Dan China - Art Education

New Address

2011-02-28T09:09:00.000Z

I have transferred the content and updated this blog in order to use 'Wordpress'. . Here is the new link

Because the barbarians are coming today.

2011-02-09T16:55:00.004Z

This afternoon, while grazing lessons across a school recently judged to be 'Outstanding' I came across a Yr 7 English class where students were reciting, or declaiming, the poem by C. P. Cavafy 'Waiting for the Barbarians'. They knew the words and the rythmns and responses were confidently passed from side to side across the room. I saw much else that was inspiring but this will remain with me longest because of the quiet assured confidence of the teaching and the easy seriousness of these young students.

Well done Highcrest and I did look up and read the poem again: so thanks for that.

Contributing to the new curriculum debate

2011-01-30T11:11:00.000Z

The National Curriculum Review is up and running. It should be an interesting ride, especially for art teachers. The good news is that all those on the 'Experts Group' have spoken publicly about the need for a broad and balanced curriculum.
If you would like to contribute to the evidence which will be used to inform the review you can do this on the Department for Education website. I think you should.

Teaching is...

2011-01-06T11:16:00.002Z

I spent the morning looking at and discussing assessment and APP with colleagues. I heard a wonderful quote from Christine which she remembered hearing years ago from an experienced headteacher. 'Teaching is just about finding out what children don't know - and then teaching it.' In a nutshell?

A 'virtual gallery' to support art and other things

2011-01-04T10:51:00.002Z

Last year I was involved in an advisory capacity with a new publication for art and design teachers in Key Stages 1 and 2. I think this is an excellent resource containing programmes of study for each year and covering all the major disciplines including drawing and IT. I would recoemmend it for all art subject co-ordinators as it contains practical carefully sequenced programmes which illuminate skills and good practice in the subject.

The publication includes a CD with really good resources for teachers including a large number of visual images and references that can be used to support the work. But I really like the software to create a virtual gallery that is also included, almost as an afterthought. It allows teachers and children to create a virtual gallery using their own pictures. The programme allows you to walk round the gallery and it also has a feature that enables a catalogue to be printed. This means that children (classes) can curate and share their galleries. It gets even more interesting when you stop thinking of it as an art gallery and start to think how it can be used in other contexts where children can construct a learning environment for themselves or other children.

The publication is called Art Express and details are here www.acblack/artexpress.com. I have been playing about with the gallery and here is an example of what it looks like.

Briefing Note December 2010

2010-12-20T10:36:00.002Z

Dear Colleagues,

Just a brief note to wish everyone well and to hope you have a good Christmas break after what seems to be an interminably long and fraught term. It seems that next year will herald change on a variety of fronts although it is still difficult to tell where it will all end up. I have been very busy this term and have not really had time to write much about art education and the changes - perhaps I will catch up over the break. But the possible demise of 'Specialism' as a force for good and the pursuit of the English Baccalaureate which does not include art is perhaps a concern.

I have not had time to read it, so cannot endorse it, but I know that John Steers of the National Society for Education in Art and Design has published a critique of the White Paper. If you are interested the link is http://www.nsead.org/downloads/White_Paper_commentary.pdf

But the good news is that there will continue to be good schools with good teachers working hard in the best interests of their pupils. As always the system works on their good, professional common sense.

Best wishes

Dan

PS I did publish some stuff on assessment earlier, which I think is important earlier this term and this is having an impact in some schools (https://sites.google.com/site/assessmentpapers/)

NSEAD Facebook Forum

2010-10-28T09:30:00.001Z

Just a quick post to note the NSEAD forum on Facebook. It is an open online forum and is regularly serviced by officers of NSEAD so it really does get up to the minute news, references and comments about art education. It is probably worth opening a 'professional' facebook identity to access this as it is a good thing to distinguish between personal and professional facebook profiles. NSEAD is the National Society for Education in Art and Design.

Assessment Papers and Practice

2010-10-27T10:03:00.004Z

Last year QCDA developed exemplar materials to support the assessment of national curriculum levels in KS3 for all foundation subjects. These materials were published in July 2010. They are really helpful on a variety of levels. They provide a much richer illustration of both standards and the nature of the evidence teachers should use to assess their students. Perhaps more importantly these materials illustrate good assessment practice. They clearly move away from the practice of 'levelling' students every month: that is, making constant summative judgements based on limited and incomplete evidence.

The materials were deliberately developed to improve assessment practice and to align practice in foundation subjects with the principles of APP (Assessing Pupil Progress) that were already becoming accepted in core subject assessment. These principles involve breaking down broad summative judgements (levels) into clearly focussed formative assessment of the different aspects of learning that will help students improve. The materials illustrate how teachers should look at distinct aspects of performance and consider the nature of the evidence that shows students' achievement in that aspect. In doing so the materials support that formative assessment dialogue between teacher and student that is at the heart of teaching and learning: good 'Assessment for Learning' in effect.

However, the new adminsistration at the DfE has decided not to publish the guidance and assessment frameworks upon which the exemplar materials were based, despite the fact that both were completed at the same time. This is unfortunate as the one complements and informs the other. Together they provided a very good model of assessment in all the foundation subjects. However, these draft papers can be found here Assessment Papers. and are worth looking at and sharing amongst foundation subject teachers. The site also contains papers to support the use of FFT estimates in target setting - which are again relevant to all foundation subject teachers.

Specialist Schools and Networks

2010-10-24T09:10:00.002Z

Michael Gove has announced changes to the Specialist Schools programme. It seems that schools will no longer need to be designated as a specialist school and that specialism funding will simply be reabsorbed into the overall funding package. Funding for SSAT to support designation will also cease.

While not announcing the abandonment of the principle it is hard to see how 'specialism' can remain as a significant feature of the educational landscape. For instance, a headteacher has told me that it is unlikely that the funding to support the 'family' of other schools will be sustainable. I would also imagine schools will wish to channel resources towards the less successful subject areas rather than the most successful.

It is true that, in many schools, specialist status has led to really significant improvement in the quality of teaching and learning in the subject. This did raise the bar and provided new exemplars, expectations and models of practice. This did spread to other schools - almost virally. However, expectations that specialist schools would become the hub of significant, locally based, subject networks dedicated to innovate and improve have not often been realised. It may be that specialist schools formed regional networks with other specialist schools. But these seemed to be inward looking in the main.

There have been some very good examples of cross-phase working, especially where time was taken to establish personal partnerships between teachers based upon mutual respect. However, sometimes primary teachers have complained of being patronised and ignored. So 'specialism' as a concept has made a difference but may not yet have fulfilled all the potential for system wide improvement.

The announcement that 'specialism' is to be absorbed (and probably abandoned) does make it harder to see how subject communities will be supported. How the next generations of champions will be able to develop and share new ideas and practice is uncertain. This is a shame, especially at a time when nationally prescribed models of practice are being abandoned and teachers will be free to develop their own practice. This should not be done in isolation.

How FFT works (video)

2010-10-20T23:16:00.002Z

The other day I was going to speak about assessment at a conference. However, arrangements became confused and I was unable to get there. So I recorded and uploaded a quick version of part of the presentation to YouTube. It is a short, quick, unpolished recording about the use of FFT data.But it might be useful in conjunction with the assessment paper (Working Paper 1) on the same subject.

True Stories

2010-09-24T20:48:00.001Z

A really interesting day. Most of it was spent with the Latvian Minister for Education. She was in the country for a short visit to explore the work of Creative Partnerships. We visited Chalfont’s Community College and Ashmead School in Aylesbury. Ashmead is a special place it is in the middle of an area social deprivation and provides an island of mystery and imagination for the pupils who go there.

Learning is literally an adventure as children arrive in school to find a car overturned on the field. Later they discover metal objects all over the school: hanging from the ceiling is a drum from a washing machine, for instance. Over the next few days clues are found pieces of paper fall out of the register which when studied can be made into a map. Children begin to discuss and explore these phenomena. They contact the police to report the incident of the car – and the police attend. Gradually the children discover that all this is the work of the Iron Man and they then find and work from the book. I say work but, of course, that is not how the children perceive it. It’s just school and it’s always like this. This term they are discovering junk and rubbish all over the place every morning. They are making dens with it. But I cannot say more because they don’t yet know what is going to happen next.

This is a wonderful example of learning through first hand experience and discovery. These are real investigations for the children and, although carefully managed by teachers, the children can take the story in the direction they want to. Often the story is supplemented by role play and visits by adults in character. So Tinkerbelle and a couple of 'lost boys' (ex pupis) visited last year when they were exploring the story of Peter Pan.

There was also the time when all the children were 'evacuated' while exploring the 2nd World War. But thats another story made real by the teachers at Ashmead School.

Space to learn, Stowe School

2010-09-17T23:53:00.004Z

Today I was priviledged to attend the opening of the new Art School At Stowe. Designed by Rick Mather Associates who have also designed, among others, the new Ashmolean (Oxford), The Dulwich Picture Gallery (London), The Towner Gallery (Eastbourne). This is probably the most extra-ordinary art studio and gallery space to be found in any school.The original 1930s Bauhaus building has been rediscovered and revived creating an interior of articulated white spaces that open up dramatically revealing glimpses through the building and beyond. Students' work is displayed everywhere and in these differently articulated, blindingly white spaces, looks extraordinarily vibrant and exciting. The core of the building opens into a double storey gallery flooded with north light. The natural light is supplemented with state of the art gallery lighting with controlled ceiling light boxes such as that found in the other contemporary, world class, galleries developed by Rick Mather.

In the newly created open space facing the new building stands a major Lynn Chadwick bronze - looks stunning. The building features a new gallery that currently holds a wonderful exhibition of Lynn Chadwick sculptures, studies and photographs: made possible through the family connection with Stowe.

It is true that Stowe is not short of extra-ordinary, world class architecture for teaching in, but for an art teacher (me) this was a good day.

PS Throughout the day staff at Stowe were very keen to make the point that they valued opportunities to work with, and share practice, with other schools and teachers. It will be good to follow this up and I am grateful to Brian (Johnson) for his, invariably hospitable, welcome. In the meantime the Lynn Chadwick Exhibition is on until 11 December of Mondays to Saturdays from 2pm - 6pm by appointment only. Contact Kathy Campbell (Marketing Manager) 0n 01280 818355 or email kcampbell@stowe.co.uk to arrange a viewing.

Endpiece

2010-07-26T21:56:00.002Z

It has been an interesting year, although I suspect the next academic year is going to be even more 'interesting'. In our NAO team (Northern Area Office) we have been wrestling with the LA's programme to revolutionise the ways we work. No more offices but large open plan floors with hot desks. But our team remains cheerful and good natured in the face of change as the video demonstrates. I have been celebrating the work of art teachers recently, perhaps now is a good time to celebrate the work of all my adviser/consultant colleagues they continue to amaze me with their deep understanding of teaching and leadership and their dedication to learning. It is good to be part of this team and I am grateful to them for putting up with my constant droning on about blogs and twitter all term.

New Assessment Guidance for KS3 Art- APP probably

2010-07-26T21:37:00.004Z

QCDA has just published the online exemplification of standards materials. These provide much more than just examples of levels. They provide an illustration of good assessment practice and embrace the principles of good assessment which is at the heart of APP. These materials were prepared quite explicitly to develop assessment practice in line with APP. It is not yet clear whether the government will actually take the next step and make the links explicit in the website. However, this is not particularly relevant because the materials themselves do the work anyway. They refer to the three key areas for assessment which have informed all iterations of assessment criteria for the last 25 years. These are 'Understanding Art, Craft and Design', 'Creating Art Craft and Design' and 'Exploring and Investigating'. The materials illustrate how these can be evaluated and what might constitute evidence. For instance, in what students make, what they do and what they say or write).

What the materials emphatically do NOT do is constantly seek to label students with a level every three days. They unpack how assessment can draw attention to strengths and weaknesses and what students need to do to improve. I have written elsewhere about assessment issues and produced some working papers which can be found on the art pages in Bucks Grid for Learning. I think these QCDA materials are important and they do challenge the practice of constantly 'leveling' students which is too often an exercise in meaningless labeling rather than informed assessment.

For Hannah

2010-07-13T21:35:00.005Z

This was the third event of the day, and its late, but I promised Hannah I would write it up. It was at Pinewood Studios and was the launch of a Create, Compete, Collaborate programme which presented live brief challenges to young people to develop international links and to share, collaborate and embrace the values of the Olympics. It was also an opportunity to see how the new Diplomas can succesfully engage with professional practices and creative professionals, in this case Games Designers from across the world. It was good to join the students who spoke to the large gathering with easy confidence and gracious humour.

Talking later to a games designer/programmer who supported the course I was reminded of a common feature of so many cases where we, in education, have been succesful in drawing down professional practice into classrooms. It is the partnerships between the teacher, the professional and the students which is key. There are always direct and distinct channels of communication between each of the three parties. I have seen it work in the field of graphics, music technology, theatre studies. The key seems to be that the teacher does not try to be the expert and conduit for all expertise, but manages the relationship between the professional and students so that expertise is brought to bear directly where, and when, it is needed.

I have written elsewhere about this games course with an international cast of teachers and designers so won't repeat it here. Indeed although, I would like to write much more about what, I think, are genuinely significant pedagogical breakthroughs in this Diploma course, I am relived to note that I don't have to: because, I will be able to read it in Hannah's MA thesis which she will be writing this summer.

On a final note, one part of the evening was spent in Pinewood's state of the art super-sensory-surroundorama-viewing cinema. I don't really like the cinema these days - its always full of youff eating popcorn loudly and talking. But with the sound vibrating through the seat I have to admit it actually was ...LIKE... OH WOW! AWESOME!

Royal Grammar School - maturity, conviction and contemporary fossils

2010-07-13T16:22:00.007Z

This is the second show today and both are marked by excellent life drawing. Perhaps it is not a coincidence that both schools (Sir William Ramsay and Royal Grammar School) use the Royal Academy 'Life' class. This has been going for many years and never fails to produce superb results. It adds imeasurably to portfolios and self confidence. I don't know if many schools club together to share this resource, but it would certainly be worth it. I understand it is still relatively cheap and the class can accommodate up to 30 students.

This exhibition showed work from all year groups and it was fascinating to see the rigorous consistent thinking and values that have built this course and which ensure that first hand experience, rigorous self reflective enquiry and serious study of serious artists are hard wired into the experience for Yr 7 onwards . Rob (HoD) has been there for many years (I think we shared our first inspection - he as inspected and me as inspector) and there is a deep integrity to the work throughout the school which is a real strength. There is also a very clear commitment to sculpture throughout the programme. This gives rise to Yr 13 istallations and mixed media pieces in which ideas are easily and naturally shaped and presented in 3 dimensions with mature understanding and an ability to resolve technical issues with intelligence and imagination.

The GCSE work shows an emerging individuality and I loved the piece which explored contemporary fossils and a delightful small piece making a space from a book (see video). These are multilayered as well as multimedia pieces.

However, the Yr 13 work is superb. Again experience is tracked back to KS 4 where the process of deep, personal enquiry is first established. This is rooted in direct experience, reinforced through the annual field course where students are imersed in beaches and fields, rocks and trees. It seems that often this expereince leads to a recognition of art as a means to record real first hand experience, feeling and responses. There is a piece which explores ideas of sculpture as small disgarded fragments, each of which has marked key moments and turning points. This is a piece of genuine conviction and is, as a consequence, genuinely moving - it was good to see it and I won't forget it. There are many other extra-ordinary pieces all marked by deep, extended personal enquiry and a fascination with materials. I think this is what makes them really sucessful there is a successful balance, or fusion really, between the idea and the material. It could not be other than it is. Often the journey is intriguing and extensive, for instance, from first hand experience of landscape to a technical piece in which boxes in boxes on gimballs (3 way hinges) respond to air movment (or fans in this case). By way of Fibonacci.

As I said to Rob, the work reminded me of why I wanted to be a teacher, and what I valued when I was a teacher. I recall residential trips always fuelled that year's work and relationships - getting up at 4am to get to the beach - just in time to see the sun rise, brilliant.

This is the last of this year's shows. I really enjoyed all of them. It was good to meet so many colleagues and friends and to share and celebrate their work and success.

New 'Life' at Sir William Ramsay

2010-07-13T15:40:00.003Z

The first screen as you enter the show at Sir William Ramsay (Specialist Art College) displays some of the best student life drawing I think I have ever seen. It was fortunate that I saw show with Richard (HoD) who confirmedthat it was drawn from first hand experience or I would have assumed it was a studious copy of professional drawing.

It was, as always, a large, high quality and interesting show and this year there are signs of new directions for the school. There was some really strong, simple, culpture which got to the heart of the materials being used - the dense heaviness of cement and the light natural rythmn of withies.

Some strong photographs once again confirm the general very noticeable increase in the role of photography. Here it is a mixture of wet and digital photography (tip 1. Good SLR film cameras are very cheap on e-bay)

Textiles work is strong with intriguing stitched drawings and whimsical costumes. It was also good to read extended essays which were simply well written rather than just well decorated. (tip 2 for rusted fabrics wrap material soaked in vinegar in cling film with iron wool and heat. result is fast)

It was interesting to see year 9 students entered for the new short course. As the school entered students for the new specifications it was possible to get a sense of how things may be changing. It was felt that the new time limitations (45 hours) of the externally assessed test together with the new marking scheme does make it more difficult to achieve the higher grades. There may be some issues here for next year. I understand that SWR was one of only 15 schools that entered and assessed the short course using these specifications this year. It may be that this could suggest a change in pedagogy and preparation. Perhaps this is a discussion that should happen next term.

Corridors of Art - Wycombe High School

2010-07-06T18:31:00.007Z

Really glad I came to this show as I haven't been for a couple of years and Mark (Coombe) is moving on this year so it is his last exhibition. It is really impressive, with some brilliant large, loose, figurative painting and drawing. A good mix of styles from still life and portraits to strong issue based pieces exploring identity. This is the first time it has been held in the 6th form studios and the walk from reception to the studio is through corridors full of paintings. These are GCSE works and because the school always displays lots of painting it is a straight forward job to open the school as part of Bucks Open Studios. The stairwell to the studio is full of really big drawing and painting and the scale and quality is hugely impressive (see video).

The actual studio opens out onto the roof and has views over the valley. Highlights of this show, for me, are some of the big paintings especially the portraits there is a loose confidence about these works which is a delight. But I did enjoy a very intense enclosed installation stained with angst and conviction. Some students had developed images and ideas digitally and these were simply displayed on laptops alongside the larger work which was simple and effective. The open laptops fitting in seemlessly with the open sketchbooks in a way which seemed perfectly natural and unassuming.

Once again I find a new AS course in photography presenting some excellent photographs - intelligent, reflective and perceptive. The school has just acquired an A1 colour printer which provides high quality A1 prints. This does make a difference but Mark told me that some large branches of Tesco provide A1 digital prints for about £2.40 (less for bulk orders). In this girls' grammar school this course was done as part of the 'enrichment programme' so the students had fewer taught lessons than a standard AS course.

Mark does a lot of examining and it was interesting to discuss the implications of the changes that are coming down the line. We talked of the fact that, these days, as most students use canvas and oil or acrylic, the quality of painting is infinitely better than it was only a few years ago when canvas was uncommon and redimix and paper was the norm. We also noted the possibility that with the development of a new reduced curriculum, the possible loss of QCDA, BECTA, Levels, SIPs, TAs, Advisers, CPD and Uncle Tom Cobbly, it will be exams and examiners that will have to guard the flame and preserve what is important. Well that may not be such a bad thing - its where I came in.

It was good to meet the new Head of Art and I will look forward to next year's show at Wycombe High School with interest.

Just Playing

2010-07-06T11:25:00.006Z

We all talk about creativity and how important it is. But, how often do we really, actively, promote, model and provoke it? How often do we, or students, take risks? How often do we just play? This is just to note one such occassion where a group of creative practitioners and some KS3 students spent a day in a blacked out drama studio to find out what they could do with the space using objects, light, sound, film, animation and whatever came to mind. The video just captures a few moments towards the end of the day but it gives a flavour of the piece - reminded me of a Soft Machine gig of the 1960s, but no one else was old enough to know what I was talking about.
Chalfonts Community College are funded through Creative Partnerships as a 'Change School'. They have found space in their timetable each term for all KS3 students to spend two days working with creative partners to develop familiarity and skills using new technologies - sound, animation, film, photography and collage. This event brought all the creative partners back into school for a final day in which they and the children were given the opportunity to make/do something using the space. It was in effect simply giving permission to play. I guess one interesting question might be, who, was giving, who, permission to play - teachers, students or practitioners?

Brit Art at the RCA

2010-06-28T18:36:00.006Z

I went to the Royal College of Art show this weekend - continuing the theme of visiting student shows. I was particularly interested in animation because of the student animations I had seen earlier in the week. These were indeed interesting with many hand drawn animations with a delightfully delicate and subtle use of line. A significant difference between these and some of the A Level animations seems to be in the extended and more abstracted narrative of these RCA animations. Curiously only two RCA students explored the notion of projection into, or onto, other things leaving the rest just presenting via rectangular projections on screens. I am always intrigued by the synergy of projected video into unusual and unexpected situations and am surprised there was not more of this.

I thought it could be interesting to draw down animators of this quality into school as animators in residence. The equipment and techniques are available in schools, and students are already using them with confidence. Unfortunately neither the RCA or the students had a web prescence which showed work. Most students had websites under construction. So it is hard to recommend contacts. By the time this is read this may have been remedied - check RCA website.

In the Battersea galleries sculpture was usually big or heavy. There were two which I found interesting. However, most of it seemed to have the surly charmlessness of adolescent boys' displaying their underpants. An RCA twitterfeed at midday had breathlessly announced that Charles Saatchi had visited the show that morning. Saatchification was indeed fairly endemic as questions of 'what is art and form?' were once again rehearsed, but rather pedantically, and without the elegance and wit that characterised the same debate in the last century from Duchamp to Damian Hirst, via Carl Andre. Brit Art did seem to have lost its sense of humour. A Levels were more fun.

Shakespeare and Summer at Holmer Green

2010-06-24T22:59:00.005Z

This year there seems to be a real increase in photography and much of it high quality photography at that. Several schools have entered for the first time this year and are talking about increased numbers opting for it next year. At Holmer Green it was interesting to talk about ideas to offer photography and graphics next year. We noted that this blog/record of school exhibitions should be helpful in identifying those schools with useful expertise and experience - Waddesdon for graphics was one of the things we discussed. I really enjoyed the delightful seasonal booklet of photographs 'Summer's lease hath all too short a date'. Its in the video and shows really intelligent picture taking. It is noticeable that, for all the photographs seen, very few have just relied on Photoshop filters for effect. The work is usually rooted in good, perceptive picture taking: although photoshop is used to crop and enhance, of course.

Other intriguing pieces at Holmer Green were the sets of three or four very small canvases presented as a sequence of repeating icons. These miniatures are, quietly, effective and provide a really simple comentary on the work of other artists such as Julian Opie.

Sketchbooks and research projects continue to impress with the levels of knowledege and understanding of art and artists acquired by students at both GCSE and A Level. It is interesting to note the now common practice of using digital photographs as the research tool of choice for many. There can be very few sketchbooks these days which do not include digital photographs which form the basis of much recording and reflection by students.

It was also good to be able to talk to the headteacher wwho was at the exhibition. Mr Jones was there for a long time and clearly made a point of talking to students and their parents celebrating their success. His enthusiasm as always was palpable. You can't help noticing that when senior leaders attend it does make a difference and that it doesn't always happen.

DIY Ofsted: New Guidance for Subject Reviews

2010-06-22T19:26:00.001Z

On June 9 2010 Ofsted published draft guidance to be used on 'Subject Survey Visits'. These are subject visits by specialist Ofsted inspectors. The outcome is a letter containing the findings and judgements of the inspector. This letter is published on the Ofsted website. Such visits contain judgements about the subject in terms of:

* achievement;
* quality of teaching;
* quality of curriculum;
* effectiveness of leadership and management;
* overall effectiveness in the subject.

This draft guidance provides details of the subject specific criteria and grade descriptors that inspectors will use. Guidance is provided for all subjects. The value of this is that it provides a very useful template for schools and departments to use in their own self evaluation. Many schools now have a cycle of departmental reviews. This guidance will be useful to co-ordinate practice and to align judgements from subject to subject and with the broader Ofsted, SEF criteria. You can access the art guidance directly from this Ofsted site www.ofsted.gov.uk/publications/20100015. You should note that this guidance is in draft only and is part of a consultation programme. If you would like to comment reply to subjectdescriptorssummer10@ofsted.gov.uk by 31 July 2010.

It is expected that the final guidance will be published in October 2010.

Supremely confident at Stowe

2010-06-20T07:22:00.002Z

I was lucky to get access to this A Level exhibition at Stowe School on Saturday morning, but, of course, these students and their teachers work on Saturdays, as well as the rest of the week. The work is extraordinarily sophisticated showing a real depth of understanding about the work of artists which underpins students' own personal enquiry and research. This is working within a genre, but not 'working in the style of'. A key feature of all of the work here was the overwhelming quality and maturity of the painting. It was really exciting to see so many large beautifully painted canvasses. They were painted with a reflective, self confident, fluidity which shows familiarity with good quality materials and with studio practice. But it was not all painting, I also found a second set of installations and the first prints I have seen in any of the shows visited so far.
A particulaly striking set of work was to be seen in the huge charcoal drawings done for AS Level. The investment in rolls of 'double elephant' paper certainly pays off. The energy and scale of this work in year 12 must be important in underwriting the subsequent work and practice of students. The exhibition takes place in the school 6th form art studio's with each student having their own bay to display their work.

Contemporary, and fine, art at the Royal Latin School

2010-06-18T22:54:00.004Z

Spotted my first two 100% unadulterated installations this evening at the Royal Latin (see video). Both presented an enagaging and complex narrative and showed a confident understanding of contemporary practice they also smelled interesting (cigarrette butts and old wood and leaves). One, a shed (coffin?) made of doors, was evocative, thought provoking and really impressive.

In the next room contemporary practice was balanced by studies from Caravagio and a Zeotrope (first created in China around 180 AD by the prolific inventor Ting Huan ). Then just balanced on a window frame was a tiny painting of a fragment or fragment of a painting which was a delight.

Talking to the headteacher (who had come to see the exhibition) we discussed house styles. It seems to me that this is less of a feature in many of the exhibitions I have seen this year. Indeed there are many similarities between schools. The large portrait is rather commonplace and most exhibitions seem to have some of these. Some schools do, of course, have particular strengths which successive generations of students do respond to. But there is little evidence of excessive teacher direction, or of work drawn exclusively from a narrow range of genres, or school of artists. One strength of the Royal Latin has been in the use of wire to define space. This year there is a delightful wire and butterfly piece (see video). Other sculpture invited you to lie down under a table to look at the stars.

This is serious and thoughtful work developed from the study of a wide range of artists ancient and modern. Students are also prepared to take risks. But they pay off. So it was good to hear about a student who I remember had made an wonderful sculpture - a ballet dress exhibited at MAD in 2007 - had just succeeded in getting a placement with Vivienne Westwood.

Royal Latin Grammar School from Dan China on Vimeo.

Chalfonts all singing and dancing and thinking

2010-06-17T18:17:00.006Z

I've written alot about the digital work at Chalfonts before (for instance see Joe Benson's work). But it is really interesting to see how much more powerful some of these films are when projected onto a big screen (soft canvas with a nice texture) with a good sound system rather than on a small monitor.

But the fine art work reminds me again of the way this department requires students to take risks and to think deeply about their work. I was talking to Greg about a student's work, noting her references to Vygotski and identity, while looking at her sketchbook page with drawings and photos of her father shaving his legs in the shower. This work really was deeply inquisitive about identity and explored sexual identity with an honest frankness. Elsewhere are some big mournful self portraits as well, but these are moderated by other portraits with jaunty references to self identity and gender stereotyping.

Another characteristic of work in this school is the way that they translate special studies into quirky imaginative pieces - a scroll rolled up, sealed and placed in a high heeled shoe is one. The special study about graffitti is produced as the labels for spray cans with the different colour cans becoming different chapters. But there are more - boxes and artefacts showing curiousity, imagination and humour.

As I write this discretely at the back of the gallery, the teachers and students are giving out prizes and certificates - everyone gets a prize. Its a real celebration and it is good to be here.

A Level Art EXHIBITION 2010

A small exhibition at John Colet

2010-06-17T16:39:00.004Z

A small exhibition, not because of the quantity and scale of the work, but because it all had to be exhibited in a small art room. Building works made space a premium in the school so no other suitable space was available. But art teachers do make do. So desktop screens were made and painted and work was mounted cheerfully.

It was interesting to be at the start of something and to meet the first student in the school to do photography. She had made a fascinating photograph of the London Eye - part photograph, part sculpture. I understand that next year there will be many more students opting for photography. So it will be interesting to see that grow, although the department is wrestling with ways to resource it. A couple of old, small computers and Photoshop Elements may not be sufficient, and a teacher's personal laptop will only go so far. Despite the narrow confines of the exhibition, I did enjoy some fine painting and research books, especially a page devoted to Frank Auerbach.

Talking of the study of art I wonder if the success of the Tate Modern is in any way a consequence of the fact that the national curriculum has brought in the study of art and artists at every age, and all children now leave school knowing what art is and something about what an artist does. Study at 6th form level, as shown here, increasingly provides evidence of a rich understanding of the role of art and artists in our society. I do hope the deconstructing of the curriculum does not undo this.

A large exhibition at John Hampden

2010-06-16T22:17:00.010Z

It is always big here. The department consistently produces really strong, large, robust paintings. I always enjoy these, its a boys school and it shows. So its not quite Jenny Saville more Euston Road. Both of these big confident canvasses are by the same student. The studies were wonderful as well, some really finely controlled line and others with the same robust confident brushwork. (see the online gallery)

There is a really strong tradition of drawing and mark making here. Every year the school takes part in the Royal Academy life drawing programme. Some of this work is remarkable for the confident fluidity and quality of the lines. This year there was also some intriguing sculptural model making (see in the video) It seems to be a secondary theme for many of the exhibitions I have seen. Quirky, curious sculptures were also seen at Misbourne and Amersham yesterday and at Sir Henry Floyd and Waddesdon. The other main theme this year is large portraits and here there was a wonderful set of three very large, unstretched, hanging canvases with a softly stained face - rather Turin shroud like. Unfortunately I could not get a picture as they were hung behind screens-but if the school would like to send me one it would be good to put in the online gallery.

Rich textiles (and shakespeare) at Highcrest

2010-06-16T21:52:00.010Z

I have known Highcrest School for 15 years and have 'Ofsteded' it twice. However, I have not visited for a couple of years now - not since the current teachers took up post. It was a real joy to see the transformation in the work. There was an almost 50% improvement in A*-C grades last year and this show was remarkable for the confident, accomplished and fully commited work by students. The quality of the craftsmanship (womanship) and attention to detail is excellent as you can see from the images here. All students presented work which was very carefully finished supported by well researched and intelligent investigation. Some of the textiles based work was a delight and some of this showed a richness and depth which was a million miles away from the work I recall seeing there years ago. A huge improvement.

I know that the school has received excellent support from an AST from Sir William Ramsay school. Staff generously acknowledge this influence and well done to Annie.

II

I suspect her influence will be felt here and in other schools she has worked in for some time to come. Annie is now working in Hertfordshire so lucky Hertfordshire. But was intriguing to see the cultural references with rich textiles used purposefully to make an intellectual point and the video shows an illuminated book of poems, including Shakespeare ... season of mists and mellow fruitfulness.

Wonderfully whimsical A Level from Misbourne

2010-06-16T08:30:00.002Z

Just love this A Level piece from Misbourne.

Photos, life drawing and sculpture at Amersham

2010-06-15T20:58:00.005Z

Curious to visit a second exhibition with fine photography in the same evening. Again students showed a strong sense of composition and a very fine and subtle use of colour. It was especially interesting to see the accumulation of visual research and references being developed in portfolios. I recall discussing the importance of discipline in shaping and capturing compositions last year partly as a result of the practice of 'wet' photography which made each shot significant. I understand that there was less darkroom work this year but despite the reliance on photoshop there was still alot of serious picture taking and relatively little use of filters. Perhaps we are all growing out of the indiscriminant use of filters at A Level - and GCSE as well.

Other work was very well grounded and the life drawing showed strong drawing and observational skills which underpinned some of the very large, curious and intriguing scupltures. Life drawing is done in the art room over a block of 4 sessions. These are led by an external tutor who also provides the model. Caroline (HoD) was pleased that a significant number of her students had gained a place on the BNU Foundation course. We both noted how a life class can make a significant difference to students - attitudes as well as skills - and I am sure this was a valuable experience for these students on a variety of levels. Other key images in the exhibition include the number of very large painted portraits. This is, in fact, a feature of all exhibitions so far this year.

Excellent photography and a fish shop at Misbourne

2010-06-15T15:25:00.009Z

This show was really exciting especially because of the excellent photography on display. Really intelligent highly crafted technically accomplished images. It takes alot to get much from a banana but a sequence of studies shows a real subtlety and appreciation of fine nuances of colour and texture.

The portfolio's also showed the serious study of good photographs and photographers. Many students had developed a working practice which captuted people and places with sensitivity and a strong complositional control. Often students work is based on sites in London. Interesting to see how their work is drawing them outwards looking again at their environment. It was good to meet the keen, enthusiastic, teacher working with these students (NQT - really terrific first year she should feel very proud).

The fine art work was eclectic and often funny. I enjoyed student's work using boxes and 50s Marilyn iconography. One whole corner was taken up with an installation of a fishmongers shop complete with life size trays of oysters, fish and a lobster - see the video.

Dramatic art at Beaconsfield High

2010-06-14T19:30:00.004Z

The exhibition at Beaconsfield High today presented work from years 10, 11, 12 and 13. Some of the GCSE work was very strong and I use the term advisedly, because the portraits and treatment was robust and vigorous. I particularly enjoyed some of the rich, encrusted, distressed research books.
A Level work also showed very strong and dramatic images - especially portraits. There were some wonderfully vigorous and powerful drawings. These were not pretty pieces but strong and aggressive statements. There was an interesting counterpoint where work which superficially drew upon the work of Georgia O'Keefe was in fact much darker - working from a study of tattoo with imagery and text which was nihilistic and despairing.
But these were complemented by other more predictable well researched, subtle and decorative studies taking William Morris as a starting point. But on the whole not a 'pretty girly' show at all. More work from this exhibition can be seen on Flickr.

Cherries and barbed wire at Sir Henry Floyd

2010-06-11T11:52:00.009Z

This show was really ecclectic with many different styles and reference points (as you will see if you go to the Flickr gallery). Work varied from a full length ball gown made only from barbed wire (Duchamp rather than Dali) to photo-realist cherries and self portraits in the style of Rembrandt (deep shadow). Some of the contemporary references really stood out. I particularly enjoyed the 'vitrine' chrome and mirror cabinet with preserved accoutrements of a dissolute life style. There was an excellent set of strange and compellingly disturbing photographs (see below and on flickr) which added yet another facet to the work of these clearly independant and imaginative students.

It was interesting to hear that next year the art department will be part of a faculty of design led by the head of art - well done Ross. There are relatively few design faculties, that I know, where there is a real fusion of graphics, 3d design, textiles and art subjects. The fact that the faculty will be housed together suggests that there will be some interesting scope to develop new ideas and explore in greater depth the craft and design aspects of our subject(s).

See Flickr for more pictures.

Genre by osmosis - Waddesdon

2010-06-10T17:17:00.011Z

Just visited Waddesdon Arts College to see their exhibition - actually been twice now. Some genuinely excellent work as always, but the quality of graphics, photography and illustration was extraordinary. Many of these students will go directly to degree courses at art school bypassing the normal foundation year. And why not, they have a really mature, deep and sophisticated sense of genre and style. This is complemented by strong underlying technical skills.

It was interesting to talk to Marc about how they do it. This is simplistic but seems to me to be quite telling. Marc explained that they had invested heavily in books and this is true large, mouthwateringly expensive contemporary books on illustration, photography and graphics are everywhere. These students do absorb the very best of contemporary work and it shows in their work and thinking. This constant exposure to the best practice in the field provides them with a real appreciation of style and genre informed by their access to this work. Marc explained that the last set of books cost £1,000 but money well spent I think. It is true that there are myriad examples of work on the web. But it occurs to me looking through these books that these are carefully presented examples of the very best. The web doesn't select by quality and so does not provide that example of the very best that the books do.

Another interesting convention used by Marc and his colleagues relates to the evolution of project briefs. These tend to start, not with problem solving, but with a period of immersion in professional work. This takes the form of story boards with two focusses. One is about collections of practice (graphics, photography etc.) related to the brief. The other is about collections of inspirational graphics/illustration which may or may not be related but must be inspirational. It is the fusion of these two strands of investigation that leads to creative and high quality outcomes.

A third key feature it seems to me of practice in this school is in the dedicated commitment to visualising through drawing. These students are taught to use rendering/visualisation techniques which enable them to quickly and effectively develop their ideas. It means they don't get seduced by photoshop filters and chance effects of the technology but they develop individual and purposeful ideas which they then have to realise using and applying their skills and understanding of technologies.

Other aspects of the conversation which intrigued me was the practice of usually using two or three teachers teaching on each course. The project briefs and course structure provides a secure spine for independent learning and each teacher can contribute as appropropriate. Thus students are exposed to a wider range of references than they might be otherwise.
PS and I really liked the way that a problem had been turned into an opportunity in KS 3 where 3 lessons a fortnight have to be taught by two teachers. Solution is to have every third lesson a self contained drawing lesson. This gives continuity and depth to developing drawing skills which the old QCDA units almost destroyed by presenting a single unit of work a term with drawing only happening in week 3.
PPS see more art from this years shows on Bucksart at Flickr

More observing

2010-06-09T15:46:00.003Z

Interesting to see another set of carefully observed and recorded images to compare with yesterday's. These were bluebell paintings by year one children at Padbury School. It will be ten years before these children take their GCSE's. Will they still be looking and recording with such care and interest?

GCSE at SHF

2010-06-08T17:59:00.004Z

It was good to see this highly crafted, strong, observational drawing permeating all work in this GCSE exhibition. Some things are just timeless. The department will once again be encouraging students to enter their work onto online exhibitions like the Saatchi Gallery.

THE Game

2010-05-27T21:11:00.004Z

Just spent an evening with colleagues and students on the last session of the online games course. I was really impressed with so much of this. It is a curious experience because it is, on the one hand, very matter of fact, but on the other it breaks so many boundaries. It is delivered from Chicago and other presenters join in from across the world - so geographically liberated. It takes place in the evenings and we are at home - so timetable free. Most of the presentations are done by games professionals or the students themselves - so teacher free or at least the teacher is not the expert but a fellow learner. Self evaluation of their work and their working practice is wired into the structure and the thinking - so assessment for learning is not an afterthought. Students are invited to critique the course, the teaching and the presenters - so they are involved in managing and improving their learning.

And do they respond - of course they do. They worked in teams and made a game but more than that they also learned about team building and working. They were able to talk clearly about their own work and working practice and in doing so demonstrated how much they had learned about gaming concepts, design, principles, constraints, brainstorming, marketing and the creative process. But for me the most important aspect of the experience was to remind me, once again, of how sensitive and perceptive learners children can be when they are given the responsibility and freedom to work with their teachers rather than for them. I am grateful for that.

Garden Feature

2010-05-27T08:41:00.000Z

EYFS (Early Years and Foundation Stage) Guidance specifies the absolute importance of outdoor learning and activity "These activities help children in getting stimulation, well-being and happiness, and is the means through which they grow physically, intellectually and emotionally. Outdoor provision is an essential part of the child’s daily environment and life."

So early yesterday I was really impressed to see this peacock amongst the sand and water trays in Cuddington School. However, my enthusiastic anticipation of childrens' heightened well being and happiness was somewhat deflated after a colleague described the bird as a vicious and peevish creature. So the source of stimulation was, in fact, merely a health risk. Good to learn life's key lessons early I guess.

Something significant happening here

2010-05-24T19:39:00.005Z

Just need to put down a marker here about the work being done at Chalfonts Community College. I have written of this before but the new website seems to me to be something special. It represents four, or five, years hard work, risk taking and experiment, but it does at last give a real sense of what can happen when students become totally digitally literate and use the technology and grammar of new communications media to express themselves. Here there are 6th form students whose portfolio is purely digital. They are in fact accomplished designers who publish their work. In other places the natural humour and creativity of adolescents are given free reign as games are designed and published for others to play - love the game which uses smoke being blown into lungs as a scoring system. I'written before of the online games design course. The creative and media diploma is also well represented as the course and outcomes are published online.

The other thing I find inspirational in this school is the way that media studies are being developed in ways which totally embrace web 2 technology. Teacher blogs and twitter have become part of the learning dialogue free from the constraints of classrooms and timetables. Published video blogs have been folded into the broader revision practices being used in the run up to the examinations.

In a sense some of us have been talking about this for a long while now. But it does seem that this work around new media is now genuinely established and demonstrating really new ways of working.

Distressed wet photos

2010-05-24T19:32:00.002Z

Today I was really impressed by some A level photography I saw at Buckingham School. I particularly liked the wet chemical experiments of students where developer, was spashed and dripped during processing and finished prints were crunched, rubbed and generally distressed before being layered and collaged into new images.

Some interesting digital work too as images were printed onto different papers and surfaces. As soon as students start putting wall paper through the coloured inkjet printers you start getting intriguing images and it leads to all sorts of other games and experiments - much better than the normal A4 white stationary.

Home Games

2010-03-04T21:35:00.004Z

Just spent a fascinating hour with a group of students on a games design course. The students (from Chalfonts CC) were at their homes as were their teachers and I. The course leader (Roxana) was in Chicago and another presenter Greg Trefry was speaking from New York. All done using webconferencing with simple webcams and domestic broadband - worked easily. The system used was Adobe Connect and is free for all Bucks schools (talk to Ian Usher). Afterwards it was intriguing to discuss pedagogy with the presenters. For instance, how you can work through the lack of feedback through body language and expression which you get in a classroom but not in a webconference. And I learned so much about games and the principles of designing them. Really interesting evening - yes evening, it was all done between 7.30 and 8.30pm.

A taste for teaching

2010-02-18T21:40:00.002Z

Everything I write here seems to be retrospective these days. Its about old chords being struck - again. This time by a post from Ian Usher about a Teachers as Writers programme led by Simon Wrigley. What intrigued me was a comment by Simon about the origins of the course in the belief that "That teachers of writing should write". It just reminds me of taking teachers and pupils to stay in Willy Lot's cottage in Flatford to paint together for weekends; of a story-telling course just for teachers, of courses to develop the use of personal journals (art and writing) in Paris and Amsterdam, of teachers and a theatre company developing and presenting theatre in education pieces, of teachers exhibiting their own digital art at Waddesdon Manor. I agree with Simon, and always have, if we want to give children a taste of creativity then I guess we need to know what it actually tastes like ourselves - a taste for teaching.

A Principal Blog

2010-02-04T15:21:00.002Z

I have long felt that we (educational professionals) should be embracing and using new technologies and exploring the opportunities offered by web2 technology - its why I write a blog - to 'model' what I think is important if I can. So it was good to see that I am not alone and that the Principal of Chalfonts Community College is also blogging. See Sue Tanner's blog here.

Artists and Illustrators: a wasted resource?

2010-01-24T19:36:00.002Z

Spent a couple of days in a primary school last week - based in the school library. Apart from the fact that it was good to be back in a primary classroom (even sitting on the floor with year one) it was interesting to be reminded of all the brilliant children's book illustrators there are. I always used to remind primary teachers of the wealth of resources and examples of artists' work they have available in their libraries. However, too often 'artist' means dead, white, male, 19th century painters usually from Paris apart from Van Gogh the well known victorian.

Childrens' book illustrators are artists with work which is probably more accessable to children than Toulouse Lautrec and working from texts can provide a richness and sense of purpose which will stimulate childrens imagination and creativity. The techniques illustrators use are often rooted in a free use of materials that we would love children to emulate.

Carols, Culture and Creativity

2009-12-21T10:15:00.000Z

Just been to the Mandeville School carol concert at St Mary's Church. A really good evening with a programme that ranged from Islamic Nasheeds, raga through Bollywood dancing to Silent night with all the best carols in between. Also really good to hear (as a visual learner I was going to say 'see') teacher colleagues original arrangements and personal creativity. There are times when I really miss being a teacher in a school.

Primary Sculpture

2009-12-17T00:08:00.006Z

I saw a really good sculpture in a primary school recently (Long Crendon).

The design came from children and it was made by a local sculptor welding the shapes cut from assorted pipes. Brilliant rusted orange colours. It is about values and the leaves that hang from the branches contain words by the children.

I've not seen anything like it in schools but it did remind me of the wonderful African 'tree of life' sculpture welded entirely from old guns, pistols and ammunition clips that was in the British Museum a couple of years ago.

Gormley and Chalfonts at Saatchi

2009-12-06T18:18:00.006Z

Just a brilliant evening and thanks to Chalfonts Community College for inviting me. Went to the private view of the Saatchi Schools Prize where James Coffey a student at CCC was in the shortlist. The work was a delightful and simple animation entitled Miracle. Following the theme of low tec but sensitive I have added my mobile phone photo of Antony Gormley announcing the prizes and praising the students and their teachers. Technically rubbish but rather Gormleyesque in a modest sort of way I thought.

We (teachers) speculated that for the rest of his life James will visit the Saatchi Gallery and privately note that his work had also hung on that wall in that spot which is currently displaying an Emin or whatever. Evenings like this make it worthwhile. Well done Chalfonts Art Department.

When I were a lad

2009-11-26T21:10:00.003Z

Spent an evening at a 6th form exhibition (Chalfonts CC). It was for parents and was celebrating the work from a weekend residential course spent in London and Brighton. The work was excited and exciting. But the most noticeable characteristic was the sheer visual maturity of the work. Completed work and sketchbook pages showed a sophisticated curiosity about ideas and compositions, issues and textures. There was also a delighted acceptance of innovative and challenging contemporary artists such as Anish Kapoor at the RA and an artists' collective in Brighton.

It left me feeling slightly envious, and humbled, reflecting on how things had changed since I started teaching; when ten weeks with the school skull, wine bottle and drape was the height of 6th form sophistication. But that was forty years ago. Some of these students had taken 3,000 photographs over three days using a camera with a telephoto lens that I had not been able to afford until I was in my thirties. No wonder they were visually sopisticated and aware. It were not like that when I were a lad.

Testing the 'C' boundary

2009-10-20T20:08:00.004Z

In a daily routine of emails and meetings it was a pleasure to join art teachers and just talk about teaching art and students: like the yr 10 student whose sole expectations from life were "make up, a baby and love" probably in that order.

We met to review and share work at the boundary of GCSE 'C' and 'D'. There were ten teachers from four schools. In the event all schools entered for Edexcel examinations and so we were unable to compare results from different exam boards. Encouragingly we found that there was consistency in the samples from these four schools. The 'D's and 'C's did correspond and it was possible to discern a consistent order of merit across the schools. It was interesting to note the defining difference between C and D grades. It seemed to be, not so much in technical expertise or formal fluency but in the intellectual curiousity and maturity of the student. Work at a D grade seemed to be shallower and monochromatic in scope whereas work at a C grade suggested a narrative which was deeper and richer.

We noted that during recent Edexcel training teachers were told to ignore changes to specifications and in effect carry on as they had always done. In addition there was some agreement that, this year, moderators were encouraging teachers not to emphasise the absolute need for writing and to accept that visual analysis and reflection could demonstrate critical evaluation and understanding.

We noted that the similarities were far more obvious than the differences between schools. Characteristics of all work were: brainstorming, open ended experimentation in sketchbooks, references to several artists and consequent stylistic experiments, use of photographic references and the internet. Often the final piece was the weakest and the preparation seemed to contain many hours of work. This prompted a discussion about the possibility of students spending a disproportionate amount of time working and reworking development pages in their journals rather than spending time creating successfully realised works of art.

Many students had worked from figures with varying degrees of success. I mentioned a website I had seen earlier in the day featuring the work of the dance company Philobulous. A short brilliant piece by two dancers creating an extraordinary sequence of shapes and combinations using just two bodies. Certainly worth looking at for ideas about the use of figures.

Finally one really good idea a teacher's small assessment note attached to work with a paper clip which contained comments - 'A good thing is...', Could be better if...', Relevant to Assessment Objective AO1, AO2, AO3, AO4'. Thanks to Kirsty for that. And to the teachers of Sir William Ramsay Arts College, Holmer Green School, Amersham School and Chalfonts Community College.

Old Advisers

2009-08-10T16:01:00.001Z

Last night I was at a party in Greenwich overlooking the river and the ill fated dome - which was illuminated against the fading twilight and ofset by a flock of small hot air ballon/lanterns floating away towards deptford. But the point of this is about the comment made by Andrew (art adviser Newham) that he was the last art adviser left in London. We old advisers talked of the now almost complete disappearance of art advisers as a class. Julia (retired) felt that subjects were being undermined and diluted.
But I dont think this is true. Looking at the exhibitions this year shows that art education is vibrant and improving. It also seems to me that innovative new ideas are moving round the system and we continue to develop, evolve and learn from each other. It seems to me that subject development is alive and that teachers are supported in many ways. There is now much more advice support and professional development about improving teaching - its just that it is now generic, whole school and consistent across all subjects.

Recently I was able to observe groups of teachers on a course led by the head of one of our schools designed to move teachers and teaching to become outstanding. There were teachers from two other schools there. They worked in threes and came from different subject bases. The whole point was to share, research and develop a new repertoire drawn from the different subject experience of all of these teachers. The sharing and blending of approaches from different subject backgrounds was at the heart of this exciting programme. Nowadays many schools have set up similar teaching development groups engaged in what is action research and professional development.

Other programmes developed by the National Strategies provide really good advice and support for subject leadership, Assessment for Learning, for instance. All of these provide good support for art teaching - strengthened by the fact that it draws upon the wider repertoire of all subjects to move practice forward. So the old notions of subject development managed primarily through subject silos is no longer the norm but I dont think it means that the subject is not being developed. One of the key causes of weakness in schools cited by Ofsted is the lack of in-school consistency, and schools everywhere are being encouraged to bring all teaching up to the standards of the best.

So the first point of this summer rant is that the demise of subject advisers and possibly the demise of subject focussed professional development does not mean that the subject is not being developed and there is evidence that teachers' pedagogy is being extended and enriched by very strong generic programmes delivering consistency across subjects in a school.

There are other important factors at work though. We all learn best from our peers and without doubt some of the best support for secondary art in bucks has come from the work of ASTs. This work done by a practising art teacher working with and alongside art teachers in other schools has been excellent. I have seen departments which have made significant improvements and who now have a self confidence in their own practice which is enabling them to take control of their own development. Again nothing to do with subject experts giving advice - just teachers working together.

Some really exciting work in Bucks can be seen at Chalfonts Community College where significantly innovative practice is being developed and shared. Again the point is that it is actually happening in classrooms and when it is talked about, for instance at national conferences, it is the teacher who presents.

There are other significant sources of very real and significant support available to art teachers. The Diploma's and the Change Schools programme of Creative Partnerships provide opportunities for art teachers to work alongside designers, craftspeople and artists; developing their own thinking, repertoire and creativity.

So I dont agree that the demise of the 'subject expert/adviser' represents the demise of subject support or development - it seems to be stronger than ever. But the changed emphasis towards school focused development rather than subject focused support leaves a danger of losing sense of community and the local network of local friends, colleagues fellow art teachers. So join NSEAD and find ways to stay in touch with other local art teachers wherever possible.

Coughs and sneezes

2009-07-18T15:42:00.003Z

In the last month or so we have been working with the Health Protection Agency (HPA) and the Primary Care Trust (PCT) to monitor and support schools in the face of the swine flu pandemic. Intially it was treated according to the plans prepared earlier which assumed a more serious illness than the one that we actually seem to have. It is, in most cases, slightly milder than seasonal flu. It currently seems unlikely that the illness will cause serious concerns for most of us but it may be the case that continuity in education could be a problem through spasmodic bouts of pupil and staff absence through autumn and winter.
In the circumstances it may be sensible to give some thought to how education could be sustained if the curriculum becomes disrupted. So I have begun to set out some ideas on the Bucks Grid for Learning . I have also opened up a collaborative page (called a wiki if anyone is interested) so art teachers could share ideas and comments. You will need to logon to Bucksgfl using your username and password to contribute - although anyone should be able to read it. It can be used by primary and secondary teachers and I rather like the idea of cross phase co-operation. In truth I set up the wiki because I am intrigued at the opportunity to work together in the face of a common issue using this simple technology. So swine flu is not a dire emergency to be solved but an excuse to try something out. Do have a look and contribute if you can.

Parking

2009-07-15T22:44:00.006Z

Saw this in a school last week. Hierarchies alive and well.

Gifted and Talented

2009-07-15T17:27:00.012Z

Earlier this term I wrote about two 6th form students who were clearly gifted and whose choice of career seemed almost predetermined by their natural ability. They were going to follow degree courses in architecture and stage design.

Today in Turnfurlong Infants School I found a third pupil who displayed extraordinary talent. This time she is six years old. Her ceramic rat is extraordinary. The shape of the muzzle, eye sockets and flattened forehead shows an ability to understand and model form with a maturity and mastery which is way beyond her age. I was able to talk to Leah and to confirm that it was her own work and that she worked from a picture. It is true that her grandmother is a potter and her father an architect but the modelling is her own and she described how she constructed it over a paper and bubble wrap body which burned off in the kiln - six years old.

To conclude this post it is interesting to note this other small ceramic sculture. This time from a sixth form student at the Royal Grammar School. He had made a set of small nudes all developed from an extruded clay tube. It makes a nice counterpoint.

On Display

2009-07-14T21:29:00.000Z

Coming in to work this morning through Aylesbury shopping centre it was good to see a set of large panels from the Cottesloe School. They are from Year 9 students and follow study of Japanese art including Manga. Really impressive well done Cottesloe art department.

Cross Fertilisation.

2009-07-13T22:22:00.005Z

I saw this work in Haddenham Junior School a couple of weeks ago. Its based on Clarice Cliffe and pupils had to design the shape and the decoration.

It was interesting to note the cross-over of practice from secondary to primary phase, because I first saw this exercise in Sir Henry Floyd Grammar School five years earlier. Here it was by 6th form students. It is not uncommon to see ideas for work being passed around secondary schools but it is quite unusual to see ideas cross phases in this way.

Textiles and Tracey

2009-07-09T23:20:00.003Z

SWR09 (9)
Originally uploaded by bucksart

Spent time this evening at Sir William Ramsey (Arts College). As always a superb show. Its intriguing to see how work continues to evolve and develop in this department. A particular strength is in the textiles which are always exquisite and never fail to delight. Interesting to see the way that some students this year are using stitching to draw with. There are similar echoes of Tracey Emin in the work of some other schools such as the large stitched nudes from Aylesbury High. These can be seen in this years gallery on Flickr.

Hockney

2009-06-30T23:09:00.003Z

Holmer Green 09 (10)
Originally uploaded by bucksart

Watched the BBC Imagine programme on Hockney tonight. Inspiring and intriguing as always and as wryly challenging as he was when we first encountered the Bigger Splash as a painting and a film. But a motif of these art exhibitions has been the role of photography in so much of the work. As a tool, a medium and often as an intrinsic part of the subject matter. I recall reflecting on this in a 2006 blog entry. Intriguing to watch Hockney in a post photography mode outside capturing landscape and childhood directly with a brush and oil paint. Reminded me of this landscape by a student at Holmer Green this year.

It also reminded me of a time when as a young head of department I ran a weekend residential course for my 6th form students in February. The focus was drawing and we intended to work from still life. But it snowed overnight and so we spent Saturday outside in the Kent countryside painting. It is true that work taken directly from first hand experience is different from work filtered through a lens. Not necessarily better but certainly different.

Creative Nesting Boxes

2009-06-30T20:16:00.002Z

Chalfonts CC 09 (7)
Originally uploaded by bucksart

Brilliant idea from Chalfonts Community College. All 6th form fine art students were invited to make a work of art from a nesting box. Here are a couple of the results. They were supported in this project by Pippa North an artist working with the school.

...and another inherent sensibility

2009-06-30T19:10:00.004Z

A couple of weeks ago I wrote of a couple of students who exhibited a natural aptitude and talent for a particular professional practice. The other day I saw another student with a natural talent, this time for illustration. I really liked these illustrations: they made me smile. This was at Aylesbury High School.

There were also some excellent robust, life drawings, some of which were developed into textile pieces (Tracy Emin). They were a refreshing counterpoint to the large numbers of closely observed and painted portraits developed from digital photographs and the work of Jenny Saville, Lucien freud et al.

At last some interesting work with 'Paint Magic'

2009-06-24T22:54:00.004Z

For those who don't know, Paint Magic is a primary level bit-map paint programme. I cannot remember ever seeing much that was interesting being produced with this software - until today. At Haddenham Junior School there was a really dramatic large (2 meter high) panel. The image has been developed from small tiles based on a master picture. I really liked it - the colour, normally a weakness in the software, works in this exercise and every pupil has had to work with care to draw the image. It was just good to see the large bright complex panel rather than small scale, crude, mouse drawings.

KS3 Cancelled

2009-06-24T22:20:00.001Z

I have just heard from Emma that the moderation meeting for KS3 has been cancelled because the other schools have not been able to attend. This is disappointing especially as teachers at the Grange had worked hard to negotiate and arange this.

I know that in most parts of the country subject networks are a thing of the past. I had hoped that arts colleges would take a lead in supporting the local networks of art teachers but this has not been the case. Then I had hoped that it would be possible to set up an art teachers' association so that the network could be owned and led by teachers themselves. This does not seem to be working particularly well either. Back to the drawing board.

Jenny Saville has alot to answer for.

2009-06-23T22:24:00.000Z

I saw the Dr Challoner's High A level exhibition tonight. Its a show I look forward to. The work always has a challenging self regarding intensity. It is engaging and at times moving, as these students at a girls; grammar school gaze unblinkingly and honestly at themselves and their world. This year is unusual. The course encourages individual responses and the department has a really good library of reference books in the department (probably the best that I know of in Bucks). These students also visit major London galleries and usually there will be a variety of different references and influences in the work.

This year it seemed all students were wholly engaged in portraits - large, painterly closely cropped and expressive - often anguished. References were Jenny Saville, Lucien Freud, Maggi Hambling and Egon Schiele. The work was excellent and it was clear that AS students had already fully exploited and mastered the techniques they were exploring. It will be really interesting to see what these students do for the A2 work next year they already have a mature and masterly painting technique. They are already at ease using portraiture and figures to make genuinely expressive pictures - what next?

Change I do hope so

2009-06-19T19:34:00.009Z

Writing this while attending a creativity conference organised by Creative Junction. I should be in a workshop but I am just too old to 'do drama'. It is sharing and celebratory meeting for schools in the current ‘Change School’ programme. This is a Creative Partnership three year funded programme which involves schools working with creative practitioners to develop creativity in the curriculum and in teaching and learning.

One salutary reminder from a keynote address was that that the current funding pattern is probably secure until 2011. It occurs to me that a real issue for all of us is to consider what will be left in 2012 for the next generation of children. How is this work ensuring that teaching, pedagogy and the curriculum is being changed and how are we evaluating and then embedding any significant new practice we are developing. I worry that we are spending our time (and finite funding) on projects for children which simply confirm what we already know - that children enjoy and become enthused by changes to routines and access to artists. But if the programme is predicated upon this level of funding for artists in schools I fear it is simply not sustainable. Far more important for me is the need to change, inform and inspire teachers so that they can lead creativity for this and all the subsequent generations they teach.

The role of artists, or creative practitioners is also an intriguing issue. I worry that too often they fall back into the simplistic default role of workshop leader. This is the least important role, not least because children’ work should be led by teachers who are always best placed to manage and lead learning. The artist as workshop leader is a problem for various reasons. They may not be good teachers - why should they be? They may respond to the expectations the school has of them by setting up formulaic workshops in which children are no more than apprentice labourers in the production predefined by the artist, with little ownership and little access to first hand creativity.

Earlier there was a significant presentation by Priory School about work they are doing to support the peer and self review of creativity for pupils. It unpacks and reinterprets the conceptual framework of creativity developed by Ken Robinson and transforms these into a set of cards/pictograms which enable children and teachers to reflect upon different aspects of creativity. It was used to confirm and analyse the nature of creativity being developed and through reflection, sustain and improve the experience.

But it was good to once again join a group of teachers excited, dedicated and discovering for themselves why it is important and exciting to be a teacher.

A priviledge and a pleasure

2009-06-16T21:30:00.004Z

Just a short note to record the work of two young men. Both are 6th form students. One at The Royal Latin, the other at the Misbourne. Their art work was extraordinary in its self confident maturity.What was particularly moving was the obvious and compelling logic of their next steps one to architecture, the other to stage design. Everything they had made showed a natural mastery, fascination and precocious talent within their chosen fields. Their choice of career seemed absolutely inevitable in view of their inherent talent. It was inspiring to have a glimpse of such natural talent at the begining of their careers. At such times it is good to be an art teacher.

Chemical or Digital?

2009-06-16T11:40:00.004Z

More schools are offering photography at A level this year. It's not just the easy access to digital camera's and Photoshop either as many offer both chemical as well as digital processing: although the sheer ubiquity of digital photography must have something to do with it. It is curious that, although it could be done digitally, teachers are prepared to fight for the dedicated darkroom space, cost of equipment, chemicals and cameras that are required for 'real' photography.

Superficially it seems perverse and talking to teachers, there is often only a rather vague assertion, that in some ways digital is good for you, to justify the extra effort. But, on reflection I cannot recall taking a good photograph with any digital camera - although I used to be quite good with my old SLR. Talking to teachers tonight (at the Amersham school 'A' level exhibition) I begin to see the point. It is not so much in illustrating the original meaning of cropping and dodging and, to be frank, the magic of chemical developing is only a transient pleasure. But what was apparent in the photographs of these students was a practice which used a camera and viewfinder to search, frame and capture a particular, unique and transitory event - I guess it may be the only legitimate use of the awful phrase 'moment in time'. These photographs were simply different to the point and click, scatter gun, approach of most digital photographs. Images had been thoughtfully pursued and captured, not opportunistically grabbed and processed after the event.

Whether it is worth the full paraphernalia of the darkroom is still a moot point but I recognise that I really do need to buy a digital SLR.

Arts Mark

2009-05-21T18:09:00.003Z

Just a note about Artsmark as we ran some training this afternoon. Information about the next round (round 10) will be published on the Artsmark website at the end of July. As usual there will be some slight changes but it makes sense to use this year's materials for an initial rough audit this term. This should enable schools to begin to build any changes into next year's programme. It would be sensible to ensure that the school has an 'Arts Policy' this term. It would allow time for it to be approved by governors. It would also get 'buy in' from colleagues, SLT and governors - without this it will be an uphill task.

It is worth noting that rumour has it that the Arts Mark criteria may well change in response to the new curriculum models in both secondary and primary phases. This is clearly appropriate. It may also be that a radical rethink of the programme might take place - it is increasingly expensive to administer with increasing numbers of schools applying. The Arts Council are making no guarrantees about the future of Arts Mark beyond this next round.

Every Child is begining to Matter

2009-05-16T10:11:00.005Z

It has been a curious week working across the whole educational spectrum from infant schools to university courses. I am an external examiner for art on the BA Hons Primary Education offered by Birmingham University and today I attended a briefing meeting for external examiners across the brand new Faculty of Education, Law and Social Sciences. We were told of the synergy between these recently introduced bedfellows on the Perry Bar campus - so look out for courses in criminology and early years.

It was interesting to hear of recent innovations in the university to improve the learning experience for students by listening to students in seminars and consultations to review the experience from the student's perspective. Curious that the previous evening I had been with a primary school's governing body looking at the process of appointing a new headteacher and we noted how many adverts included quotes from infant children saying what they wanted in their new headteacher. Is ECM genuinely changing from an ernest slogan into an all embracing new mind set in which the children's (student's) voice is actually begining to change practice in all phases of education?

Another intriguing, and new idea for the university, was the notion that if students fail a module, rather than engage in a sequence of resits, they should be invited to agree and sign a 'learning contract'. This would define expectations of what they should do like; attend lectures, write essays, read books and also what the university would do like provide guidance etc. The curious thing for me was that they were going to do it after the student had failed. In schools we are now doing this before students fail in ordwer to prevent them from failing. But there are again very clear parallels with the developing culture in schools. A few days earlier I had been working with a group of secondary schools dicussing how interventions, coaching, mentoring and picking students up from home to get them into the exam on time is making a difference. These schools no longer acknowledged student failure and provided CPD to do better next year but they took personal and responsibility for intervening with every student at risk of failing and took action this week and next week and every other week if necessary. Again every child is really begining to matter.

FFT, Myths and Reality

2009-05-10T20:13:00.004Z

There are many misconceptions about FFT data. The most prevalent myth is that somehow FFT takes performance in English Maths and Science and through some obscure psychometric testing uses this to predict aptitude in Art. In fact this is not true. FFT only uses SATs data to identify pupils with similar starting points and then produces a profile of how this group performed in their art exams. Having identified the performance of the group it then estimates the probability of children with the same starting point achieving different grades. Essentially its a sum, an estimate, a statistical possibility. Its not a target or a prediction.

A few advisers have been developing a working paper to try to explain the nature and role of FFT in target setting in art. This can be found at www.FFTart.wikispaces.com This provides explanation and some recommendations that may be helpful.

New Media New Ideas

2009-05-06T18:31:00.003Z

I spent a day with artists and KS3 students at Chalfonts Community College recently. This was during their regular off-timetable creativity/enrichment days. A key feature of the event was that these artists were mainly working in new media. There were filmakers, sound engineers, flash software animators, artists using digital images and even some using traditional crafts. This was an intensive two day experience. At the end of the day work was shared and most children had completed the task - made and edited the film, created the animation, recorded the radio jingle.

Some of these were full of the natural and naive humour of youth, others were more predictable. However, the main point is that the children and teachers were all gaining first hand and intensive experience of using new media: making and editing film and sound. These are new experiences and skills. It will be interesting to see how they will be developed in the next few years. Perhaps in three years time the geography homework will be to make a radio broadcast about traffic in the town centre rather than conduct the survey and write it up.

In addition to drawing down expereince of new media into the heart of Key Stage 3 and begining to develop a critical mass of users - both students and teachers - there is another model being developed here.

Every term the curriculum in KS3 is collapsed for one or two days and this provides an opportunity for students to work with greater intensity than normal. It also provides an opportunity to work with other professionals AOTs (adults other than teachers as they were once called). This is intriguing because it is embedded in the regular curriculum and sustainable by the AOTs because it involves focussed work for only one or two days. It is not possible to sustain this engagement by following the traditional school timetable of an hour a week. So this is a significant model.

Virtually teaching

2009-03-16T10:14:00.000Z

I am so impressed by this course from Chalfonts Community College about designing computer games. It involved children in KS3, KS4, KS5 and some teachers. It was delivered on Thursday evenings at 7.30pm and access was from home via the internet using Adobe Connect (web conferencing software - free to Bucks Schools). The course was delivered by Roxana Hadad talking from Chicago. At the sessions Roxana brought in professional games designers from different parts of the USA.

Have a look at this session with Gary Rozenweig a designer of flash games, a company director and author of books on computer games. Gary is talking from Denver and using a simple web cam.

Here is a link to another session. The guest for this session is Gregory Trefry from New York. He is a senior games designer and shares some of his work and ideas about games and games design. This includes concepts of street games.

You will see that throughout the sessions the students are using text messaging to talk to each other and the teachers on the course. So interaction on a vareity of levels across the atlantic and the USA. The course was set up by Greg Hodgson (Chalfonts CC) and Roxana mainly using Skype which was convenient and free.

There are so many significant feature of this project. It demonstrates something that Greg and I have been talking about for some years. This provides some of the answers to our questions. Is it possible and what does it mean to use the web to have teaching/learning partners who are not teachers and may be in other parts of the world? Does it work - well yes it does. Is it expensive and dependent on high levels of technology? No it isnt. Can you develop an online course and deliver it outside the confines of the school building and timetable? Yes you can. I guess these courses show that the technology is freely available and works, the issues now are really all to do with the pedagogy. Web conferencing is no longer new but what does it mean for our schools, teachers and students to make the best use of it. Many questions still to be answered but this must be a glimpse of, at least part of, the future.

Technorati Tags: education, it, innovation

Artist in Residence at Aylesbury County Museum

2009-02-26T10:05:00.001Z

In April and May Ros Asquith will be artist in residence at Aykesbury Museum. Ros is a cartoonist, writer and illustrator. Her cartoons appear in the Guardian twice a week. During the residency there will be open studios on Monday and Tuesday afternoons from 1.30pm to 4pm. Schools may find this really useful in supporting the development of creativity and drawing.

MAD again

2008-07-04T19:09:00.002Z

The annual arts festival at Waddesdon Manor has provided the venue for the second exhibition of A grade A level work from Bucks schools. It is an opportunity to show some of the extraordinary work being produced by our 6th form students.

Once again there was an outstanding entry from Chesham High school in the form of two massive cocks made from torn cardboard over a metal armature. This complemented the torso from plastic spoons which was exhibited last year and sold to Lord Rothschild.

However, several schools were unable to send work for the exhibition this year because moderation was still underway. It may be that there is a need to consider whether there is a better time and venue for this exhibition.

BATA or Bucks Art Teachers Association

2008-07-03T19:38:00.000Z

We have been trying to establish an association for Bucks art teachers. This will enable them to be pro-active in managing and developing the support networks that can be so important at a time of far reaching change. The difficulty has not been the basic premise, which almost everyone accepts, but in taking that first step in establishing an infrastructure. We have been seeking to find a critical mass for this for almost 12 months now but at every meeting the numbers are just not high enough to give us confidence to proceed. However, at a meeting at Wadesdon Manor despite the relatively small numbers we agreed to proceed anyway. A brief constitution has been produced and circulated and no objections or amendments have been received. It does require the identification of officers or representatives at some stage but for the moment it was agreed to just begin and set up some meetings. So that is what will happen. There will be meetings in the north and south initiated by Chalfonts Community College and Waddesdon C of E School. In the meantime I will seek establish a comprehensive emailing list which can be used by the fledgling association.

NSEAD a new role

2008-05-01T23:29:00.002Z

It is worth noting that the role of national subject associations has changed radically this year. In art the subject association is NSEAD. Traditionally the subject association has taken the role of subject champion and sometimes a trades union. However, as the key subject associations have now been commissioned to deliver the training for the new national curriculum their national role has changed. It suggests that they have taken on a much stronger partnership with national agencies and have a much more important strategic role.

This suggests that teachers should consider the benefits of becoming a member of their subject association. In art, membership of NSEAD will provide access to up to the minute news, advice, newsletters and a professional journal. It will also provide opportunities to contribute to the national debate.

The New Secondary Curriculum

2008-04-23T22:42:00.000Z

It's always the way: you don't see an art adviser for years and then three come along together. It was good to welcome Dr John Steers and John Bowden to Bucks. They are the two national subject leaders for art and I have known and worked with them for the last two decades.

The art conference on Monday 21 April was important on a variety of levels. It was useful to bring into Bucks the national training programme. The key message of this is that we are moving away from a period of intense national prescription into a period where schools and teachers are being encouraged to take ownership of their curriulum and make it relevant to their own distinctive students, aspirations and context. In Bucks this will mean that the curriculum of a girls grammar school in Beaconsfield is likely to be very diferent to that of a mixed upper school in Aylesbury. The key resources, information and links from this event have been added to the Bucksgfl art website.

It was also good to have an opportunity for art teachers to meet and share experiences. In the next few years there will be many very significant changes to the educational landscape (diplomas, vocational education, new technologies, personalised learning, the new secondary curriculum, etc. etc.) and it will be important for teachers to be able to continue to be able to meet and share ideas. It was noted that in Bucks, as in many other Local Authorities, there is no longer an art adviser or consultant and that it will be harder to sustain the network of art teachers. It was agreed to develop an art teachers' forum to secure the networks. The forum will enable art teachers to take ownership of events such as the MAD art exhibitions. It will also enable art teachers in Bucks to sustain a working relationship with the Local Authority which will support their professional development.

A few art teachers will meet soon to create an initial constitution for the forum. This will be put to a meeting and hopefully adopted. It is encouraging that there is also likely to be an opportunity to sustain the relationship with John and John and NSEAD who will be pleased to provide further support for Bucks art teachers.

A Virtual Parents Meeting

2008-02-21T17:49:00.005Z

Follow this link to see a recording of a virtual parents meeting. This is an online meeting set up by Greg Hodgson for parents of his GCSE students. Greg is talking about the digital art GCSE course he has set up at Chalfonts Community College. The course makes excellent use of the Bucks VLE (Moodle) which is free to all Bucks schools.

You will join the meeting about half way through. It is taking place Thursday evening at 7.30pm. Greg is talking from his home with a glass of wine and a standard broadband connection. A second teacher (Hannah) is also at work in the meeting, again from her home. You will hear Greg talking about the digital art course and how students use the VLE. He shows examples of students' work and how the VLE supports their learning and asessment. He not only provides information about the course, but also explores how parents might support their children.

You will see on the left hand side of the screen that about 24 families have logged in to the meeting. They use text to greet each other and to ask questions. Hannah is managing this part of the meeting and this allows Greg to concentrate on his presentation. You can hear Greg deciding to show the work of one student because her parents have joined the meeting. At the end of the meeting Greg picks up and answers some parents' questions.. Some families joined the meeting together, others joined separately as students logged on from their room. Perhaps 40 people were involved altogether. Other parents can watch the recording afterwards. The whole thing took about 30 minutes.

The parents did not need a training course they were just sent the URL and invited to log in at a particular time. the whole thing was done with domestic broadband. In Bucks all schools have access to this facility - free.

I find this absolutely fascinating, not least because to listen to Greg it sounds perfectly natural for him to be chatting to parents in this way. It changes my perception of how online meetings can be used. I had thought that it was important that there was full two way connectivity between all parties. But this often led to bandwidth problems and 45 minutes of texting 'I cant hear U' or 'is yr camera on?'. Greg demonstrates that it is easy to make a presentation to an audience, anywhere and that the audience can engage easily using text.

This meeting was between a couple of teachers and 24 families one evening. However, it not difficult to think of many other uses. Some of us are involved in developing ideas for the new Diploma's. At present there is much discussion of how students need to move to different venue's for different aspects of the courses. This use of online presentations may be useful.

I hope you find it as fascinating as I do.

There's no such thing as a free launch

2007-07-23T09:26:00.000Z

It was good to be at the launch of the new secondary curriculum launched at Lords by Lord Adonis, Ken Boston, Mick Waters, Andrew Motion, Gareth Mills, some teachers and a few pupils. It was accompanied by an exhibition of art by one of our schools (Chalfonts Community College) which was why I was there. . Perhaps the important point is that we - that is various Bucks colleagues and I - have been working with Robin Widdowson (subject Officer at QCA) on various projects for the last couple of years and QCA felt that Bucks could be trusted to provide examples of high quality and innovative practice at, what for them, was a significant and risky public event. Greg should be congratulated for his work on this event and especially for presenting some of the innovative digital work that is being developed in Bucks.

However, our involvement with the KS3 launch goes a bit further than that as we have been working with QCA for over a year now. The new KS3 Art programme was developed by a relatively small group which included myself and another of our art teachers Marc Berrett of Waddesdon C of E. Last summer I was also asked to develop some teacher responses and case studies based on the programme of study and was able to include Waddesdon C of E, The Grange and Beaconsfield Upper in this process. In March (at the last minute) I was also asked to rewrite the art level descriptions to match the new KS programme of study for 2008. I am particularly pleased because we clearly identified creativity including originality,imagination and creative risk taking as a necessary aspect of art education - so another win for creativity and Bucks. I have posted the matrix that used to create the levels on the A4 (Art Advisers) website - in case you are interested.

I am, by nature, extremely self deprecating but it seems a good time to mention work we have done beyond KS3? Last year I managed a project to develop some assessment case studies for publication by QCA. I worked with three Bucks schools on this project developing case studies about assessment and transition - Ashmead school, Waddesdon C of E and tangentially Whitchurch school. These case studies are now published and available from QCA.

Bucks has also been involved in the GCSE review this year as I was asked by QCA to prepare the first draft of proposals for GCSE art subject criteria. Marc Berrett (Waddesdon C of E) and I were also at the main GCSE consultation where we worked on the art and design subject criteria (online consultation now open). Finally, I was also on the scrutiny panel for the new GCE syllabuses over Easter. So, one way or another this year, we have contributed to the national evolution of art and design in KS1, KS2, KS3, KS4, and 6th form and in piloting new media: in some of these cases quite significantly.

I mention all this simply because I am excited (and tired) and pleased to have been able to end this year with a record of success and want to note the contribution Bucks has made and that it has acquired a strong reputation nationally. I think there is also some clear momentum now which will sustain the future development of subject leadership in Bucks. Its important that we do recognise that we have in Bucks some really excellent work and practice and that in some areas we are taking a lead. I would also like to take this opportunity to thank those colleagues who have worked with me sharing expertise, excitement and enthusiasm for the work we do together.

It is also a good note to end on. In September my role will change as I have accepted the post of area adviser in the area office: north. But I will retain some strategic responsibility for art and design although this will become a much smaller part of my work. Next term we will need to explore some of the opportunities that are available to support art and design. We will explore the work of AST's; how art departments wish to use the Waddesdon Arts festival; how Specialist Schools might work together (as some already are) to take responsibility for subject leadership; how we can work with Creative Partnerships which is changing to provide more opportunities for Bucks schools to become involved; how we might work with the Montgomery Trust which has a sculpture park in Chalfonts St Giles (and I bet you did not know that). I will also try to sustain the Bucksgfl art website and probably the blog - and wild horses could not keep me away from some involvement with the MAD Waddesdon Festival which next year will be on the weekend of 28th 29th June 2008.

So still much to do but this will be the last bulletin when I should call myself 'County Art Adviser'. In the last 12 years I have circulated these art bulletins by post, fax, email and now blog (about 96 in all) - usually in an attempt to stay one step ahead of the corporate technology. I hope you have found some of them useful. Have a good summer.

Creative and innovative practice

2007-06-07T21:46:00.001Z

Spent really exciting evening at a GCE, GCSE art exhibition at Chalfonts Community College. Above there is part of a students contextual study, all printed on cans which was a brilliant idea. The whole thing is set in an abstracted display cabinet (it relates to Pop Art). There was some excellent painting with real sensitivity and maturity in the use of the oil paint and some really excellent drawing and illustration and some very clever digital art installations.

The digital art work was particularly interesting as the school has pioneered a GCSE course in digital media (under the unendorsed art and design GCSE specification). There are now students at AS level with three years experience of digital work having completed the two year GCSE digital art course in KS4. You can get a sense of the work being done by looking at Ben's video blog on YouTube. It is genuinely intriguing and revealing. The video blog shows how the ideas developed, some of Bens references and the final animations (these were shown projected onto a very large gauze screen in a dark environment with loud music so the YouTube version is just an approximation of the actual installation). What is perhaps more important is that it demonstrates a genuine partnership between Ben and his teachers as Ben is encouraged to take risks and experiment with a medium and grammar which is demonstrably his own, rather than that of the school. So Ben is taking ownership of his own independent practice encouraged and supported by his teachers - it can only happen with trust on both sides.

As Stephen Heppell has said "all this has been changed by the ability of modern computers to allow expression in a wide variety of media: speech, sound and aural ambience, text as labels or prose, symbols, animation, music, video, diagrams and more. And all this can be individual or collaborative, in public or private, at school or (for many but not all) at home. Obviously this broadens the corridors through which learners might evidence their success", Stephen Heppell

The evidence of trust was evident in many other students' work as well. digital animations dealt with intensely moving and personal themes which could only have come about in an atmosphere of mutual respect between students and students, and between students and their teachers. In a sense it reminded me of the way that good drama is always predicated on genuine trust within the group which allows personal expression to be shared and celebrated. It is almost always a characteristic of work which is most exciting - where students are able to use their art to explore issues and ideas of personal significance to themselves and their lives.

As a postscript I have just posted a first video to YouTube. It is a short film made in partnership with the school about an introductory visit to Sweden to develop ideas for working with the artist and designer Andie Cowie. We intended to use the Chalfonts Community College VLE to explore the option of having an artist/designer from another country contribute to the VLE based course.

Assessment burdens

2007-06-07T20:41:00.001Z

A visit to the GCSE exhibition at Sir William Borlase's Grammar School included an interesting discussion on the amount of work students do in art. We came to no clear conclusions but felt that the assessment burden on teachers and students for GCSE/GCE examinations does seem excessive in art. But it was harder to identify precisely where the pressure comes from. To a certain extent it is self imposed, the examination rubric talks of a 'selection' implying that not everything the student sdoes should be selected. We have also invented an evidence trail which consists of highly contrived and carefully executed works of art in the form of 'artists books'.

The question posed by the head of art was quite simple. "Are we asking them to do too much and what are other schools doing?" I guess the answer to the first question is 'probably' and to the second it is 'the same as you'. It is interesting to compare the sketchbook/journal approach with that used by Ben from Chalfonts Community College. The evidence for his development of ideas and research for his AS this year is given simply on YouTube as a video blog. Other work in the same school uses a narration over a slide show to present ideas rather than a sketchbook (using relatively simple software).

This year I worked with QCA to revise the subject criteria for art and design GCSE examinations. I wrote the initial working paper proposals which went to a consultative group. Part of the brief was to seek ways to reduce the assessment burden on pupils and teachers. One of the stumbling blocks was that all 4 assessment objectives are assessed in both coursework and externally set test. Which means that the same objectives are met twice. It also means that the externally set test has the constraint of requiring evidence for each of the 4 assessment objectives - which are equally weighted. Hence the evolution of a particular pattern of response which is virtually identical from school to school. There was a brief moment when a new pattern began to emerge but consultation forced it back to the status quo. However, exam boards are likely to be charged with seeking to reduce the assessment burden by defining more carefully what might constitute evidence for assessment.

However, perhaps the question has two perspectives. From the simple perspective of producing evidence, for assessment, of the ability to research and develop ideas students probably spend too much time illuminating sketchbooks. However, from the perspective of producing works of art which are illuminating, expressive and often deeply personal it is hard to regret the time and effort. Indeed these are often the most exciting and creative outcomes of their course.

Platforms for improvement

2007-05-28T16:32:00.000Z

Each year I try to publish a schedule of Bucks schools art exhibitions and to visit as many as I can. Last week I visited a GCSE and GCE exhibition at Waddesdon C of E School which is a visual arts college. The work was excellent (I loved the combination of digital photography and textiles in this sketchbook) but still evolving and it was interesting to recognise the evolution of practice and expectations over time (I have known the work of the school for twelve years after all). But I was astonished at the sophistication and maturity of the work in graphic design. In discussion with staff at the school we noted that standards were being built incrementally year on year as students acquired and demonstrated in their work a set of visual references relating to contemporary design practice. The interesting point was the recognition of the influence of each cohort on the succeeding cohort of 6th form students. Perhaps this was easier to recognise in the work of these graphics students because the course was new and the work was unlike other work done in the department. We felt that it was possible to see how each cohort had added a further level of sophistication and maturity to the visual set of references in the department. Of course it was possible that teaching had also evolved but it did seem that there was an annual cultural shift in the visual references and understanding used by each cohort that seemed to be built upon the legacy of previous cohorts. I recall a similar evolution of sophistication and maturity in the development of a course in Theatre Design.

I recall some years ago visiting an exhibition of BTEC graphics in a college of FE. It seemed that students gained so much from the contemporary, professional, visual and cultural references of the college. It was hard to see how 6th form students in schools surrounded by a visual environment of Yr 7 and Yr 10 art work could acquire a similar level of sophistication. This exhibition demonstrated how it can be done and how much students actually absorb and learn from each other.

Animation in Yr2

2007-05-03T16:51:00.001Z

This afternoon I visited an infant school to celebrate the work they had done for arts week. We noted that a few years ago the idea of just doing art for a week was inconceivable, but how good it is that this is now, not only possible, but desirable. The head teacher and I recognised the cyclical nature of innovation and looked back with nostalgia at the 1967 Plowden Report which informed our early teaching. Those under 50 who don't know what I am talking about can get the text of this report online and get ahead of the game.

I was particularly interested to see some animation work by Yr 2. Talking to the teacher I learned a lot about how they had done this. It was a simple animation with dialogue rehearsed in a drama lesson. The animation was made with an ordinary digital camera and the images were imported into Windows Movie Maker. Talking to the children confirmed that they had quickly taken over all the processes including editing.

It is obvious when you know, but it had not occurred to me before, that it is so much easier if the sound track is put in before the images. It is a lot simpler to adjust the length of time images are on the screen than it is to edit sound. In this animation the first thing that went into the movie was the dialogue - recorded directly into Movie Maker.

The second thing that became apparent, was the role of the interactive whiteboard. Movie Maker may be simple entry level software, but these were Yr 2 children and the underlying concepts are complicated. However, the teacher was amazed at how quickly and easily they took to using Movie Maker on the whiteboard. We recognised that it must be the fact that the process of dragging and dropping clips into the time line and then stretching, or squeezing, them to fit was a physical activity, done using their hands, was what made it seem so straight forward to the children.

We also noted that it would be possible, and perhaps easier, to use simple and cheap animation software rather than Movie Maker for stop frame animation. This might include 2Simple2Animate or Revelation Sight & Sound .

So I am grateful to the teachers of Iver Heath Infant school who reminded me of Plowden, gave me some good tips about animation, and showed how very young children can be quite comfortable with ideas and software that we think will be far too complicated for them.

Revised Key Stage 3

2007-03-15T14:31:00.000Z

Revised Key Stage 3 Programme of Study.

The proposed new Key Stage 3 programme of study can be seen on the QCA website. An online response form is also available and colleagues will, no doubt wish to respond. It would be a good focus for a departmental discussion for instance. The final version should be available in autumn 2007 ready for first teaching in September 2008. The QCA website has useful background and supporting material about the revisions to the whole KS3 curriculum which are helpful.

Some ideas:

The PoS for art has been designed to be less prescriptive and also backwards compatible. This means that if schools are following the national curriculum now they should not need to change anything. However, there is a clear obligation to audit current practice to ensure that it does comply with the the PoS. Some departments and teachers will use this as an opportunity to make significant changes to their current practice. KS3 is the last period of statutory art education and art teachers, like those in other subjects, will see this as an opportunity to explore what sort of entitlement, experience and expertise they want to provide for their students. This should be more than a prelude to GCSE.

The PoS comes with a popup glossary which is helpful in suggesting interpretations but is not statutory. One approach to the PoS in a department could be to ensure that a common understanding is developed and a redefinition of terms could be a good way of establishing this. For instance, 'creative environments' is described thus 'This includes experience working in museums and galleries'. But schools might ask "How do we want to interpret the notion of a creative environment in this school?"

Teachers learn best from other teachers and the site includes some examples of how teachers might use the new PoS. There will be more examplars with time and this will be helpful.

Assessment is a problem, however. There are currently no plans to make any significant changes to the level descriptions. These are built quite explicitly on the current (three strand) programme of study. However, the new PoS does not follow the three strand pattern but introduces a new conceptual framework for the subject 'explore and create' and 'understand and evaluate'. A two strand, or four strand, model depending on how it is used. This will lead to a situation in which learning is planned according to one framework, but assessed using another - clearly an unsatisfactory situation. It is possible to repack the three strands into the two strand model and vice-versa - possible perhaps, desirable no. If the situation remains then teachers will have to square this circle somehow.

The new PoS does explicitly refer to critical understanding (key concepts) with a broad cultural reference point. It requires understanding of both, the cultural context and characteristics, and also consideration of the role of the artist. This should guide us to think more carefully about the nature of culture and be mindful of presenting dot paintings masquerading as aboriginal art and other examples of multicultural art which are too close to parodies of Victorian stereotypes - and as a consequence in all probability illegal under the Race Relations Act.

The PoS recognises the need to include 'contemporary practice' (range and content). The principle of ensuring that art education does not come to an end in the 1970's of pop art is to be applauded by art teachers but the pragmatic difficulties of getting first hand experience may tax schools. However, the thrust of creating a curriculum of local distinctiveness that permeates the whole KS3 agenda suggests that schools should be more willing to explore the options open to them.

Creativity: It is surprising that the definition of creativity in the new PoS singularly fails to reflect the characteristics of creativity which have been accepted by all since the NACCCE report and which are a part of QCA definition of creativity anyway. This will make it harder to engage in the pursuit of creativity in partnership with others

Aims; For the first time the general aims are statutory. This means that teachers should take account in their teaching of the need for learners to 'enjoy learning' and to become 'confident individuals' etc. This is proper and no more than the ECM expectations but it should be included in the curriculum audit and departmental SEF.

'Explore and create' - 'Understand and evaluate'; This is a good model and to an extent suggests a distinction between practical skills and intellectual processes. This could be helpful, for instance, in recognising the sources of evidence for assessment (practical work on the one hand, and behaviour, writing or discussion to provide evidence of understanding on the other) but is not as clear as it might be and some strands almost seem to be duplicated. It is possible to offer them up to the current three strand model, but to do so does change the conceptual frame of reference.

Applied contexts and New Technologies; It is good to see that 'the study of art and design should include both applied and fine art practices' and 'work in 2D, 3D and new technologies'. The key words being 'should' and 'and'. This 'should' mean that applied work and new technologies will increasingly become an entitlement and this 'should' support progression to the new Diploma in creative and media studies.

Should we allow nudes?

2007-03-08T23:20:00.001Z

I got an interesting question from a head of department the other day. It had been suggested to him that 6th form students should not use the nude in their work. He asked what other schools were doing. Here is my reply:

"An interesting question which, to a certain extent relates to the cultural climate within the school rather than to any given set of rules or protocols. I know several schools that offer life drawing either in school or sometimes at the art school. These are usually done after school, or as special events and do include both male and female 6th form students and male and female models. These studies are used as the basis for paintings in some cases (as in Jenny Saville). In these cases the study of the nude is managed by the school and has clear references to normal art practice and to the practice of western artists for centuries. It involves a professional model and the session is carefully managed - parents are informed and it is not compulsory. In fact I have just talked to the head of art in an Upper school who has just finished an 8 week, after school, life class for the 6th form and a few invited, talented, yr10 and Yr11 students. He said it has been one of the most valuable experiences students have had and that it has made a significant contribution to raising standards. I would have thought a managed life class would be appropriate at 6th form level in most schools. However, in some schools, perhaps Catholic Schools or other faith schools, this might be deemed inappropriate although I have not found this to be the case in the church schools I know.

I think that care should be taken where students are drawing or working from non-professional models, themselves or friends for instance, and in all cases where this has happened the models are not completely nude and would be wearing the equivalent of a swimming costume. The same would be true of figure work based upon students own photographs. Often these are quite intense pictures which have a great significance for the students involved. They indicate great trust between the student, the teacher and the ethos of the art department and often they are some of the most moving and significant art I see in schools.

It is hard to see how it is possible to avoid looking at nudes if one is studying Western Art and by and large students at KS4, KS5 will be quite familiar with the notion. Sometimes they may draw on this art as a reference point in their own work. Although copying from artists is not good as an end product, there is certainly a place for studying and using the work of professional artists and this will involve practical responses at times. I guess the issue here is the context and reason the student might have for working from a Gaugin nude. The intellectual raison d'etre for studying the nude should be easy to articulate by older school students studying art. KS3 students may be exposed to nudes in western Art in their course of study but it is seldom a main focus - apart from highly stylised depictions of the nude form. They cannot, of course, visit Tate Britain, or Tate Modern, without seeing nudes and primary schools visit these galleries all the time.

As to Islamic students: I have worked on a working party to explore some of these issues including representatives of the muslim community in Wycombe. My understanding is that in Islam it is good to study and to study other cultures. So it is not wrong to study western art and this will include the realistic depiction of figures. Teachers should be sensitive and should not embarrass, female, Muslim students in particular, who may feel that they do not wish to study pictures of nudes. Some Muslims also believe it is wrong for them to portray the human figure as this is blasphemy because it emulates creation, which can only be done by Allah. It would clearly be wrong to require such students to paint/draw a figure: and certainly not a nude figure. They may also not wish to discuss the work of fellow students who are working from life.

Ultimately it is a matter for the school. However, with sensitive and professional handling (and noting the caveat about Muslim pupils beliefs and feelings) I personally see no reason why students at KS 4 and P16 should not learn about the nude in western art, use images of the human form in their own art and in managed circumstances study the nude model in life classes. This is managed sensitively in other schools and contributes to the learning of students - often by requiring mature reflection about art and its purpose in relation to the human condition."

Primary Network Meetings

2007-01-25T20:50:00.000Z

We held two (twilight) network meetings for primary art co-ordinators last week. These meetings are open ended and provide an opportunity to share ideas and information. They are free. One was held at Sir William Ramsay School, the other at Waddesdon C of E School. Both of these schools are Specialist Arts Colleges and the high quality of the work on display was an inspiration to all who attended.
The two meetings covered many issues, too many to record here, and many of those present will have found ideas to take forward in their own school, or perhaps in partnership with colleagues they met at the meeting.
Key features of the meeting at Sir William Ramsay School included:

Opportunities to see and hear about the work of Annie Hearn. Annie is an AST for art, and manages the outreach work of Sir William Ramsay School. She shared some of the excellent work she has done with primary schools on drawing and sketchbooks . This was informative and inspirational and primary colleagues were pleased to discuss ideas about how Annie might work in their schools. Annie explained that she currently has many commitments but will be willing to discuss ways in which she might be able to support schools. It was noted that Annie is one of several AST's and that information about them and their work can be found on the Bucks Grid for Learning (Arts Team). It was also noted that the Bucksgfl included further information and resources about drawing.
We talked alot about the QCA units of work. These were being followed by many but without enthusiasm. I made these points:

The QCA units of work are not statutory, they were written before they were taught and almost certainly contain too much material for the time specified. Once plans for Christmas, Easter and Mothers Day art activities are added to the mix the timing becomes really difficult and nothing is done well.
However, as an example of a purposeful planned sequence of work in which children are given opportunities to generate and research ideas, experiment with materials and apply what they have learned - and talk about art, they are quite good. And certainly better than what tended to happen before the national curriculum which often included an ecclectic mix of one-off craft activities.
There is now clear evidence that, at every level, schools are being encouraged to take ownership of their curriculum. QCA is supporting this process through its 'Futures' debate. This means that teachers should feel able and competent to amend and change their art programme of study to match their own interests, expertise and resources. This would include the recognition that a 'unit' of work does not have to last a term. Ofsted no longer reports on the curriculum and the fear that QCA units will be expected by Ofsted is no longer the case - in fact it never was.
However, schools will have invested considerable time and resources in creating a programme of study using the QCA units and it is indeed true that this investment will sustain their use for some time to come - and there is nothing wrong with that.
Art co-ordinators who wish to make changes are tending to develop their ideas in partnership with their colleagues by amending and adapting existing units. It is anticipated that as they gain in confidence momentum, ownership and enthusiasm will grow.
Another way to develop the programme of study is to recognise that there is more to it than three termly units. Christmas could become a planned unit as could Eid and Mother's Day.
It was noted that drawing has suffered through the termly unit structure because there is not an opportunity to draw regularly. It was noted that the best way to raise standards was to create a 'drawing unit' or entitlement. This is simply an agreement that children should draw regularly and to build into planning an opportunity for children to draw seriously once a fortnight (or whatever). This may be in the context of art but could be related to work in other subjects. Incidentally seriously does not mean realistically see the campaign for drawing.

Key features of the meeting at Waddesdon school included:

An opportunity to talk to Clare who is the artist in residence at the school. Clare has a small studio space in the classroom. Disussion noted that a key feature of using an artist is to look over their shoulder at their creative process - to recognise that it involves, play, risk and lots of cups of coffee. This is perhaps more important than a simplistic quick workshop in which the artists teaches a single skill to a group of children who she has never seen before.
An opportunity to hear from Marc Berrett (Curriculum Leader) about the work of the art department as a specialist arts college - and an opportunity to look at and be inspired by the work on display.
An opportunity to hear from Katie Bowness about the work she does as an AST for art. Katie is part of the Arts Team and has some time when she is able to work with schools.
Ideas were shared about arts weeks and drawing (again). You can see more of Katie's work by watching this online presentation.
There was relatively little concern about QCA Units at this session as co-ordinators were already making changes and amending the programme of study. Others recognised the investment of time and the fact that this sustained standards and confident teaching.
I spent time showing the resources available on the art pages of the Bucks Grid for Learning. In particular:

ideas, directories and funding possibilities for working with artists
examples of basic advice available for inexperienced art co-ordinators such as how to manage painting
resources for drawing
examples of different schools' policy documents

Both meetings were well attended and all involved valued the opportunity to meet and share ideas. It was felt that a meeting each term would be helpful. dates for future meetings will be published in the schools bulletin, on the Bucksgfl and probably as a comment on this blog.
Our thanks were given to Annie and Marc for hosting the meeting and for the hospitality and support of the two specialist arts colleges in Bucks.

Writing in art - why, who for?

2007-01-04T21:02:00.000Z

Recently I was involved in a whole school training day about literacy across the curriculum in Key Stages 3 and 4. More explicitly it was about writing. This is sometimes a contentious subject in art and design, especially where teachers' feel pupils are not strong academically.
There is a recurring argument that, the examination criteria and the implicit expectations of moderators, requires candidates to exemplify their knowledge and understanding of art, artists and the relationships with their own work, through writing. It is claimed that this disadvantages less able candidates who may be good at art but not at writing. Awarding bodies counter the argument by claiming that writing is not a requirement and that candidates can record, video or illustrate their knowledge through their work: although such recordings and videos are unheard of in practice.
Or at least they were until recently. I know that Chalfonts Community College is using pupils ideas, as captured in their VLE, as a record of candidates knowledge. They are also experimenting with podcasts as a way of recording ideas and responses.
But what was interesting about this training was that the art department had left this argument behind and were fully committed to developing writing skills. They were already talking about and modelling appropriate writing with students. Some of the writing seen in sketchbooks was genuinely perceptive and indicated a personal involvement with works of art. There was little vacuous labelling (ie writing 'a green frog' next to a picture of a green frog) and students presented their written work carefully.
In our discussion about ways to further develop students writing and raising standards further we refered to 'Literacy across the curriculum materials' - in particular to the unit on 'writing non-fiction'. It raised questions that we had not considered before. It had not occurred to me before to explore the particular purpose and audience for the writing students do in art.
The unit maps out some possible categories of non-fiction and, although there was no obvious single category, it was interesting to recognise that students' writing may have different purposes and different audiences and that each of these has an impact on the nature and conventions for their writing. This realisation gave another dimension to our attitude to students' writing and how it might be supported. We did not find all the answers but it did raise new and interesting questions. It helped give a sense of how we might explore the difference between - say 'personal note taking' and and writing to 'explain'. Key questions were:

What is its purpose?
Who is it for?
How will it be used?
What kind of writing is, therefore, appropriate?

The teachers decided they wanted to invite an English teacher to an art lesson and to discuss their approach to supporting different sorts of writing.
This was one of those occasions where I genuinely found an interesting and new set of ideas. It was an enjoyable and positive discussion and I am grateful to Geoff and Sally for sharing their ideas and work with me.

PS. There is a very good National Strategy publication 'Literacy and Learning in Art and Design' which is subject specific and considers literacy from the point of view of learning in art.

The unit 'writing non-fiction' identifies the following as a favourable context for writing.
1. Establishes both the purpose and the audience of the writing.
2. Ensures that writers have something to say.
3. Gives writers opportunities to develop, sharpen and revise ideas.
4. Encourages collaboration during planning, drafting and proof-reading.
5. Gives pupils access to references materials to support writing – eg word banks, dictionaries, thesauruses, etc.
6. Provides feedback both during and after writing of writing strengths and of ways to improve weaknesses.

Uses and Abuses of Levels and Levelling

2006-11-23T13:50:00.000Z

At a meeting recently there was a discussion of the role of the art level descriptions particularly at Key Stage 3. The meeting was attended by experienced art educators (teachers, AST's and advisers) and there was a some very robust criticism of levels in art and design. This entry is an attempt to clarify my thinking about these issues.

Simply dismissing levels as completely useless is like dismissing soup spoons as useless because they are no good for paddling a canoe. Paddling canoes and tasting soup are both proper activities and the tools used (soup spoons and wooden paddles) are fit for purpose. The tools, although they have a superficial resemblance, are simply not interchangeable.

The key issue is to be clear about what levels were designed to do and how they can be used to support teaching and learning on the one hand. And to be equally clear about how they can be misused to fulfill functions for which they were never designed, and for which they are unsuited.

Level descriptions are OK when:
The level descriptions provide the starting point, for that professional debate about what we might expect of children in art at the end of each key stage. The broad general statements do a couple of valuable things. They can be separated into the three key strands and so provide the basis for the three broad assessment objectives. This is important because it reflects the full breadth of learning in the subject and indicates in general terms how the national curriculum translates into distinct, observable types of behaviour/attainment. This is particularly significant in the primary sector where teachers do not have a background in GCSE, GCE assessment. It was very unfortunate that the level descriptions were presented as a single paragraph and not in their separate strands so this point has been, and continues to be, missed by many.

The level statements, once they are separated into the strands, do imply and begin to describe the increasing independance, maturity and sophistication that might be expecteded from pupils at a particular key stage. (I know they are supposed to be age - independent but I think this is not realisable in practice.) They can, and should, encourage and support assessment for learning which will in turn lead to a much richer vocabulary and set of references with which teachers and pupils will discuss, explain and illuminate pupils achievements and how they can improve. I will not bother to rehearse Assessment for Learning here. But it seems to me that it must start with the conceptual framework of the subject as described broadly in the level descriptions.

It does not matter so much that the level descriptions are not precise clearly defined assessment criteria. They were not designed to be. But even if they are imprecise all written assessment criteria only acquire meaning once they are offered up to actual work, by actual children and are discussed, shared and compared, by the community that uses the assessment criteria.

Part of this process is to understand the assessment objectives in terms of their proper context ie to pupils of a particular age and experience. That is how Edexcel assessment criteria can use words like 'basic'. This really only has meaning in the context of pupils taking GCSE. It is informed by the shared professional judgements of teachers who know what might be expected of such pupils, and who can see and discuss the difference between words like 'basic' and 'competent'.

In the same way it is quite possible for secondary teachers in one school, or indeed in a group of schools, to look at portfolio's of work and to discuss and give meaning to the implication of greater intentionality and independance which might distinguish the achievement of one pupil (who might be described as working at level 5) and another (who might be described as working at level 6). The words do not describe explicit observable behaviour any more than the word 'competent' does.

Level 5: "They manipulate materials and processes to communicate ideas and meanings and make images and artefacts, matching visual and tactile qualities to their intentions."
Level 6: "They manipulate materials and processes and analyse outcomes. They interpret visual and tactile qualities to communicate ideas and meanings and realise their intentions."

In the same way a community of teachers in a primary school can look at work, discuss and give meaning (that makes sense to them) to the broad statements describing the difference between level 2 and level 3. This discussion and shared understanding is valuable and is likely to support Assessment for Learning by clarifying where pupils are and where they might get to etc. A paper which explores assessment and the role of level descriptions can be found on the Bucksgfl website.

Levels are wrong when:
Assessment descriptions of foundation subjects are not nationally moderated or adequately exemplified. They cannot be used as if they have the rigour, reliability and validity of level assessment in the core subjects. These have explicit and detailed assessment criteria in the national curriculum tests which are nationally moderated and carefully exemplified over many years. There is a significant programme of professional development to support this assessment.

Level descriptions in art and design were never designed for, and cannot be used as criteria to assess individual pieces of work or performance over a limited period of time. They are not fit for this purpose and this is confirmed by QCA. As they are not nationally moderated or exemplified any attempt to use teacher assessment as quantifiable comparable data, for instance to measure value added, is misguided because it is unreliable.

Conclusions?
Levels are valuable and important in supporting Assessment for Learning. It is important that the level descriptions do reflect the key strands that define the subject.

The preoccupation with the single aggregated level score inhibits the ability of teachers to explore and discuss with pupils the separate strands which are at the heart of their success and which define how they might improve.

It is reasonable to challenge any practice which requires art teachers to record assessments which they feel to be flawed and for those assessments to be used as if they provided reliable and nationally comparable assessment data. This practice is not the fault of, or recommended by, QCA or HMI.

2006-10-16T14:32:00.000Z

It's autumn again and that means there are lots of new Year 7 students in art rooms. Last week I was with some colleagues including an HMI for art and we were discussing key Stage 3. We noted that by the time students get to year 7 most have already had two thirds of their total art education, and yet this experience is seldom acknowledged let alone built on. Most secondary teachers will ignore the experiences, skills and expertise that pupils bring with them and will start planning on the basis of no prior experience of purposeful art education. There are a variety of reasons for this - not least the fact that new pupils probably find the new school, their new classmates and the new 'expert' teachers somewhat intimidating. They are consequently not inclined to lay claim to any skills or experience. It is easier to remain silent, thus confirming the expectations of their new secondary teacher, that they have done no art for six years. It may also be true that in year six primary schools do place great emphasis on the 11+ (in Bucks) and SATs and that experience in art is limited for that year as a result.

Another reason why primary experience is ignored may be related to the fact that secondary teachers simply do not ask the right questions in the right way. When the QCA published the (optional) Scheme of Work the primary scheme was never sent to secondary schools. So secondary teachers have remained unaware of what units of work they might expect pupils to have covered. So they may not know what to ask. For instance, most primary pupils will have done the unit 'take this seat' in which they looked at chairs, and then designed and made an imaginative chair. However, unless secondary teachers are aware of this, the question "tell me about the chair you designed and how you went about it?" does not come readily to mind.

The fact that about 80% of primary schools use the QCA scheme in one way or another means that most of the Year 7 students in art rooms will have much more in common than their secondary art teacher expects. Most will have done the same units and almost all will have done work which follows a sequence of developing ideas, experimenting and referring to the work of artists before making their own work. Almost all students will have looked at, talked about, written about and probably worked in the style of, different artists. Although the range of artists studied may sometimes be limited to the nineteenth century French schools with a smattering of work from different cultures (which can unfortunately reinforce unhelpful, often 19th century, stereotypes) there is increasing evidence that the range of artists referred to in primary schools is expanding and often is very wide indeed. On one visit to, a not particularly big, primary school there were 63 different artists represented in various displays about the school (I counted them).

Last year I worked with QCA and Marc Berrett, Curriculum Leader of Waddesdon School (Specialist Art College) to explore issues to do with assessment and transition between KS2 and KS3. Marc spent time with a primary art co-ordinator and also looked at all the art records for year 7 sent by primary schools. He learned a great deal about the primary curriculum by doing this. This included the fact that most primary schools would have followed a very similar art curriculum and that the primary art curriculum does follow a similar creative process to that used in secondary schools. He made a note of the units of work including KS1. He also noted that often the pupil records sent by primary teachers referred to skills, attitudes and experience in art. Sometimes primary teachers had recorded pupil's ability to research in art - or in design technology.

The meeting with the primary art co-ordinator was also useful in interpreting the experience and the units. For instance, he was able to note that often units would be taught by teachers with relatively limited subject knowledge and that this would tend to limit the scope and depth of research and experimentation by children. He also noted that as art was taught by the class teacher children would often research, write and talk about art and artists easily and fluently just as they would in any other subject. This meant that they probably had a repertoire of critical skills and experience already. He also noted that self evaluation and reflection was often a natural part of primary experience in art, as in other subjects.

The next phase of the project involved working out how to ask the right questions so that:

The pupils could give better information about the learning and experience they brought with them from their primary schools. This would help the art department to reflect upon the KS3 curriculum and pitch their expectations more appropriately.
The art teachers could confirm, re-affirm and celebrate the prior learning (six years) of the pupils. This would give them confidence in their abilities and enable them to make quicker progress.
The art teachers could use this early experience to build and model the practice of self evaluation that would be used throughout the Key Stage.

This, of course, is simply to apply the principles of assessment for learning to induction procedures.

Marc developed a simple strategy which became a single lesson held in late September. In the lesson children were reminded about the sort of work they had done in their primary schools with a slide show. Marc had collected images of work related to primary units of work from the co-ordinator and the QCA website. They then worked in groups sharing their primary experience and creating a short presentation about what they had done and learned. They then completed a written questionnaire individually and shared this in pairs.

Through this lesson Marc was able to talk with them purposefully about their experience in their first six years of art education (and most of them remembered the work they had done in Years 1 and 2 as well as in KS2). He was also able to confirm and celebrate with them the fact that they already knew a great deal - for instance, confirming that at Waddesdon too they will also be developing ideas through research and experimentation in sketchbooks.

As a result of this exercise the art department modified its KS 3 curriculum and art teachers tried to build upon the six years of art education the Year 7 brought with them. I don't know what impact it had on pupil's progress and whether they were able to build more effectively and quickly on their prior learning - but next time I see Marc I will ask him.

The work at Waddesdon School is included in the case study material published by QCA in August 2006. (The packs are called 'Teacher assessment activities Art and design, Key Stage (1, 2 or 3)' They are available from QCA Orderline, PO Box 29, Norwich NR3 1GN. Tel 08700 606015 Ref QCA/06/2427)

End of Year: informal report

2006-07-24T12:10:00.000Z

Looking back this has been a good year for art in bucks. I managed to see about 12 exhibitions and am full of admiration for the quality of work students are doing. It was good to see so much strong (and often large) drawing and painting. Some superb figure and portraiture work with references to Jenny Saville and Lucien Freud. Often this work has an intensity and honesty which is very moving as students use their art to genuinely explore ideas about themselves and the world.

It seems that the use of digital camera's and art software has now come of age and most shows contained students' works which showed confidence in the use of digital imaging as a means to explore, record and develop ideas. To a certain extent this has meant that images are very often informed by photographs that students have taken and processed (cropped, coloured, filtered) themselves. Often students will also work over coloured printouts with traditional media.

This year also saw the first cohort through the digital art GCSE course at Chalfonts Community College. This work was intelligent and funny and often drew directly from the cultural references of the students themselves. Animations which originated from video captured by mobile phones, for instance. Another thing that occurs to me is the coming of age of Specialist Arts Colleges. The exhibitions this year showed how the curriculum offer has been successfully extended and widened and how courses in endorsements such as graphics, theatre design, textiles, photography are based on real expertise and experience. These courses are now showing the fruits of the real efforts by teachers to develop these courses and extend their experience and repertoire. We should recognise, value and find ways to share this expertise if we can. The year also provided an opportunity to host a national BECTA course for teachers at Chalfonts Community College and this also broke new ground. We moved beyond Photoshop to work which included animation and digital sculpture. The course provided an opportunity for 14 teachers to exhibit their work in public in the Waddesdon Manor Wine Cellars.

This weekend festival was very successful. It included over 2,000 pupils in performances of art, dance, drama and music. We have convinced Waddesdon Manor that schools can deliver sufficient content to fill the stages, grounds, marquees and buildings of this most impressive venue in Buckinghamshire. As a consequence this is likely to be an annual showcase for the arts and for schools. A brilliant result.

During the event slide shows or work from many schools were shown projected onto the brick walls of the wine cellars - it looked fantastic and people stayed for up to an hour to watch the show of over 200 images. Next term I will be pleased to add this to the other work I have tried to gather and share with schools. (thanks to those schools who were able to send images for this exhibition) Thanks also to Marc Berrett and Greg Hodgson for all their work making this event successful.

In the last week of term some Bucks teachers and I were involved in a QCA working party to review the proposals for a new programme of study for KS3 to be introduced for 2008. Another Bucks teacher worked with art advisers at the British Museum to share how we are begining to explore the opportunities to extend and enrich learning presented by the Bucks VLE. This enables us to share ideas through the internet and web conferencing between schools and artists. Bucks teachers are also presenting at an international conferfence for users of MOODLE (our VLE) during the holiday.

The most exciting thing, however, is the widening circle of colleagues begining to work together across schools and phases of education. This is happening through the network of AST's and Specialist Arts Colleges. This group is increasingly taking responsibility for CPD and for networking. This 'Arts Team' is begining to make a real impact. All in all Bucks teachers and schools are making a name for themselves and I am proud to be able to recommend the work we are doing in Bucks.

Developing Creativity

2006-07-06T12:10:00.001Z

Recently I spent an afternoon working with Advanced Skills Teachers talking about creativity. The intention was to establish a common vocabulary and set of reference points. It was also to begin a discussion about how AST's might work strategically with each other and with the authority to develop creativity in schools. In the event there was little time to develop a discussion and evaluations (rightly) noted that those present had not had any time to discuss the issues raised.

This is for them. Blogs are new to me but it seems interesting to see if they provide an opportunity for easily sharing ideas and to continue a debate begun at face to face meetings. If so it will be a useful way to sustain discussion following professional development courses, among other things. I should note that this blog is an attempt to research the use and value of this medium for professional debate. This blog is not openly published and is only available if people have the URL. It is also a personal project.

In my presentation I said that, AST's, it seems to me, are particularly important people. They are the people who are inventing and testing the next generation of pedagogies. They are the champions of innnovation because they have credibility based on their day to day practice in their own classrooms. We explored the role of AST's as 'champions' who are prepared to develop innovative practice as well as the role they have as mentors and supporters of other teachers. We noted that some of the time available to them can be, and has been, legitimately devoted to developing their own skills and innovative practice. If they can not pursue innovation who can?

In our meeting we explored the concept of AST's modelling creativity and working with other AST's to explore new practice. For instance, AST's for art and mathematics developing and testing ideas together. We also noted that the loosening hold of QCA 'units' on the curriculum and the evolution of local distinctiveness is an opportunity for AST's to develop and promote new curriculum units and resources. Again if AST's don't do this who will? However, we did not explore what this might mean in practice and this was a missed opportunity - hence this blog.

For instance some ideas might be:

AST's developing and publishing exemplar material illustrating creativity in teaching and learning. In this case the modells of practice would be undertaken inn their own school. The material could be written up in AST time.
AST's working together to develop curriculum plans and resources (within subjects and across subjects)
AST's working with advisers and consultants to develop creative practice.
AST's promoting creativity in their work with other schools - perhaps developing a repertoire or menu of skills and practice that schools might opt for.

We would welcome the comments of those at the meeting and the opportunity to see if a blog is a useful way to pursue professional debate. We understand that this can not replace personal contact and we hope to pursue the idea of a focussed seminar about creativity next term.

Beyond Photoshop

2006-07-03T19:21:00.001Z

Usually ICT in art lessons means Photoshop or one of the other image editing packages. The big advance in recent years has been the move from 'bitmaps' to layers, transparency and effects. It has involved the development of ICT as an essentialy collaging medium rather than a medium for directly generating art imagery. The ubiquity of digital camera's, or mobile phones, as they are often called, has dramatically changed the way first hand images are researched and recorded. the advent of Flickr points to ways in which collaborative work can be done between groups who have no social or geographical connections.
Next steps may be to explore the way that images can be used in the environment. It may be that the widespread availability of digital projectors in schools will enable students' digital art to take on new forms embracing sculpture and installations used in contemporary art but seldom in classrooms. For instance, images and animations can be projected onto other surfaces and images - thus doing in the real world what Photoshop has been doing in the virtual environment for some time. However, it is instant and does not require many hours spent wrestling with software.
Work in the last month with both primary and secondary teachers has involved experimenting with ways of using digital projections to create sculptures and installations. The latter involving sound as well as animation. This provides a new and powerful aesthetic vocabulary as the digital projections bring images into the real world which are big (projecting onto walls enables the use of scale in ways impossible previously) and subtle as the quality of the image gently modifies the objects or spaces it is projected onto. Installations by teachers and pupils have been exhibited and transformed the old victorian vaulted brick wine cellars at Waddesdon manor providing an environment of animation, sound, light and colour which was genuinely innovative and powerfully expressive.