/08/24 SECTION: 001  ARTE Curriculum Map
CRN: 21939
 Assignment Exemplar
COURSE TITLE Secondary Methods in Art Education: Pedagogy and Research  Academic Writing
Expectations
https://winthropuniversityarted548.weebly.com/
COURSE SITE  Artificial Intelligence
Designator and Leveling
System

MEETING TIME 12:30PM-3:15PM DAY(S) MW ROOM RUTL 126

PROFESSOR DR. MICHELLE A. LIVEK OFFICE RUTL 126
(803) 323-3237
EMAIL [email protected] PHONE
(573) 280-4203*
 Weekly on Tuesdays 12:30PM – 3:00PM
 Thursdays 8AM to11:00 AM by appointment only
OFFICE HOURS  For appointments and advising meetings use the scheduler in Dr. Livek’s BOOKINGS – link
on every email

Prerequisites:
Description: Admission to Graduate School or
This course reviews historical and contemporary Admission to Teacher Education Program or
curricula in art education, then focuses on issues SC Teaching Certificates or
in secondary art teaching, research relevant to Permission of instructor.
secondary art education scholarship, and
academic writing conventions. Topics include Notes:
adolescent development, Studio Habits of Mind, Offered in spring and summer.
Concept oriented curriculum, research
methodologies of the Social Sciences, and 3.000 Credit hours
academic writing. Students will develop personal 3.000 Lecture hours
COURSE CATALOG philosophies of art education that are aligned with 0.000 Lab hours
DESCRIPTION self-created secondary curriculum. Students will 2.000 Other hours
utilize scholarly writing conventions to create a
relevant research proposal. Students will have Levels:
Early Field observations and experiences via a Graduate, Undergraduate
collaborative effort between the Rex Institute and
the Art Education Program. Schedule Types: Independent
Study/Research, Lecture, Studio/PE

Course Attributes:
Intensive Writing, Research/Creative Scholarship

TEXT(S) USED REQUIRED: Studio Thinking 3: The Real Benefits of Visual Arts
Education
Purchase Highly Recommended
Third Edition
Kimberly M. Sheridan, Shirley Veenema, Ellen Winner, Lois Hetland
ISBN: 9780807766507
“Studio Thinking 3 is a new edition of a now-classic text, a research-based
account of teaching and learning in high school studio arts classes. It poses a
framework that identifies eight habits of mind taught in visual arts and four
studio structures by which they are taught. This expanded, full-color edition
includes new material about how the framework has been used since the original study, with new
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perspectives from artist-teachers who currently apply the Studio Thinking Framework in their own
practice. It also reviews how contemporary organizations, educators, and researchers outside the arts
have utilized the framework, highlighting its flexibility to inform teaching and learning.”
New chapters for Studio Thinking 3:
 Students as Contemporary Artists: Building Agency in the Studio highlights how studio
teachers support learner autonomy, including the ability to create increasingly self-directed
artworks.
 Artist-Teachers examines how artistic practices and teaching practices intertwine and how
the Studio Thinking Framework can nurture the relationship between them.
 Assessment is a Conversation introduces the practical ways that teachers are using Studio
Thinking to assess and evaluate students’ work, working processes, and thinking in the arts.
 Studio Thinking discusses how the Studio Thinking Framework has informed teaching and
research in visual arts, theater, dance, music, arts integration, STEAM, and other contexts.
The first edition of this bestseller was featured in The New York Times and The Boston Globe for its
groundbreaking research on the positive effects of art education on student learning across the
curriculum. Studio Thinking 3 will help advocates explain arts education to policymakers, support art
teachers in developing and refining their teaching and assessment practices and assist educators in
other disciplines to learn from existing practices in arts education.”
An explanation of “art as thinking” that unpacks and clarifies how teaching art is the process of
teaching thinking.
An account of what Studio Thinking looks like in diverse contemporary settings.
Models of studio arts instruction that illuminate what educators are doing to support students’
learning in the arts and why they are doing it that way. Full-color images with examples of student
art throughout the book.

REQUIRED: Practice Theory: Seeing the Power of Art Teacher

Researchers
Purchase Highly Recommended
By Buffington, Melanie L.
Edition : 13
Publisher : NAEA
ISBN 13 : 9781890160579

Description:
“Teachers are powerful individuals who have the ability to effect change and meaningful educational
reform. Teachers and researchers can benefit from the rich knowledge and experience of art teachers,
university faculty members, and museum educators who may balance multiple roles. Examples beyond
public school classrooms include senior citizen centers, preschools, museums, and international sites.
This collaboration of voices-including those of the authors, a graduate student, and a wide range of
researchers with various perspectives on how research occurs in art education-will help new
researchers and teachers who may not have considered conducting research as a possibility for them,
find a glimpse of themselves as a teacher-researcher.”

REQUIRED: Unflattening – ebook accessible through Dacus Library

By Sousanis, Nick
Edition : 15
Publisher : TRILITERAL
ISBN 13 : 9780674744431

Description:
“The primacy of words over images has deep roots in Western culture. But what if the two are
inextricably linked, equal partners in meaning-making? Written and drawn entirely as comics,
Unflattening is an experiment in visual thinking. Nick Sousanis defies conventional forms of scholarly
discourse to offer readers both a stunning work of graphic art and a serious inquiry into the ways
humans construct knowledge. Unflattening is an insurrection against the
fixed viewpoint. Weaving together diverse ways of seeing drawn from
science, philosophy, art, literature, and mythology, it uses the collage-like
capacity of comics to show that perception is always an active process of
incorporating and reevaluating different vantage points. While its vibrant,
constantly morphing images occasionally serve as illustrations of text, they
more often connect in nonlinear fashion to other visual references
throughout the book. They become allusions, allegories, and motifs, pitting
realism against abstraction and making us aware that more meets the eye
than is presented on the page. In its graphic innovations and restless shape-
shifting, Unflattening is meant to counteract the type of narrow, rigid
thinking that Sousanis calls "flatness." Just as the two-dimensional

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inhabitants of Edwin A. Abbott s novella Flatland could not fathom the concept of "upwards,"
Sousanis says, we are often unable to see past the boundaries of our current frame of mind. Fusing
words and images to produce new forms of knowledge, Unflattening teaches us how to access modes
of understanding beyond what we normally apprehend.”

REQUIRED: They Say, I Say - ebook accessible

Moves that Matter in Academic Writing – Second Edition
By Graff and Birkenstein
Publisher : W. W. Norton; Second edition (December 22, 2009)

Description:
The book that demystifies academic writing, teaching students to frame their arguments in the larger
context of what else has been said about their topic–and providing templates to help them make the key
rhetorical moves.
The best-selling new composition book published in this century, in use at more than 1,000
schools, They Say / I Say has essentially defined academic writing, identifying its key rhetorical moves,
the most important of which is to summarize what others have said (“they say”) to set up one’s own
argument (“I say”). The book also provides templates to help students make these key moves in their
own writing.

The Second Edition includes a new chapter on reading that shows students how to read for the larger
conversation and two new chapters on the moves that matter in the sciences and social sciences.

TEACHING ARTFULLY
Purchase Highly Recommended
Meghan Parker
Publisher: INGRAM PUB
ISBN 13:
9781951038205

Review/Description:
"An incredibly refreshing look at a school subject we need now more than ever!" -Chris Mostyn, High
school art teacher, winner of the "Excellence in PK-12 Art Education Award" by the United States
Society for Education through Art

PUBLISHERS WEEKLY -- "Drawing is a way of seeing and thus a way of knowing," writes
Vancouver art educator Parker, whose comics are her "field-notes" on teaching and learning. Following
an introduction by Nick Sousanis, Parker delivers a thesis that balances artist's statement and teaching
philosophy in chapters that cover topics including line, color, shape, space, and value. Loosely outlined
panels, elastic illustrations, clear watercolors, and hand-written text suggest napkin doodles and
storyboarding, a work-in-progress quality in line with the message of self-discovery. Parker's copper-
coiffed avatar, Meghan, cautions that "this work is not exactly linear"; while establishing chapters feel
organized, meandering prevails as Meghan transforms herself into iconic portraits by Barbara Kruger,
Andy Warhol, and Bill Watterson, extolling artists' shape-shifting social roles. Educators will
appreciate heady musings about art-as-process and prompts to "design a new home for a snail," though
creative young readers may prefer passages on self-expression, identity, and inclusion, in a book that
will be at home beside Molly Bang and Lynda Barry's how-to titles. Ages 13-16. (Apr.)

Website creation and curation

Artist Journal
Various art materials for Artist Journal assignments
Access to phone or camera to upload images to website.
OTHER COURSE Laptop
REQUIREMENTS Apps and Software:
 Weebly/Wix/Squrespace or similar free website platform – free version
 Canva – free for educator’s account
 Office – Word and PowerPoint – free from WU IT
 Google Account - Jam boards, Classroom, Forms, QR generator, etc.

UNIVERSITY Competency 1: Winthrop graduates think critically and solve problems.

LEVEL Winthrop University graduates reason logically, evaluate and use evidence, and solve problems. They
COMPETENCIES seek out and assess relevant information from multiple viewpoints to form well-reasoned conclusions.
(ULCs) Winthrop graduates consider the full context and consequences of their decisions and continually
reexamine their own critical thinking process, including the strengths and weaknesses of their
arguments.

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Competency 2: Winthrop graduates are personally and socially responsible.

Winthrop University graduates value integrity, perceive moral dimensions, and achieve excellence.
They take seriously the perspectives of others, practice ethical reasoning, and reflect on experiences.
Winthrop graduates have a sense of responsibility to the broader community and contribute to the
greater good.

Competency 3: Winthrop graduates understand the interconnected nature of the world and the
time in which they live.
Winthrop University graduates comprehend the historical, social, and global contexts of their
disciplines and their lives. They also recognize how their chosen area of study is inextricably linked to
other fields. Winthrop graduates collaborate with members of diverse academic, professional, and
cultural communities as informed and engaged citizens.

Competency 4: Winthrop graduates communicate effectively.

Winthrop University graduates communicate in a manner appropriate to the subject, occasion, and
audience. They create texts - including but not limited to written, oral, and visual presentations - that
convey content effectively. Mindful of their voice and the impact of their communication, Winthrop
graduates successfully express and exchange ideas.

SLO 1: Students will model both traditional processes and newer technical developments in
creating art, documenting art, and creating art education curriculum.
KEYSTONE ASSESSMENT
Websites – (Level 3)

SLO 2: Students will apply historical and contemporary perspectives of art and design to art
education. –
KEYSTONE ASSESSMENT
Research Proposal (Level 3)

SLO 3: Students will synthesize learning experiences that demonstrate preparation for K12 art
education certification.
Formulate and compile a satisfactory preparation for art education certification K12. (Level 2)

SLO 4: Students will create connections between Art Education in practice and the expectations
of the Visual Arts edTPA (external evaluation for certification).
STUDENT KEYSTONE ASSESSMENT
LEARNING Contextualized Scope & Sequence (Level 3)
OUTCOMES (SLOs)
SLO 5: Students will model the benefit of arts education and arts programs to colleagues,
administrators, and parents.
KEYSTONE ASSESSMENT
Field Experience (Level 3)

SLO 6: Students will exhibit personal and professional qualities appropriate to an art educator. (Level
2)

Level 1 = Outcome Introduced – Students experience initial or early exposure to the outcome
(knowledge/skill/value/attitude).

2 = Outcome Emphasized – Students experience secondary exposure to the outcome

(knowledge/skill/value/attitude), of the course.
3 = Outcome Reinforced – Students experience a tertiary exposure to the outcome
(knowledge/skill/value/attitude), with the course

EXPECTATIONS As your teacher I bring information, experience, curiosity, respect,

professionalism, and a love of learning that I am happy to share.

I will ask for help when it is needed.

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I will teach in a manner that embraces all humanity.

My expectations for you as a student are that you will participate as a

listener, teacher, learner, and artist.

I expect you to begin sharing and expressing yourself as a professional.

Bring curiosity, commitment, respect for others, and a willingness to try new things.

My goal is that we will all grow as individuals, and as a community.

Students are expected to attend and participate in all class (face to face-F2F
and virtual if every necessary) and possible school observation activities.

Students are expected to keep an Artist Journal and Website/Blog recording Ideas, observations,
inspirations, drawings—noticing and noting life and things they are thinking about and want to
remember.

The goal of the course should be to provide students with thorough instruction on writing
appropriate to the discipline, including discussion of writing styles, formats, and forms of
evidence.
 Title of REQUIRED supplementary writing text such as a style manual, research writing
guide, or other sources appropriate to the discipline (this may be a text or online resources,
but must be listed in the course syllabus as required):
 THEY SAY, I SAY
 The course should review documentation and other aspects of research writing appropriate to
the discipline. In conjunction with utilizing the above text/resource listed in number one
above, how does the course meet these goals?:
 Utilizing Art Education Journal Articles and Studies in Art Education, both
publiations of Art Education Specific research, students will create a research proposal
with a complete literature review
 The course should require a total of 4,000 or more words (16 pages typed, assuming 250
words to a typed page) to be written by students. How many typed pages are written in this
course?
 Blog posts, visualizations of information, a presentation of the research proposal as
INTENSIVE well as the completed proposal will meet or exceed the number of words required.
WRITING  The number and length of individual assignments is left to the discretion of the instructor, but
DESIGNATOR – the use of multiple in-class and out-of-class writing assignments is encouraged. Explain both
ATTRIBUTE the writing assignments in the course and also the instructional techniques used to teach
EXPECTATIONS writing skills in these assignments.
 SEE home website for the complete list.
 Responses to papers should include detailed written comments by the instructor with specific
suggestions for improvement. Additionally, a peer review process is encouraged in writing
intensive courses. Please discuss methods of feedback and grading in this proposed course.
 SEE home website for the complete list.
 There should be a required revision of at least one substantive assignment for assessment by
the instructor. Please discuss the role of revision in the course.
 Revision and editing happen in real-time as well as in the feedback/feedforward
frameworks. Peer and instructor feedback will be given throughout the writing
sessions which occur on Wednesdays of the course week.
 The course should promote discussion, possibly in coordination with library workshops, of
library research techniques and/or electronic database research techniques appropriate to the
discipline. How does this course teach research techniques?
 With the assistance of the library specialist for Art Education and the search for a
literature review sources, students learn how to distill information through Sq3R and 2
different ways to capture information without plagiarizing.
 Enrollment must be capped at 20 students.
Assignment/ Project/ Exam
Assessment/Due Date Grade Weight
Title + Brief Description
Visual Artifacts  Studio Assignments 25%
 Lesson planning
 Teaching Artifacts
 Studio Exemplars
 Artist Journal

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 Readings & Written
Assignments and
25%
Verbal Artifacts Discussions
 Blog Reflections

 Attendance
 Preparedness
Participation 25%
 Presence
 Collaboration
 Blog entries
 Respect
 Communication
10%
Professionalism  Timeliness
 Dispositions

 Comprehensive Reflection
Website and Artist’s
Final
 Journal 15%
 Interview

A 92-100 Designates work of superior quality – Beyond expectations.

A- 90-91
B+ 88-89 Designates work of high quality.
B 82-87
B- 80-81
GRADING SYSTEM C+ 78-79 Work minimally meets the course requirements.
C 72-77
C- 70-71
D 61-69 Reflects minimal comprehension or performance
F 0-59 Unsatisfactory Performance

Students are expected to attend classes and should understand that they are responsible for the
academic consequences of absence. The student is responsible for all requirements of the course
regardless of absences. Students are expected to make every effort to attend class and departmental
activities and events.

Unexcused absences may affect the final grade at the discretion of the instructor—three unexcused
absences may result in course failure for classes that meet two or three times per week, and two
unexcused absences may result in course failure for classes that meet once per week. Attending class
without the materials necessary to execute the work, or not participating (sitting out), may count as an
absence. Arriving more than 10 minutes late or leaving class early may result in being marked absent at
the discretion of the instructor. Departments may establish different attendance requirements for
courses within these limitations. The following policy will be in effect unless the instructor specifies
otherwise: if a student’s absences in a course total 25 percent or more of the class meetings for the
course, the student will receive a grade of N if the student withdraws from the course before the
CVPA withdrawal deadline; after that date, unless warranted by documented extenuating circumstances as
ATTENDANCE described in the previous section, a grade of F or U shall be assigned.
POLICY
Excused absences: Instructors are obligated to provide makeup opportunities only for students
who are absent with adequate cause such as incapacitating illness, death of an immediate family
member, observance of religious holidays, or authorized representation of the university. The
student is responsible for providing documentation certifying the legitimacy of the absence to his or
her instructor in advance of such absences. In health-related or family emergency cases where advance
notice is not possible, documentation should be provided to the instructor no later than the date the
student returns to class. Attendance at a counseling/medical appointment is not by itself a justifiable
reason for class absence. If the instructor denies the adequacy of cause, then the student can appeal the
denial to the Provost/Vice President for Academic Affairs, who will judge the adequacy of cause, and
if found to be adequate, will require the instructor to provide a make-up opportunity. Students who
have an unforeseen emergency such as family death, inpatient hospitalization, or other unexpected
event that will prevent them from attending several class meetings should consult with an academic
advisor to discuss the withdrawal and medical withdrawal criteria and process.

COVID-RELATED Students should contact Health Services regarding a positive test, close contact, or enhanced COVID-
ABSENCE like symptoms. Any student who has either tested positive, has COVID-like symptoms, or has close
contact with someone who has COVID, must contact Health Services. Students should log in to the

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Patient Portal to schedule a TELEPHONE TRIAGE Appointment w/ COVID as the reason and upload
the positive test result if applicable. Health Services will communicate with the student on what steps
to take next, and if need be, the Dean of Students Office will get absence verification for required
isolation and quarantine. Students who verify their absences through the Dean of Students Office often
minimize any academic impact caused by missed class time. Health Services will only provide dates of
absence, not medical information. Please note, residential students who test positive should also follow
their personal COVID Quarantine and Isolation Plan.

Winthrop University is committed to providing accessible learning experiences and equal access to
education for all students. The syllabus is available in alternate formats upon request. If you are a
student with a disability (including mental health concerns, chronic or temporary medical conditions,
ACCESSIBILITY learning disabilities, etc.) and you anticipate or experience academic barriers due to the condition,
please contact The Office of Accessibility (OA) for information on accommodations, registration, and
procedures. After receiving approval for accommodations through OA, please make arrangements with
me as soon as possible to discuss your accommodations so that they may be implemented in a timely
manner. OA contact information: [email protected] ; 803-323-3290; 307 Bancroft Hall
Annex.
As noted in the Student Conduct Code: “Responsibility for good conduct rests with students as adult
STUDENT CODE OF individuals.” The policy on student academic misconduct is outlined in the “Student Conduct Code
Academic Misconduct Policy” in the online Student Handbook.
CONDUCT
(http://www2.winthrop.edu/studentaffairs/handbook/StudentHandbook.pdf).

With the availability of hardware and software enabling audio and video capturing of material,
lectures, courses, etc., and the use of social media, it is essential to be mindful of the following policies
and considerations:

 Faculty and students need a safe space in which to discuss topics that can be difficult due to
differing experiences and points of view. Students and faculty must agree that course
discussions in any format are safe from the fear of being posted or shared with individuals
outside of the course section.
CONFIDENTIALITY  No recordings of any format (audio and/or video) may be captured without direct
OF COURSE permission from the instructor.
DISCUSSION  Recordings, even those approved by the instructor, may not be posted to any internet
STATEMENT hosted location, copied/duplicated, or shared with others.
 Any approved recording is to be used as a learning resource only by the students in the
specific section.
 At the end of the semester, any and all personal copies of recordings must be destroyed
(deleted and removed from trash) from either university-provided storage resources or
student-owned storage devices.
 Faculty should notify students prior to recording any in person or online class sessions,
and allow students to disable video feed if desired

The College of Visual and Performing Arts is committed to providing a learning environment that is
inclusive and respectful of diverse communities. As creators, we have the power to raise awareness,
create meaningful change, and impact social justice—empowering students to become informed,
responsible citizens. We are dedicated to being a community of creatives who promote and advance
DIVERSITY, students independent of gender identity, race, ethnicity, national origin, religious affiliation, sexual
EQUITY, AND orientation, socioeconomic background, political beliefs, age, and other social identities and life
INCLUSION experiences. The ArtsWinthrop community encourages and appreciates expressions of different ideas,
opinions, and beliefs. Listening to and respecting individual differences is critical in transforming a
collection of diverse individuals into an inclusive, collaborative, and creative learning community,
where we take responsibility for our actions and treat everyone with dignity.

In case of an emergency: Call Campus Police 803-323-3333

HEALTH AND
SAFETY  First Aid Kits are located by the entry door in the RUT 126 studio.
 A link to Fine Arts Handbook http://www.winthrop.edu/cvpa/FINEARTS/default.aspx?
id=24784 including Health and Safety Manual and Student Handbook.

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ChatGPT and Artificial Intelligence (AI) Policy The field of Learning Design and Technology
embraces the responsible use of Artificial Intelligence (AI) to help us improve human learning and
performance. There are AI tools to create custom images and background music for multimedia
projects. There are also AI tools that can create written responses to specific questions. As AI improves
it may help us do our jobs better and more efficiently.

In this class it is required that you disclose the use of AI tools in the production of materials and
any class assignments.
ARTIFICIAL
INTELLIGENCE (AI)
In this class, all written course requirements including but not limited to discussion board posts, test
questions, papers, and projects are to be written by you.

The use of any AI tools in the production of written materials in this class will be considered an
issue of Academic Dishonesty.

The exception is speech to text software which, as we know, is AI. You can voice type your materials,
but the ideas must be your own.

Students will have the opportunity to evaluate this course at the end of the semester. Course
STUDENT COURSE
evaluations serve to celebrate the course and to identify potential areas that require growth. Students
EVALUATION
are asked to complete these surveys with honesty and grace in a manner that is professional,
supportive, and constructive.

The syllabus can be changed by the professor throughout the semester with advanced notice. Students
SYLLABUS
will be notified of changes to the calendar and any other changes.
CHANGE POLICY
***** Movements, and adjustments to the interactive timeline on the website are ongoing*****

TENTATIVE COURSE CALENDAR/ SCHEDULE, INCLUDING FINAL EXAM DATE

PROVISIONAL Secondary Art Education Strategic Plan:

Week and Artist Teacher (Methods) Writer/Researcher Notes
Date: (Studio) Curriculum
Development

1 Visual Mural Introduction to Visual Discussion about Introduced

1.8 Culture Communication (Art One) writing, Mural Mile
1.10 Art academic writing, Artist Journal
(Cancelle Education academic Assignment
d) reading, and the role 1.8
of research in art
education

2 Visual Color Wheel Develop 1st Quarter (Art What ____ you
1.15 Culture One) as a thinker?
1.17 Art Artist?
Education Teacher?

3 Personal Color Develop 2nd Quarter (Art Reading Academic

1.22 Story and One) Writing
1.24 Value as a Introduction to
Micro Gallery “Studies in Art
Education”

Editing, Aligning and Reading Research in

Refining (Art One) Art
Education
Studio Thinking 3 *Unflattening”

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4 Grading Comics- Scott Introduce Contemporary Finding a question -
1.29 McCloud - 2D Media - Vis Lit/Vis Narrowing a
1.31 Panels Culture Question
in Black
and White Develop 1st
Quarter (Contemporary
2D Media - Vis Lit/Vis
Culture)

Develop 2nd
Quarter (Contemporary 2D
Media - Vis Lit/Vis Culture)

Studio Thinking 3

Editing, Aligning and Finding sources

Refining (Contemporary 2D
Media - Vis Lit/Vis Culture)

Studio Thinking 3

5 Drawing on Introduce Illustration & “They Say, I Say”

2.5 the Rendering
2.7 Right Side
of the Brain Studio Thinking 3

% Fill and Develop Semester “They Say, I Say” &

Environments Sequence Editing, Being
Aligning and Refining “Choosey” with
(Illustration & Sources
Rendering)

Studio Thinking 3

Week Artist (Studio) Teacher (Methods) Writer/Researcher

Curriculum
Development

666 *Catch Up Slide Challenge Placement Prep Draft Writing

2.12 and
2.14 Continue
CLASS

7 Midterm Pre Research Methods

2.19 p
2.21 Practice Theory

8 Midterm - Midterm - 2/26 Midterm - 2/26 Aligning Method and

2.26 2/26 Question
2.28
Practice Theory

9 **NASAD ***CLINICAL - 3 or More Aligning Method and

3.4 WEEK*** Placement Hours @ High Question
3.6 School or Middle School
Art Room*** Practice Theory

10 ***CLINICAL - 3 or More Proposal Structure

3.11 Placement Hours @ High
3.13 School or Middle School Practice Theory

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Art Room***

11 ***CLINICAL - 3 or More Proposal Outline

3.18 Placement Hours @ High Workshop
3.20 School or Middle School
Art Room***

12 ***CLINICAL - 3 or More Proposal Writing

3.25 Placement Hours @ High Workshop
3.27 School or Middle School
Art Room***

13 NO ***CLINICAL - 3 or More Proposal

4.1 CLASS Placement Hours @ High
4.3 School or Middle School Writing
Grading Art Room***
Workshop

Proposal

Editing

Practice

Theory

14 Layers/ Essence/ One Page Portfolio Proposal Editing

4.8 Reliquary/ Artist Teacher Interview
4.10 Throwing/ Bust in Plan/ Outline
Clay

Proposal
Presentations

15 Artist Teacher Interview Proposal

4.15 Plan/ Outline Presentations
4.17

16 Artist Teacher Interview

4.22 Plan/ Outline
4.23 –
STUD
Y DAY

April FINAL Conduct Artist

30th Teacher Interview
@
11:30
AM

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ART EDUCATION
PROGRAM
CURRICULUM MAP
 Before Teacher After TeacherARTE548
Ed Research Designator LivekFirst
Courses Completed Concurrently Courses Completed WU – Art Education
Ed Admission Admission Graduate Intensive Writing Semester of Fourth Year (Fall of Concurrently Second Semester
Context for Student: Sophomore Level Content Designator Senior Year) of Fourth Year (Spring of
Portfolio Review Senior Year) edTPA Handbook
HERE
is completed
concurrently

STUDENT ARTE 348 ARTE 528 ARTE 548 ARTE EDCO 401 EDCO 402 ARTE 393
Learning 391/550
Outcomes Intro to Art Ed Found.& Secondary Internship I Internship II Senior
ARTED Elementary Curriculum Art Princip. Teach. Capstone
Sophomore meth. Ed Art

SLO 1: Students will model both 1 2 3 3 3 3 3

traditional processes and newer
technical. Blog Rubric Websites EdTPA
developments in creating art, SPR
documenting art, and creating art
education curriculum.

SLO 2: Students will apply 1 2 3 3 3 3 3

historical and contemporary
perspectives of art and design to Research Proposal Capstone
art education.

SLO 3: Students will synthesize 1 2 2 3 3 3 3

learning experiences that
demonstrate preparation for K12 art Praxis Content Exit Interview EdTPA
education certification. score in Teacher
Formulate and compile a Education
satisfactory preparation for art Application
education certification K12.

SLO 4: Students will create 1 2 2 3 3 3 3

connections between Art Education
in practice and the expectations of Curriculum Contextualized Exit Interview EdTPA
the Visual Arts edTPA (external Document Peer Scope &
evaluation for certification). Review Sequence

SLO 5: Students will model the 1 2 3 3 3

benefit of arts education and arts
programs to colleagues, Field Experience ADEPT Art Ed
administrators, and parents. Rubric FINAL
Evaluations

SLO 6: Students will exhibit 1 2 3 3

personal and professional qualities
appropriate to an art educator. Dispositions Evaluation
Self Internship 2
Evaluation

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 ARTE548 Livek WU – Art Education
1 = Outcome Introduced – Students experience initial or early exposure to to utcome(knowledge/skill/value/attitude).
2 = Outcome Emphasized – Students experience secondary exposure to the outcome (knowledge/skill/value/attitude), which is the focus of the course.
3 = Outcome Reinforced – Students experience a tertiary exposure to the outcome (knowledge/skill/value/attitude), with the course

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BLOG EXEMPLAR:

BLOGGING TIPS:
1. Write to your future self. Do this for you.
2. Incorporate the question that I asked you to answer or the
question that you asked yourself into the writing. This will
help the future you understand where the thinking is coming
from.
3. Don’t allow the photo to do all the talking. Explain your
image so that your future self knows what you were thinking,
what you did, and why you did it. You might think you will
remember everything, but you have a long and beautiful life
ahead of you.
4. Take and use good photos. Adjust the photo if needed.
5. Go into the settings of your website and design the formatting
of your blog in a way that made the most sense to you and
your potential viewers.
a. Weebly – Dashboard – Settings – Blog
6. Be honest. Be frank. Its okay to agree, or to disagree – but do
so with an essence of respect.
 ARTE548 Livek WU – Art Education
7. Hide your blog page from search engines. Allow your blog to
be your space for initial thinking for a while. When you are
ready to allow for an audience, then make it searchable.

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 FRAMEWORKS, TIPS, and IDEAS
about READING AND WRITING in
ART EDUCATION COURSES:
-FROM: https://writersworkshop.illinois.edu/resources-2/writer-resources/
academic-writing/college-level-academic-writing-expectations-2/

Language and literacy development is a process that takes time and practice, involves
adapting to new contexts, and is individualized and nonlinear. Literacy skills—speaking,
listening, reading, and writing—may develop at different rates.

All students encounter challenges as they acquire advanced academic literacy proficiency
due to its complexity and contextual variation. While academic discourse shifts across
disciplinary contexts, there are some generalizable features to U.S. academic writing.

Academic Writing in the United States: Writer-Responsible Text

Most academic writing in the United States demonstrates features of writer-responsible texts
(Hinds, 1987). In writer-responsible texts, the writer takes on responsibility for clearly and
concisely conveying ideas to a reader: readers expect writers to do the heavy-lifting. As
such, writer-responsible text should demonstrate the following three qualities:
 Unity: all elements of the text contribute to communicating a central idea
 Coherence: all elements of the text are linked and follow a recognizable organizational
pattern (e.g., general information to specific, cause to effect, question to answer)
 Emphasis: the main points of a text are adequately developed and organized according to
their importance.
Techniques in order to demonstrate unity, coherence, and emphasis include:
 Signposting: language that guides the reader through the text (e.g., topic sentences,
transition phrases)
 Forecasting: pointing the reader in the direction of the writer’s argument (e.g., a
summative thesis statement)
 Claim-first: the writer’s argument is placed near the beginning of paragraphs,
sections, and/or chapters.
 Known-new contract: the writer consistently begins with ideas that the reader is
familiar with in order to lead them to the next point (e.g., a topic sentence will
include a known idea that refers back to a previous idea before introducing new
information later in the paragraph)
 Novelty moves/CARS: the meta-conversation around a piece of writing in which
the author situates his/her/their project within a larger academic conversation and
clearly articulates what interventions the writer’s project is making in the field.

EXAMPLE OF Artificial Intellegence Usage, Labelling, and Levelling:

 ARTE548 Livek WU – Art Education

DRAFT/ORIGINAL POST:
The Eight Net Gen Norms
Tapscott_GUD_2009_Chapter3.pdf (ontariotechu.ca)
The net gen norm that reminded me most of myself and friends would be integrity.
I think I am very particular about what content I am consuming. As the article talks about, my
generation is exposed to a lot of information; therefore, we have to constantly be checking the
integrity of what we are reading about or what companies we are supporting. In my life, I once
followed a couple, Dave and Rachel Hollis, on Instagram. They are motivation speakers and fitness
gurus. I started buying their books, listening to their morning show, Rachel's podcasts, etc. Then,
they took to Instagram to announce their divorce. Now I understand that in some situations the
marriage just cannot continue; however, this was a couple who held conferences about how to have
a healthy marriage, while their own marriage was falling apart. So, I unfollowed them because they
were taking people's money to go to these conferences to hear them speak advice that they could
CHATGPT Prompt:
not take themselves. This opened my eyes to the importance of who I follow and to allow check on
the integrity of companies that I am buying or consuming content from. This norm will be folded
Take the following excerpt,
into my practice as an artist and an art teacher by checking on the companies that I buy supplies "The net gen norm that reminded me most of myself and friends would be
from. Is the company family owned? integrity.
Do theyI think
create I am veryin
jobs particular
the US? about
Are what
thecontent I am consuming.
materials As the article talks about, my generation is exposed to a lot of
sustainable?
information; therefore, we have to constantly be checking the integrity of what we are reading about or what companies we are supporting. In
Do they treat
my life,their
I onceemployees fairly,Dave
followed a couple, etc.and Rachel Hollis, on Instagram. They are motivation speakers and fitness gurus. I started buying their
If I were to add to the eight Net Gen norms, I would
books, listening thatmorning
to their we areshow, bold.Rachel's
As the authoretc.
podcasts, talked
Then, about into Instagram to announce their divorce. Now I understand that in
they took
the article about the guy with Tourette's
somewho stood
situations theup in thejust
marriage class to continue;
cannot notify everyone.
however, thisI was
would saywho held conferences about how to have a healthy marriage,
a couple
while their own marriage was falling apart. So, I unfollowed them because they were taking people's money to go to these conferences to hear
that our generation has not only integrity, but boldness. We are bold to share what we believe in, or
them speak advice that they could not take themselves. This opened my eyes to the importance of who I follow and to allow check on the
what we disagree with. I also see this integrity
boldness in the little
of companies that Ithings, like
am buying or our generation
consuming content does not norm
from. This carewill be folded into my practice as an artist and an art teacher by
what is popular,checking
but what is comfortable
on the companies that Iand practical.
buy supplies from. Is the company family owned? Do they create jobs in the US? Are the materials
sustainable? Do they treat their employees fairly, etc.
If I were to add to the eight Net Gen norms, I would that we are bold. As the author talked about in the article about the guy with Tourette's who
stood up in the class to notify everyone. I would say that our generation has not only integrity, but boldness. We are bold to share what we
believe in, or what we disagree with. I also see this boldness in the little things, like our generation does not care what is popular, but what is

comfortable and practical." and refine it for content, grammar, and flow.
OUTPUT:
Certainly, I can help refine and improve the excerpt for content, grammar, and flow:

"The Net Gen norm that resonates with me and my friends the most is integrity. I am very particular about the content I
consume. As the article discusses, our generation is exposed to a vast amount of information, so we constantly need to check
the integrity of what we read and the companies we support.

In my personal experience, I once followed a couple, Dave and Rachel Hollis, on Instagram. They were motivational speakers
and fitness gurus, and I started buying their books and listening to their morning show and podcasts. However, when they
announced their divorce on Instagram, it made me reconsider. Here were people who held conferences about maintaining a
healthy marriage, yet their own marriage was falling apart. This made me unfollow them because it felt like they were taking
people's money to provide advice they couldn't follow themselves. This experience highlighted the importance of being
discerning about who I follow and checking the integrity of the companies I support.

I plan to incorporate this norm into my practice as an artist and art teacher. This means being mindful of the companies I buy
art supplies from. Are they family-owned? Do they create jobs in the US? Are their materials sustainable? Do they treat their
employees fairly, among other considerations?

If I were to propose an addition to the eight Net Gen norms, I would suggest that we are also bold. As mentioned in the article
about the individual with Tourette's who bravely stood up in class, our generation not only values integrity but also
demonstrates boldness. We are unafraid to share our beliefs and express our disagreements. This boldness extends to our
choices; we prioritize comfort and practicality over mere popularity."

AI.a. – AI assisted. How would you designate

For example – AI helped with streamlining some thinking for pre-writing, AI assisted
with final editing or grammar, or generated a sample of pantone colors from a it?
photograph.

AI.g. – AI generated.
For example – AI created the entire writing or image from a question or query that was How would you level it?
input by the user

AI.o. – AI originated.
For example – User tasks AI with generating a program or code that will then generate
an outcome. For instance – user asks AI to create a program that will generate
Designate and Level
Method and Content 1 = minimal assistance.
Created by: Michelle Less than 10% of the assignment or outcome was AI influenced.
Aaron Livek Garner,
2024
2 = moderate assistance.
Approximately 50% of the assignment or outcome was AI influenced.
3 = significant assistance.
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ARTE 548