Discussion Groups

Twenty Ways to Make Lectures More Participatory
http://isites.harvard.edu/fs/html/icb.topic58474/TFTlectures.html

Ten Strategies for Effective Discussion Leading
James Dawes
http://isites.harvard.edu/fs/html/icb.topic58474/Dawes_DL.html

Increasing Student Participation
teachingcenter.wustl.edu › Teaching Strategies › Teaching Tips

Suggestions for Leading Small-group  Discussions
Prepared by Lee Haugen
http://www.celt.iastate.edu/teaching/small_group.html

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Critiques

2015 Types and Variety of Studio Critique Formats

Critique Evaluation Form
Jed Morfit
Download Critique Evaluation Form (pdf)

Ten Ideas for More Effective Critiquing
Mario Estioko
imet.csus.edu/imet5/bill/284/webquest/images/critiquing.pdf

Four Steps to Art Criticism
Janice Mason Art Museum
http://cuip.uchicago.edu/wit/99/teams/photography/criticism.htm

Common Teaching Situations: Critiquing Student Projects http://depts.washington.edu/cidrweb/TAHandbook/common-teaching-situations/CritiquingStudentProjects.html

How does teaching in a studio differ from traditional teaching?
http://cet.usc.edu/resources/teaching_learning/docs/teaching_nuggets_docs/3.6_The_Studio_Classes.pdf

Guidelines for Group Critique
Danny Goodwin
http://www.albany.edu/faculty/dgoodwin/shared_resources/critique.html

How to run a design critique
Scott Berkun
http://www.scottberkun.com/essays/23-how-to-run-a-design-critique/

The Critique Handbook
Kendall Buster and Paula Crawford
find this book on Amazon.com 

How do we see, think about, and evaluate works of art?

At once a theoretical investigation of the underlying nature of the studio critique as well as a practical manual for participation in this fundamental studio practice, The Critique Handbook is an invaluable resource for examining the uses and mis-uses of artistic analysis. Presenting hundreds of examples drawn from every genre of artmaking, noted artists Kendall Buster and Paula Crawford address the complexity of what actually occurs in critiques. Their book fills a serious gap in the art studio, as they scrutinize a practice that has been largely unquestioned and provide models for more informed and effective ways of conducting and taking part in critiques. Their observations, which can be applied to beginning through advanced studio courses, bring to light the underlying social and power dynamics of critiques and offer illuminating advice on how to make critiques more cogent and evenhanded. They also offer advice for participants on how to prepare for critiques and benefit more fully from them.

Simultaneously thoughtful and witty, this book is written in a style that is elegant and eminently readable. The Critique Handbook promises to become an indispensable and timeless text on this subject, doing for the art studio what The Elements of Style has done for the writer’s workshop.

Kendall Buster, whose extensive exhibition record spans national and international venues, is the recipient of an American Academy of Arts and Letters award. Buster is Associate Professor of Sculpture at Virginia Commonwealth University.

Paula Crawford has had exhibitions in the United States, Canada, and Latin America, and directs the painting program at George Mason University, where she is Associate Professor.

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Grading

RISD Jewelry and Metals Department Grading Criteria

RISD Jewelry and Metals Department Expectations of Students

Collegiate Teaching Reflection and Preparation Assessment and Grading

Assessing Highly Creative Ability
Rob Cowdroy, University of Newcastle, Australia
Erik de Graaff, Delff University of Technology, The Netherlands
October 2005

Foundations Rubric
Leslie Hirst
HirstGradeRubric

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Teaching Philosophies

Faculty Teaching Philosophies:

1. Barbara Seidenath, Critic, Jewelry + Metalsmithing, Rhode Island School of Design,   Teaching Philosophy
download seidenath.doc
2. Dr. Daniela Sandler, Assistant Professor, School of Architecture, University of Minnesota, Teaching Philosophy
download sandler.doc
3. Mary Kawenski, Professor, Apparel Design Department, Rhode Island School of Design,  Teaching Philosophy
download kawenski.doc

Gallery





Barbara Seidenath
Brooch, 2009
silver, enamel, yellow sapphire
2.75 x 2 x .25″
Jewelry and Metalsmithing, Rhode Island School of Design
 Junior Casting, Junior Jewelry Design I
Harriet Sheridan Teaching Certificate 


Barbara Seidenath’s Teaching Philosophy: The Privilege
While building a professional career as a jewelry artist and designer, I was offered the opportunity to teach. I accepted the challenge and it has been a very rewarding experience.  To me teaching is a privilege. It continues to be a reflective practice for me as I learn from my students while teaching them. To me teaching means being clear, tolerant, flexible yet firm, compassionate and critical, patient, enthusiastic, encouraging and unclouded by self serving intentions…

I feel fortunate to have studied with many gifted teachers, among them Professor Hermann Jünger at the Academy of Fine Arts in Munich, Germany whose integrity as an artist, educator and critic set a high standard for his students. He served as a role model and mentor, and observing him and his art practice was one of the most inspiring aspects of my graduate education.

I consider myself a passionate person, believe in the importance of sharing my enthusiasm in all the aspects of creativity and learning with my students. Teaching by example continues to be a source of inspiration for my students. Maintaining an active connection to my work and the professional world is an essential part of being a vital teacher. I have experienced the liberating effects of mastering tools and materials in my own work. This freedom allows me to visualize my concepts appropriately. Acquiring the skills necessary to become a jeweler requires discipline and patience. Neither are easy accomplishments to master at the age students enter the profession.

My intent is to provide a nurturing and highly challenging environment that supports personal and creative growth and builds technical competence.  In undergraduate courses an assignment will balance the technical information or skill that I intend to cover with intellectual stimulation.  The students are asked to develop their problem solving skills and think critically.

It is important to utilize a clear means of communication, helping students to understand questions about design and technique.  Breaking up information so it can be understood by students with a variety of learning styles is very important. When introducing an assignment a suitable reading is useful to initiate a thought process and provide intellectual stimulation along with classroom discussion on topics related to the assignment. I consider the knowledge of history to be very important and I provide my class with as much exposure to historical and contemporary examples as possible in order to help them understand their position as artists. Visual materials (slides, samples), a fieldtrip or a visit to the collections at a museum help the student understand the task. Technical information is most effectively conveyed through hands-on demonstration and subsequent application of the process by the student. As an example:  the technical goal of the assignment “souvenir brooch” for sophomore level students is to teach the fabrication of pin back mechanisms and various setting techniques. For the design/problem solving component of the assignment the students are asked to investigate and express personal experiences of place, time and memory in the format of personal ornament. I take the class to the RISD museum collections to look at selected examples of victorian souvenir jewelry. After discussing their designs followed by technical demonstrations the students continue to finalize their samples and pieces.

A written evaluation of the completed assignment their performance and a group review of their work encourages them to develop critical thinking and reflective skills.  I aim to engage the students actively in the learning process as much as possible.  I prefer dialogue over a monologue since I consider it more interesting and creative. In my eyes collaboration is a form of dialogue. It encourages responsibility, builds confidence and cultivatesmilarly I find the experience of working closely with my colleagues most constructive. Developing and teaching a consistent curriculum with a team of colleagues within a department is an effective and rewarding experience.

Ultimately I want to see my students graduate as thoughtful makers and designers and independent thinkers. I enjoy accompanying them in the process of discovering their potential and adressing their weakness and hopefully their path will lead them to artistic excellence and independence in all areas of life.

Barbara Seidenath,
Jewelry and Metalsmithing 

 

Gallery
triplemed_allman
Triple Trio Trifecta
Ricky Allman
acrylic, ink on canvas, 36×24″, 2007

MFA Painting, Rhode Island School of Design, Brown University Sheridan Certificate
Taught Drawing/Collage: Works on Paper RISD WS
Currently Associate Professor, University of Missouri-Kansas City
http://www.rickyallman.com

Ricky Allman’s Teaching Philosophy
Critical thinking is the most valuable tool a student can take with them from an educational experience. To be able to ask difficult questions about one’s self, one’s beliefs and one’s environment is an integral step to develop a love of learning. I think it would be ridiculous of me to assume the students I am teaching have the same interests, desires and tastes as I do. Therefore it would be equally ridiculous to force my interests, desires, and tastes on to them. I feel if I were to create “mini-me” artists, that would be a failure. My duty as a teacher is to guide, motivate, and inspire students to discover, through critical thinking, how creative and intelligent they already are, and to give them a desire to grow.

A major part of learning is the accumulation of important ideas, questions and facts. The more sensory experiences tied to the presentation of any given piece of information, the more likely the mind is able to access it later. Fortunately in the visual arts as students see, touch, hear and smell the materials as they begin to practice, ideas can be more easily understood and integrated. In this regard it becomes critical for the students to have as much hands-on experience and experimentation with materials as possible. It is also important for students to see demonstrations along with verbal instruction to allow the students to be better able to grasp new concepts.

It is crucial for an artist to have a strong fundamental and technical basis to draw from throughout his/her career. Exercises such as still-life drawing and figure drawing are still very relevant today. A strong fundamental background does not need to hinder creativity. Additionally I don’t think that fundamentals must be labored over after sufficient proficiency is made apparent. Every single technical aspect of painting needn’t be taught. A wide variety of choices and how to execute these choices should be made available to the student and then s/he is able to seek out the more specific skills necessary for their own method of working. If a student has a strong background then s/he has the necessary tools to choose from in many styles and modes of working, so that if a chosen style goes out of vogue or is no longer intriguing to the artist they have the ability to then move into another vein of art-making, with as much skill and talent as the one they are leaving behind.

As anyone who has ever taught knows that the teacher gains just as much if not more than the student through the educational process, that is part of what makes teaching so rewarding. I can pinpoint the pivotal moments in my becoming an artist to a few key lessons from a few key teachers. These experiences are incredibly valuable to me as an artist and as an individual. I remember when a teacher told me that I knew the rules and now it was time to break them. It was at the precise moment in my development that I needed to hear it; it stayed with me for a long time. To be in a setting which allows me the opportunity to give back what was given to me is my main motivation in teaching.

1. Fleming Jeffries,  Virgina Commonwealth University, Qatar, Teaching Philosophy
download jeffries.doc
2. Maria Gamboa, Alumni, MFA Painting, Rhode Island School of Design, Teaching Philosophy
download gamboa.doc
3.Matthew E. Clowney, Rhode Island School of Design Critic,  Teaching Philosophy
download clowney.doc
4. Jerlyn Jareunpoon, Alumni, MFA  Graphic Design, Rhode Island School of Design,  Teaching Philosophy
download jareunpoon.pdf

Faculty Teaching Philosophies:
1. Barbara Seidenath,  Jewelry + Metalsmithing Faculty, Teaching Philosophy
download seidenath.doc
2. Dr. Daniela Sandler, Assistant Professor, School of Architecture, University of Minnesota, Teaching Philosophy
download sandler.doc
3. Mary Kawenski, Professor, Apparel Design Department, Teaching Philosophy
download kawenski.doc

Teaching Philosophy Assignment 2016

Teaching Philosophy Readings from National Teaching and Learning Centers

http://www.celt.iastate.edu/faculty/document-your-teaching/writing-a-teaching-philosophy-statement

http://cft.vanderbilt.edu/teaching-guides/reflecting/teaching-statements/

http://teachingcenter.wustl.edu/writing-teaching-philosophy-statement

 



Teaching Portfolio

A teaching portfolio is an academic representation of you as a practitioner and emerging reflective professor, a teaching portfolio includes curriculum vitae, a proposed course syllabus, class projects, teaching reflections, feedback forms and an artist/designer statement. Specifically, the elements of a teaching portfolio are:

Professional Presentation:
Cover Letter
Curriculum Vitae
Artist/Designer Statement
Visual Documentation of your practice

Teaching Presentation:
Teaching Philosophy
Proposed Course Descriptions
Proposed Syllabus
Class Projects
Mid-term Feedback Form
Selected Sample Evaluations of Student Work
Selected Sample Evaluations/Teaching Reflections
Visual Documentation of your students work if available.

Components:
Incorporating Sheridan Center scholarship
Incorporating teaching with a museum collection
Incorporating safety and health practices
Incorporating inclusive classroom attitudes and diversity factors
Incorporating critique criteria and varied critique modes
Incorporating visual culture and content with technique

Scholarship of a Teaching Portfolio
Hannelore Rodriquez-Farrar
http://brown.edu/Administration/Sheridan_Center/docs/teach_port.pdf

The Teaching Portfolio
Matthew Kaplan
http://www.crlt.umich.edu/publinks/CRLT_no11.pdf

Academic Cover Letters
http://www.careereducation.columbia.edu/node/717

How to Write a Statement of Teaching Philosophy
Gabriela Montell
http://chronicle.com/article/How-to-Write-a-Statement-of/45133/

Writing a Teaching Philosophy Statement
http://depts.washington.edu/cidrweb/Bulletin/TeachingStatement.html

Visual Artist Curriculum Vitae
http://www.collegeart.org/guidelines/visartcv.html

Artist Statements
RISD Writing Center Mari Iwahara and  Jennifer Liese
http://risdwritingcenter.files.wordpress.com/2011/11/artist-statements.pdf

Slide Labeling
www.collegeart.org/guidelines/slidelabel.html

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Teaching Consultants

RISD Faculty Teaching Consultants have participated in professional advancement programs in reflective teaching practices at the collegiate level. In addition, they have received Sheridan Center training for classroom observations. They provide formalized individual consultations with graduate students and fellow faculty members; lead discussion groups; and co-offer roundtables on teaching practices for the larger academic community.

Dr. Paul Sproll
Department Head of Teaching + Learning in Art + Design
psproll@risd.edu

Nancy Friese
Professor, Teaching + Learning in Art + Design
nfriese@risd.edu
Sheridan Certificate

Matt Bird
Critic, Industrial Design
mbird@risd.edu
Sheridan Certificate

Robert Brinkerhoff
Department Head of Illustration
rbrinker@risd.edu
Sheridan Certificate

Liz Collins
Associate Professor, Textiles
lcollins@risd.edu
Sheridan Certificate

Deb Coolidge
Senior Critic, Foundation Studies
dcoolidg@risd.edu
Sheridan Certificate

Susan Doyle
Assistant Professor, Illustration
sdoyle@risd.edu
Sheridan Certificate

Ellie Hollinshead
Professor, Foundations Studies
wherld@cox.net
Sheridan Certificate

Mary Kawenski
Professor, Apparel Design
mkawensk@risd.edu
Sheridan Certificate

Matthew Monk
Professor, Graphic Design, Foundations Studies
mmonk@risd.edu
Sheridan Center

Robin Quigley
Department Head, Jewelry + Metalsmithing
rquigley@risd.edu
Sheridan Certificate

Andrew Raftery
Graduate Coordinator, Printmaking
araftery@risd.edu
Sheridan Certificate

Barbara Seidenath
Senior Critic, Jewelry + Metalsmithing
bseidena@risd.edu
Sheridan Certificate

Nancy Skolos
Department Head, Graphic Design
nskolos@risd.edu
Sheridan Certificate

 

 

 

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Annotated Reading List

Annotated Reading List

Art Subjects: Making Artists in the American University
Howard Singerman
University of California Press 1999
N346.A1 S56, ISBN 0-520-21500-1
find this book on Amazon.com
A seminal book to understand the teaching of art nationally.

The Courage to Teach: Exploring the Inner Landscape of a Teacher’s Life
Parker J. Palmer
1998 Jossey-Bass Inc. 199 pages
LB1775.p25, ISBN 0-7879-1058-9
find this book on Amazon.com
Contains inspirational chapters such as The Heart of A Teacher: Identity and Integrity in Teaching; A Culture of Fear: Education and the Disconnected Life; and The Hidden Wholeness: Paradox in Teaching and Learning.

The Academic Self , An Owner’s Manual
Donald E. Hall
The Ohio State University Press 2002, 130 pages
LB 2331 .H3122 2002, ISBN 97081425090
find this book on Amazon.com
Insightful and encouraging for new and long-term faculty. Examples of how to balance one’s professional life and one’s teaching life are given. Chapters are: “Self,” “Profession,” “Process,” “Collegiality,” “Community” and “Change.” A sample professional statement is an appendix. Recommended.

Becoming a Critically Reflective Teacher
Stephen D. Brookfield
Jossey-Bass Publishers, 296 pages 1995
LB2331.B677, ISBN 0-7879-0131-8
find this book on Amazon.com
“Seeing Ourselves Through Our Students’ Eyes” and “Holding Critical Conversations
About Teaching” are sample chapters. Very good information on a deeper level than teaching-tips-style of books. For new and seasoned faculty.

The Art and Craft of Teaching
Preface
Dean K. Whitla

Introduction
C. Roland Christensen
Harvard School of Education World Edition 144 pages Paperback
ISBN978-0674046801
find this book on Amazon.com
A practical guide for everyone who must deliver a lecture, lead a discussion, assign a grade, or carry out the hundreds of tasks involved in being a successful teacher from the first day of school to the last.
1. Varieties of Teaching
James Wilkinson

2. The First Day of Class
Jeffrey Wolcowitz

3. The Theory and Practice of Lectures
Heather Dubrow and James Wilkinson

4. Questioning
Thomas P. Kasulis

5. The Multifaceted Role of the Section Leader
Ullica Segerstråle

6. The Rhythms of the Semester
Laura L. Nash

7. Teacher Essay-Writing in a Liberal Arts Curriculum
Heather Dubrow

8. Grading and Evaluation
Christopher M. Jedrey

9. Learning a New Art: Suggestions for Beginning Teachers
Richard Fraher_

The Chicago Handbook for Teachers : A Practical Guide to the College Classroom
The University of Chicago Press 1999
pbk 155 pages
LB 2331.C52332,ISBN 0-266-07512-5
find this book on Amazon.com
Contributors: Alan Brinkley, Betty Dessants, Michael Flamm, Cynthia Fleming, Charles Forcey, Eric Rothschild
Practical introductory handbook to collegiate teaching. A good beginning text.

Teaching Tips: Strategies, Research and Theory for College and University Teachers
Wilbert. J. McKeachie 1999, 379 pages
LB1738.M35,ISBN 0-395-90345-9
find this book on Amazon.com
Houghton Mifflin Company
A useful basic digest for quick reference to a full range of teaching situations. May be very helpful to new teachers, especially chapters such as “Facilitating Discussions: posing problems, listening and questioning.” and “Understanding Students.”

First Day to Final Grades , A Graduate Students’ Guide to Teaching
Anne Curzan and Lisa Damour, 197 pages
The University of Michigan Press 2000
LB2335.4.C87, ISBN 0-472-06732-X
find this book on Amazon.com
Written by graduate students for graduate students. Provides a pragmatic
approach to teaching while a student oneself.

Ms. Mentor’s Impeccable Advice for Women in Academia Atheneum
Emily Toth
The University of Pennsylvania Press 1997, 222pages
56.1T143
find this book on Amazon.com
A classic book for women in academia. Formatted like an advice column giving all the questions you want to ask but haven’t.

The Art and Craft of College Teaching: A guide for New Professors and Graduate Students
Robert Rotenberg
Booklocker.com 308 pages
LB 2331 R.64 2005, ISBN 0976589508 2005
 find this book on Amazon.com
A comprehensive book with a good range of information. The 116 short chapters are accessible and useful with several looking at creative thinkers in the classroom.

The Balancing Act : Gendered Perspectives in Faculty Roles & Work Lives
Edited by Susan Bracken, Jeanie Allen, Diane Dean
From Women in Academe Series
Stylus Publishing 2006, 178 pages
LB 2332.32 B 35 2006, ISBN 1-57922-149-1
find this book on Amazon.com
Chapters such as “Agents of Learning. Strategies for Assuming Agency, for Learning, in Tenured Faculty Careers.” Scholarly review of the academic world today with good recommendations for change.

From Debate to Dialogue: Using the Understanding Process to Transform Our Conversations.
Deborah L., PhD., Flick 1998
Orchid Publications
P 95.455/F55 1998, ISBN 0-9663671-3
find this book on Amazon.com
Enhancing discussions through practical applications.

Voices of Experience : Reflections from a Harvard Teaching Seminar
Editors Mary-Ann Winkelmes and James Wilkinson
New York 2001. XV, 131 pages
LB 2331.V63 2001, ISBN 978-0-8204-4901-2
Peter Lang Publishing Group
Essays from a Bok Center seminar for teachers early in their academic careers. Topics include: effective teaching techniques, students’ and teachers’ motivation, discussion in the classroom, collaborative learning, lecturing, diversity, grading and feedback, and balancing teaching and professional concerns.

39 Microlectures in Proximity of Performance
Matthew Goulish
Routledge Press, NY
S 3557.09135A615 2000, ISBN 0-415-21393-2 pbk 2000
find this book on Amazon.com
A collection of miniature stories, parables, musings and thinkpieces on the nature of reading, writing, art, collaboration, life, death, the universe. Goulish is the founder of the performance group Goat Island. He examines boundaries between poetry and criticism, creativity and theory, etc.

Teaching to Transgress: Education as the Practice of Freedom
bell hooks
Routledge Press 1994
LC 196.H66 1994, ISBN 0-415-90807-8
find this book on Amazon.com
“To educate as the practice of freedom is a way of teaching that anyone can learn….”
An inspirational book on teaching engagement.

Disciplinary Styles in the Scholarship of Teaching and Learning: Exploring Common Ground
Edited by Mary Taylor Huber , Sherwyn P. Morreale
LB 2331.D57 2002
find his book on Amazon.com
A collaboration of The Carnegie Foundation for the Advancement of Teaching and AAH 256 pages 2002 Stylus Publishing
Ten sets of disciplinary scholars respond to an orienting essay that raises questions about the history of discourse about teaching and learning in the disciplines, the ways in which disciplinary “styles” influence inquiry into teaching and learning, and the nature and roles of interdisciplinary exchange. The authors hope to “contribute to a common language for trading ideas, enlarging our pedagogical imaginations, and strengthening our scholarly work.” Disciplines represented are: chemistry communication studies, engineering, English studies, history, interdisciplinary studies, management sciences, mathematics, psychology, and sociology.

Rethinking Teaching in Higher Education: From a Course Design Workshop to a Faculty Development Framework
Edited by Alemoush Saroyan, Cheryl Amundsen
2004 Stylus Publishers
LB 1738.R46 2004, ISBN 978-1-57922-0471
find this book on Amazon.com

Visual Culture: The Study of the Visual after the Cultural Turn  2005
Margarita Dikovitskaya
MIT Press 2005 , 316 pages
N72.S6 D54, ISBN 0-262-04224-X
find this book on Amazon.com
Interview format. History of visual studies through a disciplinary and institutional view.

The Craft of Teaching : A Guide to Mastering the Professor’s Art
Kenneth E. Eble
Jossey-Bass Publishers, 247 pages pbk
San Francisco 1988
LB2331.EB328, ISBN 1-55542-664-6
find this book on Amazon.com
He starts with an examination of twelve assumptions helping to create a mythology of teaching:
1. That teaching is not doing
2. That teaching is not a performing art.
3. That teaching should exclude the personality
4. That students’ “worst” teachers now will become their “best” teachers later.
5. That the popular teacher is a bad teacher
6. That teachers are born not made
7. That good and bad teaching cannot be identified.
8. That research is complementary to teaching.
9. That teaching a subject matter requires only that one knows it.
10. That college teaching is not a profession.
11. That teaching is better at the higher levels than at the lower.
12. That teaching is both less and more mysterious than it is.

 

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