Ahead of its time? Reassessing what is core content in Visual Arts in the New South Wales Curriculum

Maras, Karen

doi:10.1007/s41297-021-00136-6

Cited by 2 publications

(2 citation statements)

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“…Both draw on the importance of visual culture (Freedman 2003), aligned with the idea that art and education are situated in and framed by historical, social, political, geographic and cultural contexts. As well, they draw on the delineation of criteria for assessment, judged in relation to specified levels of achievement, which are key characteristics of criterion-referenced assessment (Blaikie 1994a(Blaikie , 1996(Blaikie , 2004Maras 2021). Finally, both draw on standardisation, internal and external examination, and moderation, to regulate judgement and to mitigate against the potential for unfair subjective judgements by examiners and teachers.…”

Section: Comparative Analysismentioning

confidence: 99%

“…Renewed interest in cognitive bases of art learning articulated as core concepts and principles that draw on prescribed levels of achievement is evident alongside nuanced approaches to grade standardisation that potentially have implications for praxis, content, and assessment in art making (Maras 2021). In relation to IB and NSWVA art curricula and assessment/examination, there can be challenges to students’ intellectual and artistic autonomy as art learners (Blaikie 2006; Maras 2010).…”

Section: Challengesmentioning

confidence: 99%

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Epistemologies and Aesthetics of Curriculum, Pedagogical Praxis and Assessment in the Visual Arts: A Comparative Analysis of the International Baccalaureate Diploma Programme and the New South Wales Stage 6 Visual Arts Syllabus

Blaikie,

Maras

2024

Int J Art Design Ed

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We compare epistemologies and aesthetics in the International Baccalaureate Diploma Programme and the Australian New South Wales Stage 6 Visual Arts Syllabus, focusing on curriculum content, pedagogical praxis, and assessment strategies. Both curricula feature making, reflexivity, and critique. International Baccalaureate components are Exhibition, the Process Portfolio, and the Comparative Study. In New South Wales Visual Arts they are the Body of Work and Visual Diary. Issues are the teacher as curriculum; uneven resources; shifting contexts and formulating standardized expectations. In both, qualitative assessment and examination are achieved via articulating criteria and levels of achievement, and examiner training. In International Baccalaureate, what counts as good work can vary in relation to Principal Examiner standards, particularities of context, pedagogy, and resources, with work ranging from sophisticated installations, to anime, to the school art style. In New South Wales Visual Art aesthetic conventions are reinforced because the system is less distributed than International Baccalaureate, where aesthetics become engrained, perpetuating conventions around what counts as good art. In spite of supervening assessment structures, teaching, learning, and assessment in visual arts education is always highly qualitative, unfolding, and rooted in the situated shifting conditions and ways of being in the world of each teacher, student, artwork, examiner, artist, and scholar.

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Section: Comparative Analysismentioning

confidence: 99%

Section: Challengesmentioning

confidence: 99%