CHAPTER 1 INTRODUCTION

Background of the Study

Art education provides students and learners an opportunity to explore the visual arts and allow for a unique form of knowledge not addressed in other subjects. It is the area of learning thats based upon the visual, tangible arts and design. Education in art takes place across the life-span. Children, youth and adults learn about art in community based on institutions and organizations such as museums, recreation centers, and places of worship, social service agencies and prisons among many other possible venues. Its core is the study of inseparable artistic, aesthetic experience and learning. Modern art education has encompassed fields of diverse and varied concepts of value and beauty; but this has not always been so (Eisner, 2004, p.25).

If we feedback from our past history, we may begin in 1919 when the German Bauhaus offered a program of design analysis that broke art down to its constituent components of principles and elements, addressing social needs with efficiency and aesthetic that approached minimalism. Many of the Bauhaus adherents came to the U.S and their analytical and disciplinary approach became folded into the American blend of art and education. According to the Bauhaus methodology, in its insistence of disavowing all previous art styles and teaching through the principles and elements of design might lose sight of the usefulness of art and its values as an engaging form of expression. Lowenfeld and Read who are the prominent creative self-expression in the 1940s believed that arts were liberating through the creative impulse. They said that, the activity of self expression cannot be taught. Any application of an external standard, whether of technique or form, immediately induces inhibitions and frustrates the whole aim. The role of the teacher is that of attendant, guide, inspirer and psychic midwife. (Eisner.2004,p 32-33) Another approach to art education is based in another benefit of art education the arts

promote academic performance. Art education is also spoken of as a preparation for work. According to some critics, as our schools go, so goes our economy and .experience in the arts develops initiative and creativity, stimulates the imagination, develops planning skills and in some arts fields helps the young and adolescence how to work together. In most systems, criticism is understood to be criteria-based-analysis established on acknowledged elements of composition and principles of design which often vary in their verbal articulation, between the different art discipline forms. Art criticism is one of the four foundational disciplines of Discipline-Based Art Education, along with art production, art history and aesthetic. Art criticism is responding to, interpreting meaning, and making critical judgments about specific works of art. Each of these four disciplines of art function in a unique way within the learning process. Art criticism helps students to sharpen their visual skills and become more articulate about forms of art. Aesthetics deals with the nature of art, beauty, valuing and understanding others belief about art. Usually art criticism focuses on individual, contemporary works of art. When initially introduced to art criticism, many people understandably associate negative connotations with the word criticism. As in the dictionary defines criticism as the act of criticizing, usually unfavorably. Yet the second definition is more appropriate for art criticism which is the art of evaluating or analyzing works of art. Art criticism, in practice, is generally more into positive. In Practical Art Criticism, Edmund Feldman writes that art criticism is spoken or written talk about art and that the central task of criticism is interpretation. In criticism, Feldman developed a widely used sequential approach to art criticism based on description, analysis, interpretation and judgment. Through art criticism, people look at art, analyze the forms, offer multiple interpretations of meaning, make critical judgments and talk or write about what they see, think and feel. Art is criticism and devotion. Criticism however is an accurate interaction of rejection and acceptance. Art is the criticism which is also love. The world asks that it be judged, known and judged-so that it can be liked. All art has the oneness of discontent and pleasure. The world cannot be seen as good until it is criticized and art is the criticism

and through criticism, the loving acceptance of the world. Another way of putting this matter is: Art is that part of life which makes it beautiful by showing that the criticism of life can be beautiful. Art as criticism consists-as-it does everywhere-of three things: acceptance, rejection and change. To be an individual is to criticize reality. To be an artist is to criticize reality in such a way, that the criticism is an intense acceptance. The criticism which is art has made a personal thing more general and general thing more personal. Henceforth, the objectives of this study are the willingness to identify the purpose of conducting critique session among adult learner in the Faculty of Art and Design, University Technology MARA (UiTM). At the same time, this study will observe adult learner behaviors and to examine learning approaches used by art instructors during critique session. Finally, this study would discover adult learner responses after a critique session and to clarify the reality behind art criticism. Through art criticism activities in class, students interpret and judge individual works of art. The work of art itself should guide the approach to inquiry. A variety of approaches will lead students to enter and interpret many works of art from multiple perspectives. The aim of this study is to create a greater awareness of the possibilities of how criticism can be integrated into a design studio setting. Much of what is presented here is based upon written theories of criticism. Another goal of this study is to foster a clearer understanding between students and instructors as to the purpose of criticism as employed during class critic, desk critic and among critic juries. Informed use of

criticism as a teaching method has the potential to foster a culture in the design studio that is open to discussion of ideas and to teach students the critical thinking skills necessary to reflect upon their own design decisions and their consequences. Problem Statement Critique session has the potential to be a powerful pedagogical tool in art. Criticism is a behavior in which individuals express their own perceptions of a physical place, an object, or ideas in the hope of communicating their ideas to others. However, criticism is sometimes perceived to have a negative connotation because of its sense of passing a

judgment upon artworks content and ideas. This research has the intention to discover the teaching approaches and the effects of conducting critique session among adult learners. Significance of the Study

We want to recommend changes and improvement in terms of the teaching approaches in art criticism for adult learners. The teaching approaches somehow can be developing through the awareness of lecturers in the Faculty of Art and Design, Department of Fine Art. This study might give suggestions that will benefit different target groups such as the faculty, the lecturers and students. Students preparations before a session of art criticism may also be one of the considerations of this study. Using the constructive criticism in the class means that the compassionate attitude towards the person who qualified for criticism. The attitude can be describe by having higher experience, gifts respect, knowledge in specific field and being able to verbally convince at the same time. There will be a tension between friendly support among student, lecturers, viewer or the instructor and the useful criticism. A critic might be usefully by helping an individual artist to recognize what is poor or slapdash in their body of work, but the critic may appear harsh and judgmental in thee useful process. With the useful criticism is a practical part of constructive criticism.

Research Objectives To identify the purpose of conducting critique session among fine art students in the Faculty of Art and Design, UiTM Shah Alam. To examine learning approaches used by lecturer in art criticism To discover students reactions towards a critique session

Research Questions What are the purposes of art criticism among adult learners in Master in Fine Art

courses, Universiti Teknologi MARA, UiTM, Shah Alam Selangor? What are the teaching approaches practiced by lecturers in conducting art criticism for adult learners? How does the adult learner react towards a session of art criticism?

Definition of Terms Aesthetics Aesthetics is commonly indicating known as the study of sensory or sensory-emotional values, sometimes called as judgments of sentiment and taste. Moreover, in other field define aesthetics as a critical reflection on art, culture and nature. Aesthetics is a sub discipline of axiology, a branch of philosophy and is closely associated with the philosophy of art. Adult Learner Adult learner (aka mature student) refers to a term used to describe any person socially accepted as an adult who is in a learning process, whether it is formal education, informal learning or corporate-sponsored learning. Andragogy Andragogy is defined as consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. Constructivism Constructivism refers to the psychological theory of knowledge which argues that human generate knowledge and meaning from their experiences. Based from Piagets theory of constructivist learning, it has had wide ranging impact on learning theories and teaching methods in education and is an underlying theme of many education reform movements. Critic Critic refers to the person who expresses a reasoned opinion on any matter especially involving a judgment of its value, truth, righteousness, beauty or technique. It

also indicated by who engages often professionally in analysis, evaluation or appreciation of works of art. Criticism Criticism is defined as the activity of judgment or informed interpretation. In many cases can be synonymous with analysis. In academic contexts, the term can be refers with art criticism which attempts to understand the aesthetic object in depth. It also refers to the activity of subtle interpretation or analysis. DBAE (Discipline-Based Arts Education) The Discipline-Based Art Education is defined as the approaches to curriculum which combines experiences from four disciplines in the study of arts such as art productions, art criticism, art history and aesthetic according to below: Art Production is the making of art, and the various components of making art, such as use of tools, manipulation of media, form and expression. Art Criticism is the examination and discussion of style, formal principals of design and elements of art (in terms of color, line, perspective, texture and shading) Art History is not just who made what or when but it is the history of the objects and the history of people through art. Works of art provide a unique documentation of cultural changes throughout history. Studying historical works not only gives us insights into the past, but can also provide valuable insights and information about the present. Aesthetics is the philosophy of art. It is important in the study of art that students engage their brains, think about what they are doing, learning and feeling about their art and the art of others. In studying art through aesthetic questioning, the answer is not important. Description Description indicated by the fiction-writing mode for transmitting a mental image of the particulars of a story. The purpose of description is to re-create or visually

present a person, place, event or action so that the reader may picture that which is being described. Evaluation Evaluation indicated by systematic determination of merit, worth and significance of something or someone using criteria against a set of standards. Evaluation often is used to characterize and apprise subjects of interest in a wide range of human enterprise including the arts. Interpretation (aesthetics) Interpretation is defined in philosophy of art is an explanation of the meaning of some work of art. An interpretation expresses an understanding of a work of art. Judgment Judgment refers to the considered evaluation of evidence in the formation of making decision. A judgment may be expressed as a statement. It is the outcome of an evaluation of alternatives. The formal process of evaluation can sometimes be described as a set of conditions and criteria that must be satisfied in order for a judgment to be made.

Limitations of Study This study has certain limitations on data collection. The target sample of this study is 12 postgraduate students, Part 1 and Part 2, taking Masters in Fine Art, Faculty of Art and Design, UiTM Shah Alam. Only seven out of twelve samples, responded to the research survey. The researchers used the convenience sampling because it is a convenient and practical method of collecting a sample, but the findings may lack in generalizability. The observation of a formal art critique session in this faculty was not accomplished in this study. This is because of art criticism were conducted periodically and has not been yet complete during the study was carried out. The research findings of this study were more or likely based on respondents previous experiences. Therefore, the responds might be biased regarding the positive and negative

perspectives towards art criticism. This study only refers to adult students in the Department of Fine Art of this university. It does not represent the whole population of the faculty of Art and Design in UiTM. Thus, the findings will not represent the whole population of adult learners, participating in art criticism as conducted in each departments of the faculty.

CHAPTER 2 Literature Review

Introduction

The following areas are discussed in the literature review : (a) learning in aesthetic and criticism and learning theories; (b) History of Aesthetic and Criticism; (c) Kinds of learning; (d) educational art criticism; (e) needs of the adult learner; and (f) characteristics of adult learners. The simplest answer is that art criticism is talking or writing about art. Some people such as the artists, the critic or the viewer, want or like to know the meaning and what are the significance of the artworks. It is because; art reflects human values and the understanding, at a deeper level that engage in the criticism towards understanding their own existence. Some of the critics have overt political motivations that identify directly; others leave with their politics lifestyles or lack of, implicit. R.S.Peters (philosopher of education) gives some ideas that; You presumably write about works of art because you love them. I dont write out of hate. I write out of love, and thats what i think criticism should primarily be.

In general, critics choose to spend their lives thinking, writing and talking about art because they love it and see it as a valuable phenomenon in the world. A critic does not always agree with the art that is made, but they enjoy thinking about it. Many critics express humility about being critics. The meaning of a work of art is carried by aesthetic components that modify and shape literal content. In their form and content, art and expressive visual artifacts are a primary way by sending messages to ourselves about who we are, what we believe and what we feel. In most cases, the meaning of works of art and other visual expression is not as self-evident as the meaning of written communication. Art - unlike written or spoken language but it is normally not discursive or explanatory. Rather, it is presentational; it presents us with a feeling, a visual worldview, suggesting or implying what is or what may be but not giving an explanation. As a result, the meaning of art is frequently obscure; literal meaning which is difficult to elaborate out or is even nonexistent. Sometimes critics are accused of arrogance and pomposity. Many critics express humility about being critics. Art and its criticism are difficult whether one likes it or not. Gilbert-Rolfe defends the difficulty of criticism based on the difficulty of art. He acknowledges that there is a general feeling that criticism should not be difficult and that some people think art really isnt difficult at all, but is made difficult by critics in the same way that ordinary people and with good reason. He sees art as purposely challenging and difficult. In like manner, George Steiner, whatever enriches the adult imagination, whatever complicates consciousness and thus corrodes the clichs of daily reflex, it is a high moral act. Art is a privileged, indeed obliged, to perform this act; it is the live current which splinters and regroups the frozen units of conventional feeling. Although some art and its criticism may be difficult, critics should nevertheless strive to make complex issues as clear as possible and without sacrificing the complexity of art or its criticism. As quoted by Burkhart, A critic can change someones life and change society. It is a very powerful role if they accept it as a powerful role. It can be a negative or positive role, but its powerful. Critics give us much to think about about concerning art in society. There is such diversity because critics are people who have different background, beliefs and

attitudes about art. Reading criticism and reacting to it, and viewing art and reacting to it, can provide self-knowledge as well as knowledge about art. Eventually, through reflecting on art and its criticism, viewer should develop their own critical voices and also join the conversation.

Learning in Aesthetics and Criticism

The study of aesthetics and criticism of art engages learners in the abstract world of philosophy and opinion. In discussion of learning in the art domain, Efland (1995) promotes the theory of R. J. Spiro that some domains are better structured. Art is considered an ill-structured domain because concepts vary in meaning from one application to the next. Efland (1995) advocates a lattice-structured art curriculum rather than the previous spiral curriculum promoted by Jerome Bruner. The lattice-structure has the potential for exposing learners to a greater number of overlapping and interconnected ideas and creates a greater likelihood for facilitating transfer. Transfer occurs when two different concepts are seen to have common elements. In art, the overlapping elements could be ideas common to history and art history, criticism and aesthetics, social science and science, to name a few. Problem-solving and a constructivist atmosphere of learning are compatible with this lattice-structure and facilitation of transfer by overlapping of common ideas and discipline content. Active learning encourages learners to seek connections and the field of aesthetics reaches into the discipline of art criticism. Both aesthetics and criticism coincide with art history and socio-political culture. Likewise, Short (1995) adheres to Eflands idea of art as an ill-structured domain, she points out that experts in the areas of art criticism, art history, and studio production are aware of the importance of formal qualities and descriptive content to understanding works of art. Understanding can be deepened through investigation of historical, political, social, and cultural contexts. In critical evaluation (art criticism) of artworks, the following items were considered by the experts:
Formal

qualities and relationship of formal qualities to compositional

Structure
Descriptive content Expressive feature Historical/cultural

and related symbolism context and authorship and/or judgment

Reasoned interpretation

Aesthetic considerations Critical

discourse

As part of the ill-structured discipline of art, the type of course content within aesthetics and criticism is not rigid and bound with black-and-white facts. By nature, artworks invite feelings, interpretation, value-laden judgments, all abstract and individual in content. Learning in art occurs when learners use both affective and cognitive thinking and reasoning. Chanda and Daniel (2000) suggest a way of criticizing that explores the link between historical and cultural content that they term recognizing. This way of recognizing refers to the act of cognitively restructuring ones thinking, getting to know a previously known thing in new ways or an unknown thing, like a work of art, in multiple ways. Art concepts in aesthetics and criticism often overlap, and can result in over-simplification by the notice. However this process of aesthetic valuing and criticism involves use of higher order thinking (Stout, 1995). Criticism and aesthetics content, offered in the on-line atmosphere, constitutes a problem that has not been studied in depth. This study adds to a growing body of research and study in general, to on-line learning research, and to art learning in particular.

History of Aesthetics and Criticism

Foundations of modernist aesthetics developed as part of the Enlightenment philosophical project founded on the Cartesian opposition of mind and matter and the ancient conflict between body and soul. Kants (1788) Three Critiques, published in the late 18th century separated reason into three spheres of theoretical knowledge, practical

reason, and aesthetic judgment. Although aesthetic judgment is directly dealt with in the third Critique this separation helped to establish the idea that aesthetic judgments were made outside of cognition. Postmodern philosophers argue that modernism limits the boundaries of discussion by claiming rationality, objectivity, and authority, promoting universality, and assuming progress. Kants view conceived a disinterested aesthetic experience elevating people to a higher plane (Freedman, 2003). Stankiewicz (1992) argues in her article From the Aesthetic Movement to the Arts and Crafts Movement that in addition to the work of Walter Smith promoting industrial drawing, the Aesthetic Movement and the Arts and Crafts Movement shaped nineteenth century styles and transmitted values.

The Aesthetic Movement (ca. 1870-1895), first in England and then in the United States, was inspired by Ruskin and the Pre-Raphaelite Brotherhood. Members of this movement were those whose sensibilities and taste were educated and cultivated. They shared a vision of unity among the arts. Possession of the right objects indicated moral and spiritual superiority. Adherents of Ruskin and South Kensington style in England aided by Walter Smiths principles of good design contributed to the Aesthetic Movement in North America. Some Aesthetic (as they were called), following the lead of Ruskin, questioned machine-made objects and placed artistic values above ethical ones. They formed the core of the emerging Arts and Crafts Movement and pre-

industrial production using guilds and small craft workshops. Examining late 19th and early 20th century educational textbooks reveals that elements of both aestheticism and the Arts and Crafts Movement coexisted in school art long after they ceased to function as the cutting edge in the larger art world. Stankiewicz argues that the aesthetic

categories and cultural classifications left by these influences at the birth of modernism must be re-examined in a post-modern context. Art educators need to question their taken-for-granted assumptions about art education and its history. We cannot assume that either/or categories provide the most effective explanatory frameworks for researchers or practitioners (1992, pp. 171-72).

Stouts (1999) argument supports foundational sources of nave aesthetic values than can be observed today in students studying art aesthetics and criticism for the first time. In addition, another strong influence upon thinking in art and in aesthetics and criticism resulted from the promotion of discipline-based art education (DBAE) by the J. Paul Getty Foundation in the 1980s. Discipline-based art education encouraged teaching the elements and principles of art and design as aesthetic qualities, addressing the big questions of art and aesthetics and discussing the work of aestheticians and art critics as a professional field. From the 1990s to the present, greater emphasis on these topics can be seen in publication of writing and research on learning and teaching in art appreciation, aesthetics, and criticism (Chanda & Daniel, 2000; Chanda & Basinger, 2000; Bain, 2001; Efland, 1993; 1995; Eisner 1991, 2002; Erickson, 2005; Freedman & Wood 1999; Freedman, 2003; Greene, 1995; 2004; Lai, A. 2002; Short, 1995; Stout, 1995; 1999; Stankiewicz, 1992; Sullivan, 1996). Some of these publications specifically address teaching in aesthetics and criticism and discussions as to when and how aesthetic and criticism concepts should be introduced to children (Chanda & Basinger, 2000; Chanda & Daniel, 2000; Erickson, 2005; 2005a).

The criticism of art objects, discussion of the role of artists and function of art dates back to Plato. All art history can be said to be critical in that historians choose certain works and artists to discuss. Art criticism was introduced into art education literature as a mode of inquiry to help learners understand and appreciate art (Barkan, 1962; Munro, 1956). The criticism model for examining artworks developed by Feldman (1967; 1970) was one of the earliest and was broken down into linear steps of describing, analyzing, interpreting, and finally evaluating works of art. From the onset of this model numerous alternatives have been proposed. Geahigan (1998) discussed a 1990 article by Efland in which Efland stated that educators had gone wrong in looking to philosophical literature on art criticism for guidance to found models of criticism. Geahigan pointed out that no procedure can accurately represent what critics actually do. He discussed the process of critical inquiry for understanding works of art. Before a critic can evaluate a work of art, he/she must first understand it; however because of the complexity of

artworks, they can be understood and evaluated in different ways (Geahigan, 1998).

In contrast with Barrett (2000), he defines art criticism based on what critics do and say they do. Critics describe images and attempt to put their reaction of feeling, thinking, and understanding into words. They subjectively articulate the effects that the work of art induces in the viewer. Some critics define their job as one to describe, interpret, and evaluate art. Art criticism, although intertwined with art history, emerged also in discipline-based art education as a separate discipline and is closely tied with aesthetics, since any criticism reflects the values held by the critic. Critics work for viewers of art and those who want to think critically about the times and society in which we live. Like artists, they produce meanings, but use pages of magazines rather than canvas. These critics hold aesthetic and ethical values that they promote in their writing. Their goal is generally to increase readers understanding and appreciation of the art, the political and intellectual milieu in which it is made, and its possible effects on the world (Barrett, 2000).

Types of Learning Aesthetics and Criticism

Learning in aesthetics and criticism does not follow a prescriptive, step-by-step process. Critical inquiry and aesthetic valuing are shallow when examination of artwork is reduced to procedural steps. The thinking processes involved in this activity require knowledge and understanding and use of reflective thinking that allows for higher order thinking processes such as hypothesis, synthesis, and evaluation. The process of learning in aesthetics begins with the aesthetic experience. In regard to aesthetic experience Greene (1995) says, Aesthetic experiences require conscious participation in a work, a going out of energy, an ability to notice what is there to be noticed in the play, the poem, the quartet. Knowing about, even in the most formal academic manner, is entirely different from constituting a fictive world imaginatively and entering it perceptively, affectively, and cognitively. (p. 125)

Any engagement with a work of art must out of necessity involve perception. Broudy, (1972) describes aesthetic education and the process of perception as: Aesthetic education is first of all the training of imaginative perception to enable the pupil to apprehend sensory content, formed into an image that expresses some feeling quality (p. 57). Aesthetic perception requires a special kind of preoccupation with the work of art. This perception involves a break from passivity and involves the affective domain of the brain in a sensory investigation, an involvement of emotion, a loosing of imagination, an examination devoid of practical concerns. Dewey (1933) observed that the aim of criticism is the re-education of perception (p. 321) and the enemies of the aesthetic are the humdrum; slackness of loose ends; submission to convention in practice and intellectual procedure (p. 40).

The first task for the instructor in aesthetic and critical engagement is to aid the learner in improvement of perception and set conditions for aesthetic inquiry, which leads learners to search deeper for meaning, for content, for artistic intent and possibly sociocultural importance. This inquiry involves active engagement and leads toward aesthetic and critical response and evaluation. Learners must identify opinion versus fact, analyze what things to know, sort beliefs and assumption from what is factual and valid, and reason and evaluate to determine value. Reflection upon thinking clarifies their thinking process. Greene (2004) sums up this process however, art experiences, aesthetic

experiences, are intrinsically valuable . . . they do not have to lead to further goods or measurable outcomes to be justified. Even so, it may not be too much to say that the wide-awakeness, the thoughtfulness, the sense of the unexpected associated with such experiences may be precisely what is needed to stimulate the kinds of reflective practice and reflective learning all of us hope to see. (p. 18) Teachers/instructors in aesthetics and criticism influence what learners. For example, the kind of art those teacher/instructors select to discuss draws on a specific theory of art, whether it is a canonized Western European aesthetic or a pluralistic multicultural aesthetic. If we expect learners to have a substantive understanding of art and how it contributes to humanity, aesthetic philosophies must not remain implicit in a curriculum. Aesthetic content needs to be

made explicit by highlighting philosophical issues or theories within a problem-based environment for learning. PBL can organize the curriculum and challenge students to think deeply about complex situations when it is applied as an authentic real-life application (Constantino, 2002).

The greatest challenge for teaching art aesthetics and criticism is in providing learners opportunities to experience artworks and subsequently gain knowledge about artworks that challenged them to probe deeper and to overlap new information by induction and deduction. Stout (1999) witnessed deeper critical inquiry in an art

appreciation course when she dedicated substantive time to primary sources rather than a general text overview. Learners became more involved when they read actual writings by the artist of a particular work. When learners can be personally motivated to probe deeper, the potential to improve their problem-solving skills increasesspecifically their ability to hypothesize and test information for reasonable conclusions and deductions. Because there are no absolute answers, the ill-structured domain of art is a rich discipline for increasing learning about ones values as well as opposing values, about different ways of thinking, about visual iconography and communication, and about enrichment of life through awareness of what a society produces and values.

Educational Art Criticism The most basic goal of educational art criticism is to help learners understand and evaluate individual works of art and visual culture and their own response to their works. Beyond that, the goal is for learners to engage in art criticism in order to find meaning for their own lives and to understand the authentic meanings of others. Edmund Feldman (1971) argued that the ultimate objective of educational art criticism is to help learners become members of the human community through understanding art. To achieve this understanding, learners or artists should have frequent and sustained critical encounters with artworks other than (or at least in addition to) their own. Such criticism is not a technical critique of the students

own work. Rather than, it frequently takes the form of description, analysis, contextual examination, interpretation and evaluation of the work of others. We believe that art is more than an object of aesthetic appreciation. An important model of instrumentalist reconstructions criticism is that of feminists. The feminist approach described as nonhierarchical; it involves conversation, narrative or other cooperative strategies for discussion rather than presenting lectures or competitive strategies such as debates. Conversational approaches help learners realize that there is more than one right answer, more than one possible meaning and that the instructor and other authorities do not stand at the apex of knowledge. Rule-governed conversation about art can empower everyone engaged in it. Needs of the Adult Learners
In the early 1970s Malcolm Knowles introduces the term andragogy, which are describing differences between children and adult learners (Knowles,Swanson & Holton 2005). Andragogy were focuses on special needs of adult learners. Knowles identified six assumptions about the adult learning which are; (a) need to know; (b) self-concept; (c) prior experience; (d) readiness to learn; (e) learning orientation and (f) motivation to learn. As an adult, they always want to know something. Adults want to know why they need to learn something before undertaking teaches (Knowles et al., 2005). Most facilitators must help the adults become aware of their need to know and make a case for the value of learning. Frequently adults believe that they are responsible for their living (Knowles et al., 2005). They need to be seen and treated as capable and being selfdirected. As facilitators, they should create the environment where adults should develop their own latent self-directed learning skills by themselves (Brookfield, 1986).

Usually adults come into an educational activity with every different experience rather than the youth (Knowles et al., 2005; Merriam & Caffarella, 1999). They have

their own individual differences behind their own background, learning style, motivation, needs, interests and goals. By all this, adults can create a greater need for individualization of teaching and learning strategies (Brookfield, 1986; Silberman & Auerbach, 1998). Based from their own past and present experiences, the richest resource for learning resides is the adult themselves. Therefore, instructors can teach adults by tapping into their experiences through experiential techniques by discussions, simulations, problem solving activities or case study methods. Adults become ready to learn things they need to know and do in order to cope effectively with real-life situations (Knowles et al., 2005). Usually, adults want to learn what they can apply in the present. They used it as training, focuses on the future or that does not relate to their current situations. As we know, adults are life-centered; task-centered, problem-centered, in their orientation to teach (Knowles et al., 2005). They always want to learn what will help them perform tasks or deal with many problems they confront in everyday situations and those presented in the context of application to real-life (Knowles et al., 2005; Merriam & Caffarella, 1999). Adults are more responsive to some external motivators for example, better job, higher salaries, but the most potential motivators are internal the desire to increased job satisfaction, and self-esteem. Their motivation can be blocked by training and education that ignores adult learning principles (Knowles et al., 2005). Andragogy for example, urges teachers to base curricula on the learner's experiences and interests, every group contains a configuration of idiosyncratic personalities, differing past experiences, current orientations, levels of readiness for learning, and individual learning styles. Thus, trainers should be cautious of prescribing any standardized approach to facilitating learning (Brookfield, 1986). Understanding the six assumptions in andragogy prepares facilitators to create successful training in adult learners principles.

Characteristics of Adult Learners

Most adults were taught in a traditional and passive classroom. Learners and

instructors both need to adapt and change as they learn how to use this new medium. Additionally, instructors, instructional designers, and other professionals working in the design of online environments for adults must understand adult learning theory, especially in terms of its relationship to distance or online learning. According to Moore and Kearsley (1996), "most distance education students are adults between the ages of 25 and 50. Consequently the more one understands the nature of adult learning; the better one can understand the nature of distance learning" (p. 153).

More distance learning programs are being developed annually. Therefore, the increase numbers of adult learners will be tapping into this new resource for education. According to the U. S. National Center for Education Statistics (2002), 56% of all 2- and 4-year degree-granting institutions offer distance education courses for all types of students. The Sloan Consortium's fourth annual report (2006) on the state of online education in U.S. higher education reported: (a) almost two-thirds of all schools offering face-to-face courses also offer online courses; (b) the growth rate of online enrollment between 2004 and 2005 was 35%. The year 2004-2005 demonstrated the largest increase in the number of online students as well as the largest percentage increase in online enrollment growth (Allen & Seaman, 2006). Adult learners are different from traditional college students. Many adult learners have responsibilities (e.g., families and jobs) and situations (e.g., transportation, childcare, domestic violence and the need to earn an income) that can interfere with the learning process. Most adults enter educational programs voluntarily and manage their classes around work and family responsibilities. Additionally, most adult learners are highly motivated and task-oriented (Merriam & Caffarella, 1999). Adults have many challenges today, such as multiple careers, fewer stable social structures to rely on, living longer, and dealing with aging parents.

The past is less helpful as a guide for living in the present. Adults are insecure in many decisions that they need to make. Life is complex due to career, family, and other personal choices. Biological changes take place as individuals age, and it has been shown

that memory decreases with age. It is memory that helps to form links between new and old information (Merriam & Caffarella, 1999). Short-term memory or working memory is limited to approximately five to nine bits of new information at a time (Clark, 1999). The ability to perform chunking, or the grouping of associated concepts, is important for all students (Clark, 1999). Table 1 provides a summary of recommendations regarding the biological changes that may necessitate adaptations to the online learning environment. Another concern related to Knowles theory is that it does not consider the context of learning. It is important to remember that each learner is unique. Characteristics related to culture, life experiences, and gender may be more important to learning than the fact that a learner is considered an "adult." Pratt (1993) concluded that "while andragogy may have contributed to our understanding of adults as learners, it has not done little to expand or clarify our understanding of the process of learning, nor has it achieved the status of a theory of adults learning" (p. 21). Smith (2002) pointed out that Knowles concept of andragogy is a beginning att empt to try to build a theory (or model) of adult learning, and that it "is anchored in the characteristics of adult learners" (p. 3). Smith also noted that Knowles theory uses a model of relationships from humanistic clinical psychology. However, Knowles also built on behaviorist theory by encouraging the learner to "identify needs, set objectives, and enter learning contracts" (para. 4). Knowles andragogy draws from two opposing traditions: behaviorism and humanism.

Andragogy is not perfect, but it represents an attempt to understand the difference between adult and childhood learning. It has several weaknesses; for instance, it has tended to ignore the issues of power and social justice, in society and in the educational
process; the need for critical reflection as a necessary component of an adult learning process; the crucial place of dialogue and discussion as means for learning; and recognition of multiple ways of knowing and learning. (Schapiro, 2003, p. 152)

Research Studies: Aesthetics and Criticism and Related Art Learning

Research studies on learners perspectives of their own learning in aesthetics and criticism are scarce. This section reviews research studies involving aesthetics and criticism and studies of research related to overall learning in art education. A search for research studies in the area of aesthetics and criticism reveals a variety in scope and subject. In two different studies, Favre (1981) and Turgeon (1981) proposed the study of aesthetics as a learning theory. Favre (1981) described the aesthetic experience as an interpreted perceptiona covert response displayed as an overt response such that the effect and/or value of the experience becomes a memory percept through the process of learning. His model of the process of learning used art production or appreciation as aesthetic object or event stimulus that was processed by sensing through perception. In Favres model, perception involved the art experience, memory (past experience), insight (meaning, concept) and results in valuing, which he viewed as a covert response of learning. From this process emerged the overt response of criticism, consisting of objective and subjective valuing. In a different study concerning aesthetic theory development, Turgeon (1981) sought to develop a theory of aesthetics modeled on Piagets epistemology. This study applied Piagets three types of figurative knowledge: perception, imitation, and mental image.

Final conclusions identified the aesthetic event as a cross section of stagedependent modes of apprehension. Its conceptual meaning frequently involved use of formal operations to grasp its cognitive import. It also demanded an intense perceptual gaze that was open and sensitive. Piagets descriptions of cognitive processes were transferred into this aesthetic context and thereby illuminated both the nature of the

aesthetic event as such and the role of cognition within that event (Turgeon, 1981, p. 254). A few research studies focus on aesthetic theory connected to perception and aesthetic stance. Kraft (2006) described an aesthetic theory and art making class

designed for pre-service art education students that encouraged them to adopt a particular aesthetics stance for creation of a project. This concept followed a fundamental purpose of the aesthetics and criticism class used for this study in that readings and activities throughout the semester provided groundwork for projects and assignments. Kraft (2006) described her course design as serving the purpose to survey the history of aesthetic theory but also provide for interventions, opportunities to examine . . . collective stored knowledge (p. 13).

Farmer (1974) sought a means for developing individual perception in ways that promoted understanding of ones self and meaningful encounter with the world through experiencing and perceiving in a sensuous aesthetic mode. Attitude affects ways individuals establish values in the personal realm. He asserted that just as there are conceptual models in the cognitive realm, there can be conceptual models for learning in the affective realm. Valuation, which results from a critical analysis, establishes preferences. In other words, as learners critically analyze something, their attitudes affect how they place value, which establishes preference by where they placed value. In Farmers learning model, learners were introduced to artworks to look at, examine, describe, and compare/contrast using as many senses as possible. Farmer concluded that development of a sensuous aesthetic perception should be a basis for learning. The quality of society depends on the affective and perceptive nature of individuals experiencing through interaction of three operations by learners: attention, analysis, and interpretation/evaluation.

CHAPTER 3 Research Methodology

Introduction

This chapter discusses the rationale of using qualitative method in a case study research and the procedures used to collect and analyze data. This study was intended to examine the effects of critique session, in visual art studies, among adult learners. Therefore, the research methodology used in this study is qualitative in nature. According to Eisner (1991), qualitative research is the search for qualities that characterize our existence.

Similar with Merriam (2002), she states that the key to understanding qualitative research lies with the idea that meaning is socially constructed by individuals in interaction with their world (p. 3). Sherman and Webb (1990) said, Qualitative research has the aim of understanding experience as nearly as possible as its participants feel or live it (p. 7).

This study used the semi-structured interviews and survey with two lecturers from the Department of Fine Art in the Faculty of Art and Design, UiTM, Shah Alam, and Masters Students in the same faculty to collect the data. The questions for the interviews were structured to identify lecturers experiences, approaches and their perspectives towards critique session in art courses. The researchers might be able to know the lecturers past experience when they become art students in postgraduate level. Furthermore, the masters students which assigned as adult learners were given sets of questionnaire to examine the effects of critique session among them. Their responses will later on become the findings of this research. The effects of art criticism among adult learners can be clarified. Moreover, the data also gave the researchers in-depth understanding of how adult learners react before, during, and after art criticism.

Research Design

Since this study sought to understand how art criticism affects the adult learners,

qualitative method seemed to provide an appropriate case study research methodology. Stake (1988) explains case study as a search for understanding that has the opportunity to go much further than most research to pursue complex, situational themes to the limits of human understanding (p. 410). This study was conducted within the context of students participation in an art criticism session, which is compulsory to them. In particular, the study focused upon specific interviews and survey to gain insight and understanding of students experiences throughout a critique session.

The observation covers the aspect of emotional reaction and behaviors of adult learners due to the art criticism practices. Additionally, the researchers functioned as the main instrument, relying on group or individual conversations and survey data to interpret the information as understood. This case study is quite similar to most qualitative research because of the utilization of the two interviews as major source of data. The findings obtain from survey among adult learners act as supporting details to promote better understanding of this study.

Population and Sample

The target populations of this study are postgraduate students in Fine Art courses in UiTM, Shah Alam. The Masters students from the Department of Fine Art, in the Faculty of Art and Design, UiTM, Shah Alam, Selangor has been chosen to be the sample of this study. The sample included twelve students from Part 1 and Part 2 pursuing postgraduate studies, Master in Fine Art, who has been involved in art criticism for at least five years. The sample of students for this study was selected using convenience sampling. Although the researchers intended to use all students in the first and second semester, any students happens to be available can be the sample of this study. The practicality aspect is the consideration of this study whereby some of the students are taking masters by coursework, or by research, or combination of coursework and research. The students are depending on their schedule and might not be available when this research was conducted. Thus, it becomes one of the limitations of this study.

Interviews Interviews were a major source of data for research questions concerning lecturers background, opinions, and perceptions of their own learning experiences in criticizing art. Two lecturers, Mr. Suhaimi bin Tohid, the Head of Fine Art Department, in UiTM, and Assoc. Prof. Dr. Ahmad Rashidi Yan Ahmad, a lecturer majoring in Sculpture were interviewed. Each interview was held approximately one-and-one-half to two hours. Because of positive interaction and rapport in the interviews was important for gathering meaningful research data, personal interviews were not taped in an effort to create a relaxed atmosphere and conducive to sharing information. The questions were read aloud and hand-recorded in short hand notes during each interview. Based on researchers past experience conducting other research, taping interviews caused the participant to react unnatural, apprehensive and tense. Therefore, rather than taping the conversations, shorthand notes were recorded as the participant talked and with request for clarification of information. All interviews were completed between 12 October and 16 October 2009.

Instrumentation

Questionnaires were used to gather appropriate data for this study. The methods of survey research need to be supported with sets of questions to be answered by the respondents. The questions were drawn to examine students reaction and personal observations based on their experience participating in art criticism. Some of the questions were specified to evaluate the respondents emotions and behaviors throughout the critique session. The effectiveness and weaknesses of conducting art criticism among adult learners also can be identified generally from this study. Twelve sets of questionnaire were distributed among

Master in Fine Art students, Part 1 and Part 2 in the Faculty of Art and Design, UiTM, Shah Alam, on the 12 October until 16 October 2009.

Methods of Data Analysis

The process of analyzing data is a confusing and monumental task for qualitative researchers in that they must sort, interpret, and make sense out of the collected materials. The analysis data of this study begins with the first document read, interviews, and observation made by the researchers. Although it has been stated by (Bogdan & Biklen, 1998; Creswell, 1998; Eisner, 1991, 1993, 2003; May & Diket, 1997; Marshall & Rossman, 1999) that analyzing qualitative data follows no definite path, the researchers were still concerned with producing trustworthy findings in this study.

Other than that, this study has different individuals and group of sample. The data accumulated from the sample of this study provide diversifying views and opinions. Therefore, the process of viewing different data from various angles provided triangulation for understanding and interpreting the data. The data from interviews session will be summarized and emphasizing on the main key points of the overall conversation. The analysis of survey were identify based on the majority responses of each items in the questionnaire. Besides that, the items were being explained in further to clarify the effects of art criticism among adult learners. By using such method of analysis

the survey data, the researchers will be able to point up the behavior of adult learners which they had gone through the process of critique session.

CHAPTER 4 Results and Findings

The results from the student questionnaires will be discussed in this chapter.

The

organization of information is based upon each of the topics asked in the questionnaire. The results of each question will be displayed in charts. On each chart the postgraduate responses will both be displayed individually. Its shown together as the result of all the students surveyed. All data collected from the student questionnaires are displayed in these tables. The questionnaire is formed in Likert Scale and open ended question.

SECTION A: Demographic.

The respondents are 4 males and 3 females of postgraduate students. Their age ranged from 26 to 44 years old. Questionnaires were distributed among Master Fine Art students, part 1 and 2 in the Faculty of Art and Design, Uitm Shah Alam but here are only 7 questionnaire were return.

SECTION B: Students Responses Critical Thinking Analysis Results Question 4. overall critic sessions informal criticism from their instructor final assessment Minority 1-3 rating 1 respondent is neutral to the items above. Majority 4-5 rating 6 respondents are satisfied to the following items. Question 5 Minority 1-3 rating 2 respondents are less interested to participate in art critic sessions. 1 respondent is neutral to positively learn from art criticism. 2 respondents are neutral to learn from the informal criticism made by their instructors. 4 respondents are neutral to learn from the negative criticism. 1 respondent is neutral to learn from the final assessment based on their projects. 1 respondent is neutral to learn from the final assessment based on others projects. Majority 4-5 rating

5 respondents are very interested to learn from critic sessions. 6 respondents are very interested to learn from the positive criticism. 5 respondents are very interested to learn from the informal criticism by their instructors. 3 respondents are very interested to learn from the negative criticism. 6 respondents are very interested to learn from the final assessment based on their projects. 6 respondents are very interested to learn from the final assessment based on others projects.

Question 6 Minority 1-3 rating 1 respondent responds neutrally to the instructors who listen to their ideas. 1 respondent responds neutrally on understanding their own design process. 2 respondents are neutral with the exploration of several design options. 1 respondent is neutral with the respond to art criticism. 2 respondents are neutral with receiving design solutions from instructors. 1 respondent is neutral with his/her personal confidence in design ability. 1 respondent is neutral with his/her confidence in talking about the ideas. 1 respondent is neutral with receiving suggestions for further research. 1 respondent strongly disagree with fault finding in their design. 2 respondents are neutral to fault finding in their design. 1 respondent responds neutrally in improving critical thinking skills.

1 respondent is neutral to the encouragement in exploring their own ideas. Majority 4-5 rating 6 respondents agreed that the instructor listen to their ideas. 6 respondents agreed with the understanding of their own design process. 5 respondents agreed with the exploration of several design options. 6 respondents agreed to art criticism. 5 respondents agreed with receiving design solutions from instructors. 4 respondents agreed that they have personal confidence in design ability. 6 respondents agreed that they have confidence in talking about the ideas. 6 respondents agreed that they had received suggestions for further research. 4 respondents are strongly agreed to fault finding in their design. 6 respondents are strongly agreed to improve critical thinking skills. 6 respondents are strongly agreed to encourage exploring their own ideas. Question 7. Minority 1-3 rating Rarely: 3 respondents are rarely confused during and after the art critic sessions. 2 respondents are rarely disappointed during and after the art critic sessions. 1 respondent is rarely resisted during and after the art critic sessions. 3 respondents are rarely frustrated because they didnt get the answer from instructors. 1 respondent is defensive during and after the art critic sessions. 3 respondents are rarely nervous during and after the art critic sessions. 1 respondent is rarely indifferent during and after the art critic sessions.

Neutral 1 respondent is encouraged during and after the art critic sessions. 3 respondents are confused during and after the art critic sessions. 2 respondents are neutral in receiving feedback during and after the art critic sessions. 5 respondents are neutrally disappointed during and after the art critic sessions. 1 respondent is neutrally excited about ideas during and after the art critic sessions. 3 respondents are neutrally resisted to take advices during and after the art critic sessions. 1 respondent is neutrally inspired during and after the art critic sessions. 1 respondent is neutrally confident in personal design process during and after the art critic sessions. 4 respondents are neutrally defensive of ideas during and after the art critic sessions. 4 respondents are neutrally nervous during and after the art critic sessions. 1 respondent is neutrally appreciating the feedbacks given during and after the art critic sessions. 4 respondents are neutrally indifferent during and after the art critic sessions. Majority 4-5 rating 6 respondents are frequently encouraged during and after the art critic sessions. 1 respondent is frequently confused during and after the art critic sessions. 5 respondents are frequently receptive to feedback given during and after the art critic sessions. 6 respondents are frequently excited about their ideas during and after the art critic sessions.

3 respondents are frequently resisted to take advices during and after the art critic sessions. 6 respondents are frequently inspired during and after the art critic sessions. 4 respondents are frequently frustrated because they didnt get the answer from the instructors. 6 respondents are frequently confident in personal design process during and after the art critic sessions. 2 respondents are frequently defensive of ideas during and after the art critic sessions. 7respondents are frequently ready to try new things during and after the art critic sessions. 6 respondents are most frequently appreciated of feedback given during and after the art critic sessions. 2 respondents are most frequently indifferent during and after the art critic sessions.

SECTION C: Students Personal Reflections.

The most common response received from the respondents are, they prefer to have smaller group size of students when they engage in classroom discussions. They need a well-structured and consistent assessment rubric designed for art criticism. Moreover, the adult students also need to be given more specific feedback on how they can improve their designs, and inviting outside instructors to encourage a variety of viewpoints.

The respondents were asked to write their opinions on three open-ended questions for changes and improvement they would like to see in a critique session. The following are some of the responses that given by students: I would like a session of art criticism have an equal time spent on each student. I would like to see written comments given, and it has to be consistent during art critic session. Lastly, one of them stated that, if it looks like no input or time went into the project, why should we waste our thought and time critiquing the work? No one learns from their design and less time could be spent by looking and learning from good design solutions. Overall, the students feedbacks were more positive than expected. One limitation to the results is that students were confined to respond to the given questionnaires. The openended questions have been added to allow discussion on art criticism issues and to examine students opinions that were not covered in the close-ended items on the questionnaires. Another limitation to the results is the sample of students who

volunteered to fill out and return the questionnaire. Implications of the finding in these results and results from instructor interviews will be discussed in the next sub topic.

Question 8. The respondent state that the BEST Critic Session had ever seen is: 1: Art criticism that brings new ideas and understanding to the students. 2: Instructor criticizes to improve students artworks.

3: When the instructor gives positive comments. 4: None. 5: None. 6: At 1999, Art Talk at National Art Gallery during Jailanis exhibition Drawing with the Mind Eyes. 7: Master presentation caused the instructor/supervisor to give me instruction that can improve my research.

Question 9. The respondent state that the WORST Critic Session had ever seen is when: 1: Each session will bring something to ponder. 2: Students cant talk about elements of art and principles of design. 3: An instructor shouted and condemns the students without giving any recommendations or help. 4: None. 5: The instructors criticize during the construction of artworks. 6: None. 7: None.

Question 10. The respondent state that the changes for improvement would like to see in art criticism are: 1: Instructors need to be open-minded and articulate in accepting ideas. 2: Criticize as well as giving new ideas for students improvement.

3: An instructor must be more flexible and open-minded. 4: Invite external examiner. 5: Critic sessions should refer to certain theory of art criticism as references. 6: An instructor had a good knowledge and open-minded discussion. 7: An instructor always gives suggestion, support and encourages the ideas.

Interviews Data

First Interview

The first interviewing session involves the Head of Program, Fine Art Department, Faculty of Art and Design, UiTM Shah Alam, Selangor, Mr. Suhaimi Tohid. He has 14 years of teaching experience in the faculty and majoring in print making. The interview took place in his office room, and was conducted on 12 October 2009 at 10.00 a.m. Eight questions being point out during the interview to determine the purpose of conducting art criticism class among art students and to discover the issues effecting art students.

During the interview, he said that the root of forming ideas in visual art education is to understand the art history and cultural context. Art criticism is closely related to a research-based learning approach in educating the students. It is compulsory for art students to experience the meaningful art criticism session conducted by lecturers in the

faculty. The purpose of conducting a critique session is to keep tracks on students performance and progress in idea development, illustration, experimentation of media and materials and also to help students solve the technical parts of installing their artworks.

In further details, Mr. Suhaimi added that, the art criticism was conducted in sequence by referring to the planning of teaching and learning. The content of criticizing an artwork is based on the syllabus of visual art education. In each critique session, students need to gather their research on particular issue, collect literature reviews or any supporting materials which specified on their research. This will help the lecturers to examine the collected data before giving the permission to students and proceed with the ideas.

Based on his personal observation towards art criticism, students are lack of the skills of data collection. Art students should be critical thinkers when they look into current issues for example, before they can illustrate their personal expression into works of art. Most of the time, the lecturers felt disappointed when the students have no linkages between their ideas and content of artworks. This might represents the negative impact towards the students in general, but the lecturers will guide them progressively in criticism class.

In order to promote effective learning, each session of criticizing students artworks will help the students to construct their knowledge to an extended level. They can perceive the knowledge and understanding of art in many ways. Lecturers of art criticism often encourage students to develop their skills and ability to complete a task. Students,

especially adult learners need to be given the freedom to explore their creativity.

Lastly, before the interviewing session ends, he suggested that the students attitudes towards art criticism need to be change from negative to positive perceptions. They should be ready with proper research data, come out with supporting materials and experimentation to avoid from stressful situation and emotionally unstable during art criticism.

Second Interview

The second interview involved Assoc. Prof, Dr. Ahmad Rashidi Yan Ibrahim, from the Fine Art Department, Faculty of Art and Design, UiTM Shah Alam, Selangor. He has 16 years of teaching experience in the faculty and majoring in sculpture. The interview was held in his office room, and was conducted on 16 October 2009 at 10.00 a.m. The same questions were point out during the interview to discuss on the art criticism class for adult learners in this faculty.

First of all, he differentiates the critique session among art students being held within the local universities and the universities from abroad. He points out the specification of criticizing students artworks at the international level as he had experienced before. Most of the visual art studies in Malaysia local universities were focus on the elements of art and the idea lies on the boundaries of morality. In contrast with the international universities, the students were given more freedom to express their ideas and content of

artworks. The main consideration in conducting art criticism is the rationale of the idea and presentations, rather than to slash upon ones ideas.

As for him, the art criticism is effective teaching approaches that have been practiced since the early period of visual art education. It is beneficial to the students and lecturers. The students can identify their strength and weaknesses through a session of art criticism and able to upgrade their knowledge and skills. Lecturers also can benefit from art criticism as they can measure students performances and development gradually. Conducting an art criticism is a positive teaching approach to be practiced at any level of visual art education.

Furthermore, he also commented on students emotional and physical reaction in this faculty during the session is stressful and disturbed. Students felt less appreciated when they were condemn by the lecturers. He recommends that students at tertiary level should have network program chart or a system of planning the assigned task. It will function as the schedule and guidelines for the students and it would make things easier for both lecturer and students without loosing the right track.

In conclusion, he suggests that lecturers attitudes need to be change in order to provide meaningful experience for the students. They need to be more flexible in conducting art criticism for adult learners because of the maturity of the students. Students should be respected in any ways as well as appreciating their ideas. The lecturer has to accept the opinions and give encouragement for them to participate in art talk or discussion.

CHAPTER 5 Recommendations and Conclusion Recommendations Lecturers of Art Criticism Lecturer of art criticism should undergo training or short courses on adult education to brush up their knowledge and upgrade teaching approaches in catering the needs of adult learners. As educators, they must have the intentions to learn and make personal readings on adult learners characteristics. This is important to ensure that they understand their adult students very well and help them to provide proper learning environment. Lecturers must give encouragement and positive responses rather than to bombard the students during art critique session. This is because; postgraduate students are different from the undergraduate level. The maturity of adult learners needs to be considered and respected. They also need to be flexible in teaching adult learners. On the other hand, lecturers can invite external examiner to criticize students artworks to impart different perspectives that might leads to changes in art criticism. By having external examiners, students are given more exposure to face the reality in art scene. The attitudes of lecturers also need to be change in terms of articulation in accepting ideas.

Adult Learners The attitudes of adult learners towards a session of art criticism should be change from negative to positive perceptions. They have to be positive in accepting comments and be able to change for their own good reasons. Adult learners need to be prepared mentally and physically to defend their works of art

and face the challenges in postgraduate studies. By having a complete preparation, such as schedules of critique session, they can avoid themselves from stressful situations during art criticism.

Conclusion

In this study, the researchers have analyzed the effects of art criticism among postgraduate students and instructor expectations of art critique session. In visual art education, an art critic session were used as platform whereby learning occurs using the pedagogical tool of criticism. The theories of art criticism can be utilized and practice in more effective ways if the adult students and the instructors have the intentions to improve the systems. Feedbacks obtained from postgraduate students and instructors at Universiti Teknologi MARA, UiTM Shah Alam has provided a valuable insight to the practice of art criticism. The feedback has also begun to shed light upon the expectations which have not being realized due to many factors and reasons. The teaching and learning environment for adult learners can be develop sequentially by looking forward to more suitable approaches in art criticism for postgraduate students. Besides that, instructors also need to consider students expectations in learning visual art and provide them with meaningful learning experiences. The attitudes and negative perceptions towards art criticism should be change to as positive view. By looking into the positive side of it, participating in art criticism will benefit the lecturers to assess students progress of ideas and construction of artworks. On the other hand, students can clearly identify their skills and ability in producing work of art. Students

actually learn from negative comments, better than the positive one. Provocative opinions given by the lecturers will help the students to put more effort in their study. In conclusion, art criticism can be categorized as powerful pedagogical tools in visual art education. It enables the adult learners to defend their content of ideas, recognized their skills and ability in producing works of art and provide the freedom to discuss with lecturers and peers. Certain factors such as the attitudes or the efforts of students can be improve in order to make art criticism a better platform for assessment which at the same time cater the needs of adult learners.

BIBLIOGRAPHY Barone, T. & Eisner, E. (1988). Arts-based educational research. In Richard M. Jaeger (Ed.). (Section II p 71-99). Complementary methods for research in education. Washington, DC: American Education Research Association.

Barrett, T. (2000). Criticizing art: Understanding the contemporary. Boston: McGraw Hill.

Bogdan, R. C., and Biklen, S. K. (1998). Qualitative research for education: An introduction to theory and methods. Boston: Allyn and Bacon.

Bresler, L. (2006). Toward connectedness: Aesthetically based research. Studies in Art Education: A Journal of Issues and Research, 48(1), 52-69.

Chanda, J. & Daniel, V. (2000). ReCognizing works of Art: The essences of contextual

understanding. Art Education: The Journal of the National Art Education Association, 53(2), 6-11.

Creswell, J. W. (1998). Qualitative inquiry and research design: Choosing among five traditions. Thousand Oaks, CA: Sage Publishing.

Efland, A. D. (1995). The spiral and the lattice: Changes in cognitive learning theory with implications for art education. Studies in Art Education: A Journal of Issues and Research in Art Education, 36(3), pp. 134-153

Eisner, E. W. (1991). The enlightened eye: Qualitative inquiry and the enhancement of educational practice. New York: Macmillan

Eisner, E. W. (1993). The Emergence of New Paradigms for Educational Research Art Education, 46(6). 50-55.

Eisner, E. W. (2002). The arts and the creation of mind. New Haven & London: Yale University Press.

Eisner, E. W. (2003). On the differences between scientific and artistic approaches to qualitative research. In E. M. Delacruze (Ed.). Visual arts research: Educational, historical, philosophical, and psychological perspectives 29(57), p. 5-11. Favre, J. A. (1981). Aesthetic experience: As a perceptual process and theory of learning in art. Unpublished doctoral dissertation, Texas Tech University, Texas.

Feldman, E. B. (1967). Art as image and idea. Englewood-Cliffs, NJ: Prentice Hall.

Feldman, E. B. (1970). Becoming human through art. Englewood-Cliffs, NJ: Prentice Hall.

Freedman, K. (2003). Teaching visual culture: Curriculum, aesthetics and the social life of art. New York and London: Teachers College Press, Columbia University.

Joanna Frueh. (1988). Towards a Feminist Theory of Art Criticism . UMI Press Knowles, M. S. (1984). The adult learner: A neglected species. Houston: Gulf.

Kraft, M. (2006). Practicing theory. Art Education, 59(3), 13-19.

Marshall, C. & Rossman, G. B. (1999). Designing Qualitative Research. Thousand Oaks, CA: Sage Publications.

Merriam, S. B. & Associates. (2002). Qualitative research in practice: Examples for discussion and analysis. San Francisco: Jossey Bass Publishers.

Sherman, R. R., & Webb, R. B. (1990). Qualitative research in education: A focus in R. R. Sherman & R. B. Webb (Eds.). Qualitative research in education: Focus and methods (pp. 221). New York: Falmer Press.

Stake, R. E. (1988). Case study methods on educational research: Seeking sweet water. In R. Jaeger (Ed.). Complementary methods for research in art education (pp.

253-273). Washington, DC: American Education Research Association.

APPENDIX 1

Questionnaire We are a group of researchers from Master in Visual Art Education, UiTM, intended to investigate learning approaches used by the lecturers, such as art criticism, students responses and the expectations of both groups. This survey is conducted to identify the usefulness and the effects of critique session among adult learners. The accumulated data will be used as the research findings.

Please read carefully before answering the following questions:

Section A: Demographic Please tick on the box for an appropriate answer. 1. Sex : Male Female 2. Age : _____ years old (Please write) 3. Major in : Painting Print Making Sculpture

Art History

Section B: Students Responses Please circle one answer for each question to best describe your response.

During your past and current design studios, did your instructors explain the purpose of art criticism session to the entire class? Yes Sometimes No, never

Have you been encouraged to participate in the discussion with your instructors when

another student is presenting his/her project? Yes Sometimes No, never

Overall, do you feel that your instructors follow a certain structure for giving students criticism during each session? Yes Sometimes No, never

Instruction for questions 4-7 Please circle one number for each category to best describe your response on a scale from 1 to 5. 4. In general, how dissatisfied or satisfied are you with each of the following: Very dissatisfied 1 2 3 4 5 Very satisfied

Overall critic session Informal criticism from your instructor Final assessment

12345 12345 12345

5. In general, how much do you usually learn from each of the following: Very little 1 2 3 4 5 Very much

Critic Session Positive criticism Informal criticism from your instructor Negative criticism Final assessment - your project

12345 12345 12345 12345 12345

Final assessment - others projects

12345

6. Do you agree or disagree that each of the following items are goals of critic session: Strongly Disagree 1 2 3 4 5 Strongly Agree

Instructor listens to your ideas Understand your own design process Explore several design options Respond to criticism Be given a design solution from instructor Gain confidence in design ability Gain confidence in talking about ideas Be given suggestions for further research Fault finding in your design Improve critical thinking skills Encouragement to explore your own ideas Learn to critique your ideas on your own

12345 12345 12345 12345 12345 12345 12345 12345 12345 12345 12345 12345

7. In general, how often does accritic session cause you to react in each of the following ways: Rarely 1 2 3 4 5 Very Frequently Encouraged Confused Receptive to feedback given Disappointed Excited about ideas Resistant to take advice Inspired 12345 12345 12345 12345 12345 12345 12345

Frustrated because you didnt get answers Confident in personal design process Defensive of ideas Ready to try new things Nervous Appreciative of feedback given Indifferent Other____________________________

12345 12345 12345 12345 12345 12345 12345 12345

Section C: Students Personal Reflections

The following questions are open-ended questions. Please feel free to write openly to respond to best describe your answer.

8. Whats the BEST critic session experience you have ever had or seen?

9. Whats the WORST critic session you have ever had or seen?

10. What CHANGES FOR IMPROVEMENT would you like to see occur in the way art criticism for final assessment are held?

Thank you for your cooperation!

APPENDIX 2

Instructors Profile

Mr. Suhaimi B. Tohid Currently the Head of Fine Art Department, Faculty of Art & Design, UiTM Lecturer in UiTM Shah Alam since 1996 to 2009 Graduated from UiTM, Master in Fine Art, (Majoring in Print Making)

Instructors Profile

Assoc. Prof. Dr. Ahmad Rashdi B. Yan Ibrahim Lecturer in UiTM Shah Alam since 2000 to 2009 Master in Fine Art, (Majoring in Sculpture) University of England, PHD in Fine Art (Sculpture), University in Scotland