PART 1 - ANALYSIS OF QUANTITATIVE DATA
PART 2 - ANALYSIS OF QUALITATIVE DATA
PROGRAM MISSION/FUNCTION--DEPARTMENT OF ART
CURRICULUM UPDATE
CURRICULUM ARTICULATION
CURRICULUM DIVERSITY
CURRICULUM COMPETENCIES
CURRICULUM TITLE V REQUIREMENTS
CURRICULUM STRENGTHS AND WEAKNESSES
TEXT ANALYSIS
COURSE SCHEDULING AND SEQUENCING
INSTRUCTIONAL METHODOLOGY
STAFFING
Staff Development Needs
Impact of Teaching Loads, Retirements and other Relevant Factors
FACILITIES
Heating and Cooling
Classroom Expansion
Ventilation Systems
Room 400 (Humanities)
Gallery Addition/Expansion
EQUIPMENT
NEEDS ASSESSMENT
PROGRAM SUCCESS AND PERFORMANCE
STUDENT SATISFACTION
SUPPORT SERVICES
Scholarships
Faculty Advisement
Disabled Students Services
Media Services
Gallery Exhibitions
Visiting Artist Lecture and Workshops
Field Trips
PART 3 - SUMMARY
Program Strengths
Improvements Needed
Program Goals and Objectives
Strategies for Achieving Goals
Persons Responsible
Resources Needed
Time Line to be Followed
PART 1 - ANALYSIS OF QUANTITATIVE DATA
The following analysis is based on information gathered over the past five years. The 2002-03 Quantitative Data Sheet outlines the total number of enrollments, class sizes, grade averages, retention rates and a number of other important calculation for those years. These statistics demonstrate the success of the Art Department since the last program review was completed in 1996. The statistics show that the art department has seen an increase in enrollment by 27% and a rise in retention rates from 84% to 89%. With the emphasis currently being placed on foundational art education by the State of California the department expects the demand for more art courses to continue.
While the demand for art classes continues to climb, the Art Department faces difficulties with expansion of staff and facilities. The enrollments are at or near capacity and space is needed for new programs, such as Digital Photography, and must be found in order for them to be offered. Coupled with already inadequate workspace, (i.e. too small a photo lab) the Dept. has been hampered in incorporating new technologies (digital art) within the existing studio courses.
In addition to this problem the art department has recently experienced more facility difficulties when it lost its student gallery in the Learning Resource Center and its out door covered workspace. This workspace was instrumental to a number of classes including ceramic, glass blowing, painting, sculpture and printmaking. New construction currently underway will replace needed space for ceramics and glass but the new design will only marginally benefit sculpture and will not benefit printmaking classes at all. Due to these problems, and the fact that equipment and supply budgets have not kept pace with the cost of materials and upkeep, future growth is greatly hampered.
In summary, retention rates remain strong and enrollment has grown to a very high level. Demand for art education points to a need for expansion of the art offerings at Shasta College. The success of future growth within the art department including use of new technologies is dependent upon solving facility, budget, and staffing challenges.
Art Department Program Review, 2002-2003
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See Appendix A for Table of Quantitative Data.
PART 2 - ANALYSIS OF QUALITATIVE DATA
PROGRAM MISSION/FUNCTION--DEPARTMENT OF ART
The Department of Art is designed to serve the artistic and cultural needs of the Shasta/Tehama/Trinity Community College District. The department strives to provide the students with comprehensive art educational programs. The focus of the department’s staff and its curriculum is designed to prepare the students with solid foundation art skills and to stimulate individual artistic expression. The art program is organized to advance an appreciation for historical and contemporary artistic endeavors.
The Department of Art was created in 1948. At that time Donald Boyd, the Department's first chair, designed a transfer curriculum based on the lower division programs then being offered at the University of Oregon at Eugene and the University of California at Berkeley. This baccalaureate Fine Art transfer foundation has been continued and strengthened over the years. From the beginning the Art Department has sought breadth, as well as integration of its art appreciation, art history and studio programs. Our class offerings have been organized, not only to prepare art majors for transfer but also to assist the general education student.
Particular attention has been given to developing course content which helps answer student needs coming from varied backgrounds and experiences. Special consideration has always been given to keeping our course content current and our studios/classrooms equipped with the latest hardware and materials.
At present Shasta College offers a wide range of lower division art courses, including drawing, figure drawing, 2D and 3D design, painting, watercolor, ceramics, hot glass, sculpture, photography, shades, shadows and perspective, commercial art, printmaking, introduction to art, art history survey, ethnic art history, modern art history and adaptive art.
One of the department's strongest programs is the art gallery, offering to the students, faculty and community six exhibitions annually of art by nationally and internationally known artists. A few of those who have had solo exhibits at Shasta College are Ansel Adams, Clayton Bailey, Karl Benjamin, Christopher Brown, Charles Farr, Sam Francis, Sonia Hahn, Joe Goode, Ed Mosses, Raymond Saunders, David Simpson, Mary Snowden, Gwen Stone and Wayne Thiebaud. In 1990, in conjunction with the Redding Museum of Art and History, the gallery organized an extraordinary exhibition of Native American baskets. Each year our students are introduced to a different San Francisco art gallery via a group exhibition. The college has developed a fine permanent collection composed primarily of prints, small-scale paintings, sculpture and ceramics. The department has over the years formed an excellent visiting artist and guest lecturer program.
Art Department Program Review, 2002-2003
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The impact of our faculty and paraprofessional staff, all of who have achieved regional or national reputations, has been instrumental in the classroom as well as enriching the educational environment of the community. Many of our former students have developed significant careers in fine art, not only as painters and sculptors but also as designers, teachers, art historians, and gallery or museum curators and directors.
CURRICULUM UPDATE
The Art Department routinely updates the curricula (see page9A) in compliance with the Title V review process as well as an annual review by the department’s full time faculty. Curricula changes have responded to the cultural needs of a growing community as well as program demands by non-transfer and transfer students alike. Recent changes have strengthened the curriculum in the following ways:
Adaptive Art has been added to the program offerings to better serve the challenged student with physical and learning disabilities. Shari Borkin, an instructor with a professional background in art therapy, was hired to meet the needs of this course.
Ethnic Art is being offered more frequently in response to the diverse cultural changes in the local community as well as new graduation requirements at the UC and CSU systems.
Three Dimensional Design was added to meet transfer needs for students entering industrial design or sculptural fields.
Graphic Design was updated from Commercial Art to reflect current curriculum offerings and to better articulate with the Graphic Arts program at Chico State University.
Shades, Shadows and Perspective was returned to the regular schedule to better serve students with commercial and architectural interest.
Photography offerings were expanded to include Basic Photography as a three-unit class and by returning Creative Photography to the day program with four progressive sections. A new course entitled Fundamentals of Photography was set up for those students interested in camera work alone.
Changes to sequencing of advanced courses have been made in Ceramics, Design, Drawing, Figure Drawing, Painting, Photography, Sculpture and Watercolor Painting in compliance with Title V.
Expansion of the Introduction to art courses through the P.A.C.E. accelerated program has enabled students to meet humanities requirement in a non-traditional schedule.
Art Department Program Review, 2002-2003
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CURRICULUM ARTICULATION
The Shasta College art programs are designed to give both transfer and non-transfer students strong foundations on which to build further skills. Since many of our students transfer for further education, the department has participated in the California Articulation Number System with agreements with California State University Chico; California State University Sacramento; Humboldt State University; San Jose State University; University of California at Davis; University of California at Santa Barbara and California Polytechnic State University, San Luis Obispo. Through these agreements students can directly articulate Shasta College art foundation courses with the California State University and the University of California systems. Courses accepted are Art 2 & 3 -- History of Western Art, before and since the Renaissance; Art 35A -- Beginning Ceramics; Art 21A & B -- Freehand Drawing; Art 29-- Beginning Painting; Art 55A-- Beginning Sculpture; Art 12A & B -- Form, Design & Color; Art 15A & B -- Three Dimensional Design; Art 60A & B -- Basic Photography and Darkroom; Art 50A-- Printmaking. The CAN agreements were in effect from 1991 through 1995 and are currently being requalified with the assistance of the Transfer Center and the Articulation Officer.
Many of the lecture courses offered by the Art Department meet the humanities requirement for the general student. However, the studio art courses are designed to meet the transfer needs of art students as well as interface with the current art standards mandated by the State of California. These standards outline the expanding fine arts requirement in general education. Development in Artistic Perception, Creative Expression, Historical and Cultural Context, and Aesthetic Valuing, are articulated within the Shasta College Art Departments studio courses. This curriculum articulation is being done to prepare students for upcoming needs as outlined in the attached May 25, 2002 San Francisco Chronicle article entitled Schools Short on Fine Art Teachers.
Formal high school articulation includes acceptance of Advanced Placement courses in Freehand Drawing and Art History.
In addition to formal articulation agreements, the Shasta College Art Department has maintained an active involvement with high school and university art faculty. Through our gallery program we have been able to exhibit the work of many CSU and UC faculty members as well as private art school instructors. This program, along with the accompanying lecture series, has allowed our faculty and students as well as local high school faculty and students to interact with the teaching staff at these schools, i.e., Art from Clairmont Graduate School, March and April 1999; Lecture and Seminar by Department Head, Roland Reiss. In addition to articulation with other schools, the gallery program allows us to interact with other departments at Shasta College, i.e. English classes using the gallery for writing exercises.
Art Department faculty members individually have continued involvement with local high school programs. These programs have included such events as gallery tours by the Shasta High School Humanities Track Program, speaking engagements with Anderson High School Vocational/Careers classes, and direct involvement with the high school AP program including juroring Shasta High Schools AP Art Scholarship Awards. These activities have brought about the nomination of John Harper, department faculty member, to become a national faculty consultant/examiner for the High School Advanced Placement Program.
Art Department Program Review, 2002-2003
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Outreach projects have included such programs as Career Shadowing, in which students from Hayfork High School spend a day with department faculty to experience what it is like to be a college level art instructor. Other projects have included, participation in career day activities and the Summer Art Camp as well as advising Anderson High School in setting up their own gallery program.
The Art Department wrote and received a grant from the Leah McConnell Foundation to purchase and provide a series of works from Collectors Press of San Francisco. This important collection has been offered for exhibit free of charge to local high schools and colleges and was exhibited at College of the Siskiyous. Development of the Permanent Collection has continued through several donations, including a monotype print by Santa Rosa Community College instructor Keven Fletcher and a large portion of Bert Oldham’s personal collection.
CURRICULUM DIVERSITY
In order to address the changes that have taken place in the student population of Shasta college, i.e., ethnic backgrounds, age and learning disadvantages, the Art Department has added new courses, expanded the information given in many of our classes, and curated exhibitions focusing on our changing community.
Recently the department developed an Ethnic Art survey course to help our students gain insight into art on a global basis. We have set up an adaptive art course to assist students with a variety of learning difficulties. We have offered a number of classes held off campus to help meet the art interests of our senior citizens, and we have hosted a youth summer arts camp the last five years.
Art Department Program Review, 2002-2003
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During the last fifteen years the art faculty has increasingly incorporated a wide range of “new” information into our classes to help foster an understanding of diverse approaches to art. For instance, in our ceramics classes the technical and conceptual approaches to working with clay, used by the Japanese Raku potters, Native American potters and Chinese artists, are presented to the students each semester. In both studio and lecture classes we present through the use of films, videos, slides, books and actual art objects, information related to art making by diverse male and female artists from many ethnic backgrounds. For example, often used by department faculty are videos on the renowned artist Jacob Lawrence, who specifically addressed issues of Black American identity, the Korean painter Sonia Hahn, and sculptor Isamo Noguchi. Slides are used daily by our department that deal with art on an international basis. This includes a variety of cultural products. For example, a presentation include African sculpture as well as contemporary design. Books and actual art works are regularly used in our studio and lecture classes, representing art on a global basis. For example, a student this semester allowed us to show our classes a Hahn Dynasty (200 BC) Jade prayer ring, which we were able to relate to the Mesopotamian art ideas being covered in our art lecture courses as well as to the information we were covering on radial symmetry in our design classes. The art department has a fine permanent collection of works by artists of diverse ethnic background, which are readily available for classroom use. A few examples in our collection are: the work of Japanese artist Ay-O, the prints of Mexican artist Jose Luis Cuevas, the work of South American artist Jose Pia Narbona and a lithograph by Erin Goodwin-Guerrero. Our instructors regularly show films, videos and slides pertaining to the work of noted women artists. Films and videos of such renowned artists as Kathe Kollwitz, Georgia O’Keefe, Joan Mitchell, Elizabeth Murray, Margaret Bourke-White, Imogen Cunningham, Dorothea Lange, Maria Martinez, Beatrice Wood, Jenny Ruffner and many others are often used. We also have a number of women artists whose works are represented in our permanent collection, such as Deborah Remmington, Pam Johnson, Erin Goodwin-Guerrero, Joan Williams, Ann Hunt and a number of others.
The Art Department has historically created exhibitions of wide diversity. These important shows are available to the students, faculty and the community. These exhibits have included artists working in media specific to their heritage and media expanding the limits of convention. In this sense the exhibits offer a broad perspective. Since the mid 1980's some of the exhibitions presented in our gallery have been: the paintings of Native Americans, Ann Appleby and Frank Lapena, the baskets of the Hupa-Kurok artist Vivian Hailstone, the Photographs of Native American Jim Featherstone, the paintings by Japanese artists Howard Ikemoto, Brian Isobe, George Miasaki, and Grace Munakata. We also exhibited the sculpture of David Izu, Ban Kajimani, Kenji Umeda and Shizuki, the ceramics of Japanese artists Shoichi Ida and Japanese-American Dick Kakuda, as well as the prints by Japanese-American artists Masuo Ideku, Kenjilo Nanao, Ay-O and Matsumoto Kanimitsu, the sculpture of Chinese artist Kek Tee Lim, the painted constructions of Korean artist Sonia Hahn, the prints of Mexican artist Jose Luis Cuevas, prints by the South American Jose Pia Narbona, the constructions by Costa Rican Rolando Castellon, the mixed media works of Hungarian artist Theodora Varny Jones, the paintings by Black artists Raymond Saunders and Jacob Lawrence. Along with the above, we put together with Bay area art educator Mark Hartman an exhibition called A Grey Eminence, made up of art works done by elderly residents of Bay area extended care homes. In 1990 we curated a retrospective art exhibition of octogenarian painter Gwen Stone. During the Winter of 2000 we held an exhibit of photographs, which re-documentated the Immigrant Trail by Greg MacGragor, and during spring 2003 we will exhibit photographs of Judy Dater which focuses on the diversity of the people of the San Francisco Bay Area. Our gallery program has also held county-wide high school art shows; in our library gallery we have an annual adaptive art exhibition, and for 40 years we have held juried student art shows, which have often been judged by minority and women artists.