(Birmingham Museums Trust, n.d.)

ACP AT2 statement of intention

An education facilitated through the visual arts is said to offer rich opportunities for learners to develop important critical thinking and problem-solving skills that are valuable to emerging 21st-century industries (Ewing 2011:7). Art-based learning experiences are evidenced to improve an individual’s enjoyment in educational settings and provide an outlet for the expression of identity or culture while fostering an environment that is conducive to broader social and personal benefits (Ewing 2011:13). This relationship between arts and learning is ‘transformative’, often indirect in nature but provides the stepping stones for individuals to “make significant shifts in their understandings of themselves and the worlds in which they live” (Ewing 2011:32). 

In Art Creative Practice (ACP), students will engage with artworks and artists to understand and interpret how they communicate meaning, expressions, and values. The subject fosters the capacity for students to make connections “across different kinds of knowledge” when students experience art and its various functions “as audience members and as artists” (Ewing 2011:7). Through this lens, quality art programs serve a broader purpose, providing students with the opportunity to “experiment, create, analyse and critique, and ultimately discover multiple meanings in artwork[s]” (Ewing 2011:7) while exploring ways to represent their own art practice. With this understanding, I have developed two ACP VCE Unit 1 Area of Study (AOS) learning sequences in conjunction with the ACP Study Design, focusing on areas/outcomes 1 and 2.  Within these learning sequences, students will use experiential learning pathways to explore Making and Responding techniques impactfully, and as both artist and audience, “consider their connection to artworks, and how their communication of ideas […] challenge, shape and influence viewer or audience perspectives” (VCAA, 2023).

To accompany this, I have developed an annotated list of the primary resources featured through both learning sequences, responding to their most valuable qualities and how they have been implemented to support student engagement and enhance outcomes. Furthermore, I have analysed the impact of having a web-based platform as a pedagogical tool, responding to the efficiency and ability of the platform to facilitate flipped learning approaches, house important educational content, and positively convey progressional information to various stakeholders.

Developing the Area of Study Learning Sequence

In developing the learning sequence, I first explored the Art Creative Practice Study Design to extend my knowledge of the VCE content areas and understand the scope of the study across the depth of each unit. In parallel to this, I conducted a deeper inquiry into the study specifications that inform each unit outcome and learned how they are applied to support and advance student objectives. Through engaging with this process, I developed an affinity towards Unit 1 and the learning possibilities that are available from exploring the creative practice and ‘meaning-making’ through its early stages, deciding to focus on creating a learning sequence for areas 1 and 2. With this established, I extended my research into the key knowledge, skills, and assessment outlines for the AOS, aiming to build a greater understanding of how the study guidelines are implemented to foster success through student outcomes.

To approach developing the AOS content I first engaged with planning through the Backwards Design process, identifying the desired results and determining the required student outcomes before considering the learning activities, and instructional planning that will be set to achieve assessment objectives (Wiggins and McTighe, 1998). Alongside the study sequence, I have developed a ‘learning hub’ within the unit 1 overview area where students can refer to and access additional supporting pages that house key curriculum information and all the most important analysis resources in one easy-to-access location. Both teachers and students will engage with this resource area, where provided is an overview of the content students will engage with throughout Unit 1, and a variety of general resources such as reading suggestions and Art Elements and Principle adjectives that will help students further their knowledge and approaches to each outcome. In this same Unit 1 area, students will find a collection of pages including both AOS 1 and 2 learning sequences, as well as additional resource pages that provide detailed outlines of the study design's content information such as the ACP field terms, practice approaches, and Interpretive Lenses (VCAA, 2023).

To engage with the AOS 1 sequence, stakeholders can view the AOS overview, key knowledge, outcome requirements, and AOS timeline at the top of the sequence, providing students with convenient access to the study expectations and guiding task specifications. Directly under this, students will find a section that outlines the assessment task, where they will choose from a series of crafted pathways that analyse the meanings and messages of artworks and artists using the Structural and Personal Lenses (VCAA, 2023). Furthermore, a range of valuable resources are provided within the page’s navigation to support student progression through tasks, demonstrating approaches to art analysis and presenting questioning avenues to explore. Much like the AOS 1 sequence, AOS 2 follows the same site structure, with important content and assessment guidelines through the top of the page, followed by an outline of the assessment task and resources that will help advance student outcomes. However, in the AOS 2 sequence, students will focus on exploring the Creative Practice through experiential learning tasks, working with at least 3 art forms while “respond[ing] to a range of artworks, ideas, and the practices of artists through experimentation” (VCAA, 2023).

Within each learning sequence, a range of pedagogical approaches are employed to support the diverse learning needs of students and supply teachers with High Impact Teaching Strategies (HITS, 2019) designed to enhance the delivery of learning outcomes. Featured frequently throughout both sequences are questioning strategies, implemented to engage and challenge students while checking for understanding and inviting the potential for open responses (Churchill et al., 2021). Furthermore, the inclusion of ‘worked examples’ are utilised to support students with the initial acquisition of cognitive skills and provide assistance towards visual comprehension, while ‘multiple exposures’ are included to give students opportunities to engage with resources that will improve their concept knowledge (HITS, 2019). Additionally, secondary HITS strategies such as setting goals, planned structure, and the differentiation potential are outlined throughout the sequence; Each strategy is highlighted at the top or bottom of each content section. The learning sequences for both AOSs’ are developed through an inquiry approach, emphasising the learning process over the outcome while encouraging students to initiate questioning and search for deeper understandings (Churchill et al., 2021).

Resources

Both learning sequences contain a variety of impactful resources that are utilised to support the sequence structure and inform knowledge production through important areas of analysis and form explorations. The Victorian Curriculum and Assessment Authority’s (VCAA, 2023) support materials as well as the ACP Study Design are referenced frequently to inform the development of assessment tasks and approaches to practical tasks, while also providing the critical information that’s found within the important Creative Practice Overview and Interpretive Lenses resource pages. Caudullo and Kelly’ (2020) Art Design and Education webpage is an excellent resource that has inspired the content structure of each learning sequence, providing clear examples of how to scaffold content information while providing valuable resources that I’ve been able to adapt and implement into my own platform. Furthermore, Blake’s Art VCD (2024) and Russo Scherr’s Blue Lava Art (2024) have been tremendously helpful resources that have informed the transmission of practical tutorials and topical theory, while providing worked examples of folios and analysis that students can observe the expectations at different levels. YouTube (2024) has also been implemented as a supportive secondary resource used to demonstrate experimentations with a variety of forms and materials, and transmit fundamental knowledge of art analysis, key artists/artworks, and support through the Elements and Principles.

Website as a Pedagogical Tool for Learning & Teaching

The web-based portfolio has been able to demonstrate a variety of functions that have contributed to the development of a successful teaching and learning tool that will be beneficial to both teachers and students. As a flipped learning tool, the digital platform provides the opportunity for students to engage with content at their own pace and can be versatile to a range of different learning styles. To further support this, the platform can easily be interacted with from multiple devices and can house all the important educational resources, arts-based guidelines, and assessment information in one accessible location, anywhere, anytime. Additionally, web-based flipped learning capabilities have the potential to repurpose classrooms into more productive workspaces, engaging students through the required use of new digital skills while cutting out the need for the physical collection and distribution of paperwork. As a pedagogical learning tool, the developed online AOS sequences are an excellent transmission device to apply effective teaching strategies and provide students with access to curriculum-specific resources that would, without an all-access platform, take a long time to explore and view individually. For example, YouTube video content is purposefully actioned across both AOSs’ to provide contextual information for analysis or to demonstrate the wide variety of techniques and processes that can be utilised within form exploration. Furthermore, the platform generates the opportunity for students to be exposed to a large volume of links and resources that can expand their knowledge in content areas, while the capacity for online collaboration proves as an attractive option for teachers to maintain class engagement. The web portfolio that I have developed entertains all the values of scaffolded learning and clearly outlines the objectives of the online space. I have included additional pages such as the Creative Practice and Interpretive Lenses overview to provide students with all the key content and information they need to be successful without having to refer to a worksheet or scour through the study design. For the many external stakeholders such as parents and school governing bodies, the portfolio gives access to these parties to view and understand what students are working on, with a greater opportunity to monitor progress. This all-in-one platform is a good representation of the possibilities that are available to build upon through online learning.

References:

Blake. (2024). VCE Folio examples. Ms Blake Art + VCD. https://msblakeartvcd.wixsite.com/msblake/vce-art

Caudullo, E. & Kelly, M. (2020). Art and Design Education VCE. https://artdesigneducation.wixsite.com/vcestudies/copy-of-art

Churchill, R., Godinho, S., Johnson, N. F., Keddie, A., Letts, W., Lowe, K., Mackay, J., McGill, M., Moss, J., Nagel, M. C., Shaw, K., Ferguson, P., Nicholson, P., and Vick, M. (2021) Teaching: Making a Difference (5th ed.). John Wiley & Sons, Incorporated, Melbourne, AUSTRALIA. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=6729416

Ewing, R. (2011). The Arts and Australian Education: Realising potential. [report]. Australian Council for Educational Research (ACER). https://research.acer.edu.au/cgi/viewcontent.cgi?article=1020&context=aer

McTighe, J. Wiggins, G. (1998). Understanding by Design. Association for Supervision and Curriculum Development (ASCD). https://educationaltechnology.net/wp-content/uploads/2016/01/backward-design.pdf

Russo Scherr, J. (2024). Blue Lava Art. https://bluelavaart.com/

Victorian Curriculum and Assessment Authority (VCAA). (2023). Art Creative Practice Study Design. [Report]. Victorian State Government. https://www.vcaa.vic.edu.au/curriculum/vce/vce-study-designs/ArtCreativePractice/Pages/index.aspx

Victorian Curriculum and Assessment Authority (VCAA). (2024). Planning Overview. Victorian State Government. https://www.vcaa.vic.edu.au/curriculum/vce/vce-study-designs/ArtCreativePractice/Pages/Planning.aspx

YouTube. (2024). Education Resource. https://www.youtube.com/

Site Imagery:

Birmingham Museums Trust. (n.d.). Abstract Painting. Unsplash. https://unsplash.com/@birminghammuseumstrust