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A Quartile Analysis of Selected Variables from the '2008 NAEP Visual Arts Report Card'

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Title: A Quartile Analysis of Selected Variables from the '2008 NAEP Visual Arts Report Card'
Language: English
Authors: Burton, David
Source: Studies in Art Education: A Journal of Issues and Research in Art Education. 2016 57(2):165-178.
Availability: Taylor & Francis. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 14
Publication Date: 2016
Document Type: Journal Articles
Reports - Research
Education Level: Grade 8
Descriptors: National Competency Tests, Visual Arts, Grade 8, Art Education, Studio Art, Homework, Museums, Educational Experience, Middle School Students, Art Activities, Comparative Analysis
Assessment and Survey Identifiers: National Assessment of Educational Progress
DOI: 10.1080/00393541.2016.1133198
ISSN: 0039-3541
Abstract: This article reports the results of a quartile analysis of the "2008 National Assessment of Educational Progress (NAEP) Visual Arts Report Card." The analysis was made from original datasets supplied by the National Center for Education Statistics. It focuses on 8th-grade students who were currently taking art or recently had taken art. Fourteen Responding and Creating variables are reported in this article. Of the 14 variables, four Responding variables and four Creating variables were found statistically significant. Three Responding and Creating variables were mutually significant. Statistically significant results were found, including Painting and Drawing, Making Art from Clay, Weekly Homework, and Visiting a Museum or Gallery. The analysis suggests that studio production remains a strong component in the art curriculum, and homework assignments and museum visits also can contribute to students' art education. Several areas where students never or hardly ever have experiences are also identified. Comparisons are drawn between the findings from the "2008 NAEP Visual Report Card" (Keiper, Sandene, Perskey, & Kuang, 2009b) and the expectations of the "2014 NCCAS National Core Art Standards" for the future.
Abstractor: As Provided
Number of References: 17
Entry Date: 2018
Accession Number: EJ1189854
Database: ERIC
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  Value: <anid>AN0118224853;sae01jan.16;2019Mar19.10:58;v2.2.500</anid> <title id="AN0118224853-1">A Quartile Analysis of Selected Variables From the 2008 NAEP Visual Arts Report Card. </title> <p>This article reports the results of a quartile analysis of the 2008 National Assessment of Educational Progress (NAEP) Visual Arts Report Card. The analysis was made from original datasets supplied by the National Center for Education Statistics. It focuses on 8th-grade students who were currently taking art or recently had taken art. Fourteen Responding and Creating variables are reported in this article. Of the 14 variables, four Responding variables and four Creating variables were found statistically significant. Three Responding and Creating variables were mutually significant. Statistically significant results were found, including Painting and Drawing, Making Art from Clay, Weekly Homework, and Visiting a Museum or Gallery. The analysis suggests that studio production remains a strong component in the art curriculum, and homework assignments and museum visits also can contribute to students' art education. Several areas where students never or hardly ever have experiences are also identified. Comparisons are drawn between the findings from the 2008 NAEP Visual Report Card (Keiper, Sandene, Perskey, & Kuang, 2009b) and the expectations of the 2014 NCCAS National Core Art Standards for the future.</p> <p>"Among the few rigorous and extensive <emph>national</emph> surveys of various academic subjects in American schools are those undertaken by the National Assessment of Educational Progress (NAEP)."</p> <p>Recently the National Coalition for Core Arts Standards (NCCAS, [<reflink idref="bib12" id="ref1">12</reflink>]) published new standards for art education that are quite different from the previous standards issued over two decades ago. They represent a distinct reconceptualization of art education predicated on new premises, prescribing new goals and directions, and keyed to new expectations. Individual art teachers and educators may be quite aware of their own professional conditions, and they can judge for themselves how well they can adopt and adapt these new core art standards to their own programs, pedagogies, and curricula. However, assuming that other art teachers share the same educational conditions as each of us—especially beyond our own immediate purview—is neither realistic nor reasonable. There is a paucity of information about the conditions of art education across the nation and for the profession as a whole. Knowing where we are now would be helpful if we expect to go where we want to be in the future.</p> <p>Among the few rigorous and extensive <emph>national</emph> surveys of various academic subjects in American schools are those undertaken by the National Assessment of Educational Progress (NAEP). Each year, NAEP surveys the core subjects of reading and mathematics across the entire nation, and those results are the ones most frequently reported in the media. NAEP also investigates other subjects, including art education, albeit infrequently. There are few, if any, other national data collections or surveys related to art education. Consequently, we have very little credible data of a national scope on which to base our knowledge of the actual conditions of art education at the present time.</p> <p>When NAEP conducts surveys of math and reading each year, they do so at the 4th-, 8th-, and 11th-grade levels. Art, like many other academic subjects, does not enjoy this degree of scrutiny; it is only examined once a decade, and then only at the 8th-grade level. The NAEP Visual Arts survey is a very well designed and rigorously executed <emph>national</emph> survey of visual arts education that provides a rare but robust body of data about our field. NAEP scrupulously selects a statistically representative sample population of students who comprise an accurate and comprehensive profile of the 8th-grade American student population as a whole. As such, the data that is gathered is highly representative of <emph>all</emph> 8th-grade American students and gives a broad statistical profile of the status of visual arts education today. Much of the data is demographic (gender, race, locality) in nature. Other questions address student attitudes toward art, artistic opportunities students have in and out of school, and teaching practices and priorities. In 2008, NAEP conducted an extensive national survey of art education involving 4,000 8th graders from across the entire nation. The 2008 NAEP Visual Arts survey, as reported in the NAEP <emph>Nation's Report Card: Music & Visual Arts</emph> (Keiper et al., [<reflink idref="bib10" id="ref2">10</reflink>]), reveals important information that all art educators, administrators, parents, researchers, and decision makers can use to illuminate and guide art education policy and practice in the coming years.</p> <p>Due to expense and logistics, the 2008 NAEP Visual Arts survey zeroes in on only one grade level (8th grade) and two "processes" (Creating and Responding) to create a broad profile of American art education. The 4,000 students selected to participate in the survey represent a very accurate statistical cross-section of the entire population of approximately 4 million American 8th graders. While most American middle schools offer art as a subject, unlike mathematics and language arts, art is often an elective course for many 8th graders. NAEP protocols dictate that they conduct their surveys in each subject within intact classrooms. That means that the NAEP visual arts survey is not necessarily done in art rooms or with art students. While the entire United States 8th-grade student population is statistically represented, the students surveyed are not necessarily <emph>art students</emph> as such. In the 2008 study, 1,620 (40.5%) students were taking art or had taken art during the school year while 2,120 (53%) had not taken art that year. Data was missing for 91 (2%) students.</p> <p>Our interest as art educators is in those students who are taking art. The analyses reported in this article focuses specifically on those 1,620 students who were currently taking art or had recently taken art and what factors contribute or do not contribute to their success in making art and responding to art? The questions asked of the students about their art education are the same or very similar to those asked in the previous NAEP visual arts survey conducted in 1997 (Perskey, Sandene, & Askew, [<reflink idref="bib14" id="ref3">14</reflink>]). By using the same questions, NAEP can track changes from decade to decade. The students were given a battery of knowledge and judgment questions (Responding) related to art, such as "Which artworks 2–5 (art examples given) are 20th-century Western art?" or "Which most clearly identifies the style of the work (art example given)?" I compiled the individual scores of 62 of the Responding questions for those 1,620 art students into a single new variable (designated here as the "Responding Composite Score" or RCS) that represents each art student's total Responding score.</p> <p>The students were also asked to create works of art according to certain themes and instructions that were then evaluated by criteria developed by NAEP.[<reflink idref="bib1" id="ref4">1</reflink>] Scores associated with them are labeled as "Creating" in this article. Again, I compiled the scores of 45 of the Creating task evaluations for the 1,620 art students into a second new variable (designated here as "Creating Composite Score" or CCS) that represents each art student's total Creative score.</p> <p>The 1,620 art students' RCS were sorted in descending order. The ranked data were next separated into quartiles of 405 each (1,620 art students/4 = 405). The RCS High Quartile (RHiQ) consists of the data of those 405 art students with the highest total Responding scores. The RCS Low Quartile (RLoQ) consists of the data of the 405 art students with the lowest total Responding scores. I repeated this sorting and partitioning procedure using the 1,620 art student CCS to create a Creating High Quartile (CHiQ) and a Creating Low Quartile (CLoQ) with 405 cases each.</p> <p>It should be noted that while there is undoubtedly some overlap of art students in both the Responding and Creating quartiles, the art students represented in each of the quartiles were selected based on their RCS and CCS scores. The art students in both high quartiles (RHiQ and CHiQ) and both low quartiles (RLoQ and CLoQ) were not necessarily the same individuals.</p> <p>A quartile analysis compares the opposite ends of a hierarchical continuum so that relevant factors will stand out clearly through their maximized differences. The high quartile (highest 25% of cases) is compared statistically to the low quartile (lowest 25% of cases). In these analyses, the high quartiles (RHiQ and CHiQ) are made up of those art students who scored highest on the 2008 NAEP Responding and Creating tests, and the low quartiles (CHiQ and CLoQ) consist of those art students who scored lowest on the same tests.</p> <p>With the Responding and Creating high and low quartiles in hand, I analyzed 145 separate values (such as "Daily," "Weekly," "Monthly," or "Never or Hardly Ever") within 45 variables in both the Responding and Creating processes. Most of the variables related to the art students' backgrounds, attitudes toward art, and art activities outside school. The data from the variables corresponding to the art students identified in the quartiles was then subjected to quartile analyses—RHiQ was compared to RLoQ, and CHiQ was compared to CLoQ. I selected the 14 variables (with a total of 32 separate values) that specifically addressed art-related activities over which the teacher has some control or influence. They include types of art projects, assignments, and other learning activities. The data from those 14 Responding variables and 14 Creating variables are reported in this article. The 14 selected variables, their values, frequencies, and percentages (frequencies/405) for Responding high and low quartiles and Creating high and low quartiles are shown in Table 1.</p> <p>Table 1. Frequencies and Percentages of Selected Responding and Creating Variables From the 2008 NAEP Visual Arts Report Card</p> <p> <ephtml> <table><thead><tr><td>Variable</td><td>Value</td><td>Responding</td><td>Creating</td></tr><tr><td>RespondingHiQ</td><td>RespondingLoQ</td><td>CreatingHiQ</td><td>CreatingLoQ</td></tr></thead><tbody><tr><td>Art Class: Paint or Draw</td><td>Daily</td><td>183 (.451)*</td><td>134 (.308)</td><td>176 (.434)*</td><td>124 (.306)</td></tr><tr><td>Weekly</td><td>128 (.316)</td><td>159 (.392)**</td><td>130 (.321)</td><td>174 (.429)**</td></tr><tr><td>Monthly</td><td>63 (.155)</td><td>53 (.130)</td><td>58 (.143)</td><td>59 (.145)</td></tr><tr><td>Never</td><td>30 (.074)</td><td>58 (.143)**</td><td>38 (.094)</td><td>47 (.116)</td></tr><tr><td>Art Class: Make art with Clay or other media</td><td>Daily</td><td>23 (.056)</td><td>28 (.069)</td><td>20 (.049)</td><td>40 (.098)</td></tr><tr><td>Weekly</td><td>54 (.133)*</td><td>34 (.084)</td><td>37 (.091)</td><td>39 (.096)</td></tr><tr><td>Monthly</td><td>134 (.330)</td><td>105 (.259)</td><td>143 (.351)*</td><td>120 (.296)</td></tr><tr><td>Never</td><td>191 (.471)</td><td>236 (.583)**</td><td>212 (.523)</td><td>205 (.506)</td></tr><tr><td>Art Class: Choose your own project</td><td>Daily</td><td>32 (.079)</td><td>31 (.076)</td><td>30 (.074)</td><td>23 (.056)</td></tr><tr><td>Weekly</td><td>58 (.143)</td><td>53 (.131)</td><td>51 (.126)</td><td>56 (.138)</td></tr><tr><td>Monthly</td><td>94 (.232)</td><td>79 (.195)</td><td>102 (.251)</td><td>81 (.200)</td></tr><tr><td>Never</td><td>219 (.541)</td><td>240 (.592)</td><td>221 (.546)</td><td>243 (.600)</td></tr><tr><td>Art Class: Work in a pair or group</td><td>Daily</td><td>21 (.052)</td><td>40 (.098)</td><td>26 (.064)</td><td>26 (.064)</td></tr><tr><td>Weekly</td><td>51 (.125)</td><td>51 (.012)</td><td>61 (.150)</td><td>67 (.165)</td></tr><tr><td>Monthly</td><td>71 (.175)</td><td>77 (.190)</td><td>86 (.212)</td><td>68 (.168)</td></tr><tr><td>Never</td><td>259 (.639)*</td><td>217 (.538)</td><td>228 (.562)</td><td>242 (.597)</td></tr><tr><td>Art Class: Talk with others about your art</td><td>Daily</td><td>111 (.274)</td><td>100 (.249)</td><td>108 (.266)</td><td>99 (.244)</td></tr><tr><td>Weekly</td><td>74 (.182)</td><td>78 (.192)</td><td>82 (.202)</td><td>89 (.219)</td></tr><tr><td>Monthly</td><td>64 (.158)</td><td>68 (.168)</td><td>63 (.155)</td><td>60 (.148)</td></tr><tr><td>Never</td><td>153 (.377)</td><td>158 (.390)</td><td>148 (.365)</td><td>157 (.387)</td></tr><tr><td>Art Class: Write about your art</td><td>Daily</td><td>15 (.037)</td><td>22 (.054)</td><td>24 (.059)</td><td>19 (.046)</td></tr><tr><td>Weekly</td><td>53 (.131)</td><td>44 (.108)</td><td>49 (.121)</td><td>41 (.101)</td></tr><tr><td>Monthly</td><td>57 (.141)</td><td>42 (.102)</td><td>53 (.131)</td><td>43 (.106)</td></tr><tr><td>Never</td><td>277 (.683)</td><td>291 (.718)</td><td>276 (.681)</td><td>297 (.733)</td></tr><tr><td>Art Class: View film, video, TV about art</td><td>Daily</td><td>20 (.049)</td><td>23 (.056)</td><td>12 (.029)</td><td>27 (.066)</td></tr><tr><td>Weekly</td><td>64 (.158)</td><td>47 (.116)</td><td>67 (.165)</td><td>59 (.145)</td></tr><tr><td>Monthly</td><td>105 (.259)</td><td>109 (.269)</td><td>110 (.271)</td><td>108 (.266)</td></tr><tr><td>Never</td><td>213 (.526)</td><td>221 (.546)</td><td>213 (.526)</td><td>208 (.513)</td></tr><tr><td>Art Class: Use copier, camera, or computer to make art</td><td>Daily</td><td>32 (.079)</td><td>44 (.108)</td><td>46 (.113)</td><td>11 (.027)</td></tr><tr><td>Weekly</td><td>47 (.116)</td><td>60 (.148)</td><td>42 (.104)</td><td>55 (.135)</td></tr><tr><td>Monthly</td><td>82 (.202)</td><td>61 (.150)</td><td>85 (.209)</td><td>70 (.173)</td></tr><tr><td>Never</td><td>242 (.597)</td><td>238 (.587)</td><td>230 (.569)</td><td>235 (.580)</td></tr><tr><td>How often does your art teacher exhibit your art?</td><td>1–2 a Month</td><td>89 (.219)</td><td>96 (.237)</td><td>81 (.200)</td><td>94 (.232)</td></tr><tr><td>1–2 a Year</td><td>107 (.264)</td><td>92 (.227)</td><td>109 (.269)</td><td>104 (.256)</td></tr><tr><td>Never</td><td>208 (.513)</td><td>216 (.533)</td><td>214 (.528)</td><td>206 (.508)</td></tr><tr><td>Do you ever illustrate your art in other school subjects?</td><td>Yes</td><td>252 (.622)</td><td>262 (.647)</td><td>270 (.666)</td><td>251 (.619)</td></tr><tr><td>No</td><td>151 (.372)</td><td>142 (.350)</td><td>133 (.328)</td><td>153 (.377)</td></tr><tr><td>Do you ever keep a journal or sketchbook in school?</td><td>Yes</td><td>146 (.360)</td><td>145 (.358)</td><td>169 (.417)</td><td>156 (.385)</td></tr><tr><td>No</td><td>257 (.634)</td><td>258 (.637)</td><td>234 (.577)</td><td>247 (.609)</td></tr><tr><td>Do you/ your teacher save your art in a portfolio?</td><td>Yes</td><td>281 (.694)</td><td>301 (.743)</td><td>291 (.718)</td><td>274 (.676)</td></tr><tr><td>No</td><td>123 (.304)</td><td>104 (.257)</td><td>113 (.279)</td><td>129 (.318)</td></tr><tr><td>How often do you have homework in art?</td><td>Weekly</td><td>63 (.155)</td><td>81 (.200)</td><td>88 (.217)*</td><td>56 (.138)</td></tr><tr><td>Monthly</td><td>51 (.126)</td><td>46 (.113)</td><td>51 (.126)</td><td>40 (.098)</td></tr><tr><td>Never</td><td>290 (.716)</td><td>278 (.686)</td><td>256 (.654)</td><td>309 (.762)**</td></tr><tr><td>In the last year, has your class visited a museum or gallery?</td><td>1–2 a Year</td><td>57 (.141)</td><td>90 (.222)**</td><td>45 (.111)</td><td>82 (.202)**</td></tr><tr><td>3 or More Yr</td><td>3 (.007)</td><td>8 (.019)</td><td>9 (.022)</td><td>5 (.012)</td></tr><tr><td>Never</td><td>344 (.849)</td><td>307 (.758)</td><td>350 (.864)*</td><td>317 (.782)</td></tr></tbody></table> </ephtml> </p> <p>7 *significant as a positive value (HiQ > LoQ and greater than ME) **significant as a negative value (HiQ < LoQ and greater than ME)</p> <p>A quartile analysis consists of subtracting the total number of Low Quartile (LoQ) frequency scores from the total number of High Quartile (HiQ) frequency scores, producing a numerical difference (HiQ – LoQ, which are labeled RQD and CQD in the tables). When the RHiQ is greater than the RLoQ, the RQD is positive (+), indicating that more high quartile art students than low quartile art students were counted within this value. Conversely, when the number of high quartile art students is less than the number of low quartile students, the RQD is negative (–). Percentages are then calculated for the High Quartile, the Low Quartile, and the percentage difference between them as shown in the tables here. These percentages are used to calculate a Margin of Error test for each quartile analysis. If the percentage of the RQD or CQD is greater than the percentage of the Margin of Error, it is considered statistically significant. Statistically significant <emph>positive</emph> results indicate an influence that may contribute toward achieving higher scores among the high quartile art students; statistically significant <emph>negative</emph> results suggest there may be little or no influence toward higher achievement.</p> <hd id="AN0118224853-2">Statistically Significant Variables Related to the Responding Quartile Differences (RCD) and...</hd> <p>Four of the 14 Responding variables (28%) contained specific values within them that met their Margin of Error tests and, therefore, can be considered statistically significant. Within these 4 Responding variables, there were a total of 15 specific values (such as "Daily," "Weekly," "Monthly," and "Never"). Seven of the 15 (53%) specific quartile differences (RQD) were statistically significant.</p> <p>Four of the 14 Creating variables (28%) are also statistically significant. Within these 4 Creating variables, 7 of 14 (50%) specific quartile differences (CQD) are significant. Notably, three of the significant Creating variables (Paint and Draw, Making Art with Clay, and Visit a Museum or Gallery) are also significant among the four Responding variables, which emphasize their importance for art education.</p> <p>Table 2 shows the results of the quartile analyses of both the Responding and Creating for "Art Class: Paint and Draw." The differences between high and low quartiles in both Responding (RQD, +49) and Creating (CQD, +52) and the margins of their statistical significance at the "Every Day" level, are the largest among all of the quartile analyses in this study. A greater number of high than low quartile art students in both the Responding and Creating categories painted and drew in art class every day. These percentages are reversed (although still statistically significant) for both Responding (RQD, –31) and Creating (CQD, –44) art students who painted and drew "Once a Week" and Responding (RQD, –28) art students who "Never or Hardly Ever" painted or drew. This suggests that art students achieve at a higher level when they have plentiful opportunities to concentrate their artistic attention and energies, in this case on drawing and painting, in a consistent manner. Amorino ([<reflink idref="bib1" id="ref5">1</reflink>]) "asserts that artistic expression may be rejuvenated in adolescence by identifying its psycho-intellectual origins, applying these to the construction of an Artistic Impetus Method, and using it as the pedagogical basis for a painting course taught to urban adolescents" (p. 214).</p> <p>Table 2. Art Class: Paint or Draw</p> <p> <ephtml> <table><thead><tr><td>Value</td><td>RHiQ (%)</td><td>RLoQ (%)</td><td>RQD (%)</td><td>ME</td><td>Sig</td><td>CHiQ (%)</td><td>CLoQ (%)</td><td>CQD (%)</td><td>ME</td><td>Sig</td></tr></thead><tbody><tr><td>Every Day</td><td>183 (.451)</td><td>134 (.308)</td><td>+49 (.121)</td><td>.067</td><td>Yes</td><td>176 (.434)</td><td>124 (.306)</td><td>+52 (.128)</td><td>.067</td><td>Yes</td></tr><tr><td>Once a Week</td><td>128 (.316)</td><td>159 (.392)</td><td>–31 (.076)</td><td>.067</td><td>Yes</td><td>130 (.321)</td><td>174 (.429)</td><td>–44 (.108)</td><td>.067</td><td>Yes</td></tr><tr><td>Once a Month</td><td /><td /><td /><td /><td /><td /><td /><td /><td /><td /></tr><tr><td>Never or Hardly Ever</td><td>30 (.074)</td><td>58 (.143)</td><td>–28 (.069)</td><td>.043</td><td>Yes</td><td /><td /><td /><td /><td /></tr></tbody></table> </ephtml> </p> <p>8 <emph>Note</emph>. RQD = RHiQ – RLoQ; CQD = CHiQ – CLoQ.</p> <p>Table 3. Art Class: Make Things of Clay and Other Materials</p> <p> <ephtml> <table><thead><tr><td>Value</td><td>RHiQ (%)</td><td>RLoQ (%)</td><td>RQD (%)</td><td>ME</td><td>Sig</td><td>CHiQ (%)</td><td>CLoQ (%)</td><td>CQD (%)</td><td>ME</td><td>Sig</td></tr></thead><tbody><tr><td>Every Day</td><td /><td /><td /><td /><td /><td /><td /><td /><td /><td /></tr><tr><td>Once a Week</td><td>54 (.133)</td><td>34 (.084)</td><td>+20 (.049)</td><td>.043</td><td>Yes</td><td /><td /><td /><td /><td /></tr><tr><td>Once a Month</td><td /><td /><td /><td /><td /><td>143 (.351)</td><td>120 (.296)</td><td>+23 (.068)</td><td>.065</td><td>Yes</td></tr><tr><td>Never or Hardly Ever</td><td>191 (.471)</td><td>236 (.583)</td><td>–45 (.111)</td><td>.067</td><td>Yes</td><td /><td /><td /><td /><td /></tr></tbody></table> </ephtml> </p> <p>9 <emph>Note</emph>. RQD = RHiQ – RLoQ; CQD = CHiQ – CLoQ.</p> <p>Table 4. Art Class: Work in a Pair or Group</p> <p> <ephtml> <table><thead><tr><td>Value</td><td>RHiQ (%)</td><td>RLoQ (%)</td><td>RQD (%)</td><td>ME</td><td>Sig</td><td>CHiQ (%)</td><td>CLoQ (%)</td><td>CQD (%)</td><td>ME</td><td>Sig</td></tr></thead><tbody><tr><td>Every Day</td><td /><td /><td /><td /><td /><td /><td /><td /><td /><td /></tr><tr><td>Once a Week</td><td /><td /><td /><td /><td /><td /><td /><td /><td /><td /></tr><tr><td>Once a Month</td><td /><td /><td /><td /><td /><td /><td /><td /><td /><td /></tr><tr><td>Never or Hardly Ever</td><td>259 (.639)</td><td>217 (.538)</td><td>+42 (.104)</td><td>.068</td><td>Yes</td><td /><td /><td /><td /><td /></tr></tbody></table> </ephtml> </p> <p>10 <emph>Note</emph>. RQD = RHiQ – RLoQ; CQD = CHiQ – CLoQ.</p> <p>Table 5. How Often Do You Have Homework in Art?</p> <p> <ephtml> <table><thead><tr><td>Value</td><td>RHiQ (%)</td><td>RLoQ (%)</td><td>RD (%)</td><td valign="top">ME</td><td valign="top">Sig</td><td>CHiQ (%)</td><td>CLoQ (%)</td><td>CQD (%)</td><td valign="top">ME</td><td valign="top">Sig</td></tr></thead><tbody><tr><td>Once a Week</td><td /><td /><td /><td /><td /><td>88 (.217)</td><td>56 (.138)</td><td>+32 (.079)</td><td>.037</td><td>Yes</td></tr><tr><td>Once a Month</td><td /><td /><td /><td /><td /><td /><td /><td /><td /><td /></tr><tr><td>Never or Hardly Ever</td><td /><td /><td /><td /><td /><td>265 (.654)</td><td>309 (.763)</td><td>–44 (.108)</td><td>.063</td><td>Yes</td></tr></tbody></table> </ephtml> </p> <p>11 <emph>Note</emph>. RQD = RHiQ – RLoQ; CQD = CHiQ – CLoQ.</p> <p>Table 6. In the Last Year, Did Your Class Visit a Museum or Gallery?</p> <p> <ephtml> <table><thead><tr><td>Value</td><td>RHiQ (%)</td><td>RLoQ (%)</td><td>RQD (%)</td><td>ME</td><td>Sig</td><td>CHiQ (%)</td><td>CLoQ (%)</td><td>CQD (%)</td><td>ME</td><td>Sig</td></tr></thead><tbody><tr><td>Once or Twice</td><td>57 (.141)</td><td>90 (.222)</td><td>–33 (.081)</td><td>.053</td><td>Yes</td><td>45 (.111)</td><td>82 (.202)</td><td>–37 (.091)</td><td>.050</td><td>Yes</td></tr><tr><td>3 or More</td><td /><td /><td /><td /><td /><td /><td /><td /><td /><td /></tr><tr><td>Never</td><td /><td /><td /><td /><td /><td>350 (.864)</td><td>317 (.782)</td><td>+33 (.082)</td><td>.053</td><td>Yes</td></tr></tbody></table> </ephtml> </p> <p>12 <emph>Note</emph>. RQD = RHiQ – RLoQ; CQD = CHiQ – CLoQ.</p> <p>"Make Art from Clay or Other Materials" is the only variable in the NAEP survey that refers to three-dimensional art. As shown in Table 3, in the Responding category, more high than low quartile art students (RQD, +20) indicate they made things from clay or other materials "Once a Week" while, in the Creating category, more high than low quartile art students (CQD, +23) said they got to work with clay and other materials only "Once a Month." In both cases, the percentages are positive but barely significant statistically. (The RQD and CQD percentages are very close to their Margins of Error). Unless art students are specifically taking a ceramics course, making things from clay "Once a Week" or "Once a Month" is a reasonable expectation. In many schools, storage, expense, and other logistical considerations limit the amount of three-dimensional work that can be practically undertaken. However, at the "Never or Hardly Ever" level, more low than high quartile Responding art students (RQD, –45) said they rarely got to work with clay or other materials. These art students comprise about half (RHiQ, 47% and RLoQ, 58%) of all of the art students in their quartiles. This represents a very large percentage of art students who "Never or Hardly Ever" work with clay or other materials and should be of concern to us as art educators.</p> <p>Table 4 shows one of the largest statistics (after "Paint and Draw") in the entire analysis. Although the "Work in a Pair or a Group" RQD is positive (+ 42), it occurs within a negative ("Never or Hardly Ever") value, meaning that fewer high quartile art students (RHiQ, 259) than low quartile art students (RLoQ, 217) ever have an opportunity to work together. While statistically significant, these frequencies and percentages also show that over half of the art students in both quartiles "Never or Hardly Ever" get to work in pairs or groups. Socializing comprises the pervasive milieu in middle school. Pennisi ([<reflink idref="bib13" id="ref6">13</reflink>]) found that "(i)ncorporating democratic practices based on relational dialogue, consensus building and active learning, as well as understanding that students need to make their own decisions helped create a new classroom environment" (p. 136). It is curious that more art teachers do not leverage their art students' natural social propensities by having them work in pairs and groups.</p> <p>Table 5 indicates that among Creating art students, there are two statistically significant values—those who have "Weekly" homework assignments and those who "Never or Hardly Ever" have homework. Those who receive "Weekly" homework are a relatively small percentage, but the homework apparently has a positive influence (CQD, +32) while nearly three-quarters (a large percentage) of this quartile "Never or Hardly Ever" have homework and register a negative difference (CQD, -44). Clearly, "Weekly" homework has a beneficial influence. It is unfortunate so many art students do not receive any homework. Szekely ([<reflink idref="bib15" id="ref7">15</reflink>]) suggested motivating students through homework that is interesting, engaging, and fun. He has encouraged students to have homework assignments that will be "an important contribution to their next art class" (p. 53). He emphasized how important it is for the art teacher to be enthusiastic, supportive, and receptive to whatever the students have to offer.</p> <p>Table 6 shows that in both the Responding and Creating categories, more low than high quartile art students participated in class visits to a museum or gallery "Once or Twice" during the previous year (RQD, –33; CQD, –37) by statistically significant margins. Nonetheless, although statistically significant, a very large percentage (over three-quarters) of Creating art students "Never or Hardly Ever" made a class visit to a museum or gallery. Several art educators (Berry, [<reflink idref="bib2" id="ref8">2</reflink>]; Witmer, Luke & Adams, 2006) have found great value in museum field trips. Berry ([<reflink idref="bib2" id="ref9">2</reflink>]) focused on art museum/school collaborations. She cited a survey conducted by the National Center for Art Museum/School Collaborations (Clark, [<reflink idref="bib7" id="ref10">7</reflink>]) that describes how museum/school collaborations are conducted. Witmer and colleagues (2006) explored the potential of museum multiple-visit programs. They worked closely with teachers to create programs that make museum visits integral components of art curricula. Jeffers ([<reflink idref="bib8" id="ref11">8</reflink>]) looked for meaning as "constructed, contextualized, and connected" (p. 20). She noted that, "as a nexus, (the gallery) is synergistic, expansive, inviting its human participants to actively endow art objects with cultural meaning and to reposition them within the real world" (p. 24).</p> <p>While not a part of the quartile analysis per se, it should be noted that in 10 (71%) of the 14 variables shown in Table 1, the percentages of both Responding and Creating students who "Never or Hardly Ever" participated in those variables is over 50%. These 10 variables include making art with clay; choosing your own project; working in pairs or groups; writing about your art; viewing films, videos, or television about art; using a copier, camera, or computer to make art; exhibiting your art; keeping a journal or sketchbook in school; having homework in art; and, visiting a museum or gallery. Of these, four are statistically significant: Responding: Making art with clay (–45); Responding: Working in pairs or groups (+42), Creating: Having homework in art (–44), and Creating: Visiting a museum or gallery (+33). Many of these variables could easily be incorporated into art curricula. Not utilizing them prevents huge numbers of students from having opportunities to enlarge, engage, and enrich the scope of their art education.</p> <hd id="AN0118224853-3">A Comparison of the Results of Selected Variables from the 2008 NAEP Visual Arts Report and t...</hd> <p>The <emph>2008 NAEP Visual Arts Report Card</emph> (Keiper et al., [<reflink idref="bib10" id="ref12">10</reflink>]) is a recent national survey of art education. It has profiled (at least at the 8th-grade level) where art education is today. The question now: Where do we wish to be in the future? In 2014, the NCCAS ([<reflink idref="bib12" id="ref13">12</reflink>]) published the new National Visual Arts Standards.[<reflink idref="bib2" id="ref14">2</reflink>] This is an ambitious prospectus for the future. Comparing where we are now (as shown in the NAEP survey) with where we wish to be (as outlined in National Visual Arts Standards) points toward what we must do to fulfill our expectations.</p> <p>The frameworks for the NAEP Visual Arts survey and the NCCAS Visual Arts Standards are conceptually similar. Both describe parameters for various disciplines, grade levels, and processes. The NAEP Visual Arts framework (Keiper, Sandene, Perskey, & Kuang, [<reflink idref="bib9" id="ref15">9</reflink>]) divides the Visual Arts into Creating, Performing, and Responding processes. A fourth level containing such descriptors as context, meaning, and interpretation undergirds the other three processes.</p> <p>The NCCAS Visual Arts framework (2014) divided the Visual Arts into four Artistic Processes: Creating, Presenting, Responding, and Connecting. The Creating and Responding processes in the NAEP framework and the NCCAS framework correspond directly. The <emph>NAEP Visual Arts Framework</emph> (Keiper et al., [<reflink idref="bib9" id="ref16">9</reflink>]) contains a Performing process that corresponds to the NCCAS Presentation process although only Creating and Responding were tested in the 2008 survey. So, too, the fourth level of context, meaning, and interpretation in the NAEP Visual Arts framework is akin to Connecting/Collaborating in Groups in the NCCAS framework.</p> <p>There are few statistically significant results to be found in a quartile analysis of the <emph>2008 NAEP Visual Arts Report Card</emph> (Keiper et al., [<reflink idref="bib10" id="ref17">10</reflink>]). Seven (50%) of the analyses are positive, indicating more high quartile than low quartile art students benefited from these practices and experiences while an equal number (50%) are negative, with the number of low quartile art students exceeding the number of high quartile students. Negative values may suggest that these factors did not contribute to student achievement in art education. Most disturbing is the fact that, in 10 of the 14 variables, over 50% of both the Responding and Creating art students "Never or Hardly Ever" participated in basic art activities like keeping a sketchbook or writing about their art.</p> <p>How might the <emph>NCCAS National Visual Arts Standards</emph> (2014) address these strengths and shortcomings in the future? The NCCAS Visual Arts Standards outlines a hierarchical structure of four Artistic Processes (Creating, Presenting, Responding, and Connecting) embracing 11 Anchor Standards that extend across the entire K–12 art education curriculum. The Anchor Standards branch into Enduring Understandings and Essential Questions that are further specified as Performance Standards for each grade level. Art teachers are expected to incorporate these performance standards into their art lessons and art curricula. I turn my attention specifically to the 8th-grade Performance Standards because this quartile analysis of the <emph>2008 NAEP Visual Arts Report Card</emph> survey (Keiper et al., [<reflink idref="bib10" id="ref18">10</reflink>]) relates only to 8th-grade students.</p> <p>The <emph>NCCAS National Visual Arts Standards</emph> (2014) specifically cite "collaboration" in three 8th-grade performance standards—2, 8, and 15. Moreover, "group identity" is the goal of Performance Standards 14 and 15.[<reflink idref="bib3" id="ref19">3</reflink>] These standards would certainly appear to support the practice of working in pairs or groups.</p> <p>The second NCCAS Standard (First Glimpse Poster, 2014), Artistic Process, Presenting: Interpreting and sharing artistic work, emphasizes students evaluating a collection of art works for presentation, collaboratively mounting an art exhibition, and analyzing how and why an exhibition can influence ideas, beliefs, and experiences. Presumably, this includes both their own artwork and art found in museums and galleries. In these respects, these standards strongly encourage students to curate and exhibit their own art (See Burton, [<reflink idref="bib3" id="ref20">3</reflink>], [<reflink idref="bib4" id="ref21">4</reflink>], [<reflink idref="bib5" id="ref22">5</reflink>], [<reflink idref="bib6" id="ref23">6</reflink>]) and regularly visit museums and galleries. This could also extend to viewing films, video, and television about art; talking about art with others; working in pairs and groups, and possibly, choosing one's own project.</p> <p>NCCAS Performance Standard 1 asks students to "document early stages of the creative process" (First Glimpse Poster: Performance Standard 1: Grade 8, 2014), while Performance Standard 6 specifies "apply(ing) relevant criteria to examine, reflect upon, and plan revisions for a work of art or design in progress" (First Glimpse Poster: Performance Standard 1: Grade 8, 2014). Keeping sketchbooks and art journals and portfolios would serve these purposes very well.</p> <p>The <emph>NCCAS National Visual Arts Standards</emph> (2014) encourages a conceptually open approach to creativity and ideas. Performance Standard 3 asks students to "demonstrate (a) willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing" (First Glimpse Poster: Performance Standard 3: Grade 8, 2014) while Performance Standard 10 asks them to "explain how an individual's aesthetic choices are influenced by culture and environment and impact the visual image one conveys to others" (First Glimpse Poster: Performance Standard 10: Grade 8, 2014), and Performance Standard 11 calls on them to "compare and contrast contexts and media in which viewers encounter images that influence ideas, emotions, and actions" (First Glimpse Poster: Performance Standard 11: Grade 8, 2014). These might easily correspond to choosing one's own project, using (new media such as) a camera, copier, or computer to make art, or illustrating their art in other school subjects (i.e., extending the context of their own art).</p> <p>The <emph>NCCAS Visual Arts Standards</emph> (First Glimpse Poster, 2014) do not explicitly proffer homework, although the complexity and conceptualization required by many of the standards suggest more extended critical thinking and more elaborate artistic, exhibiting, and responding activities that can be undertaken during class. The performance standards for Presenting and Responding all lend themselves to student initiative and decision making involving extended assignments outside class.</p> <p>The <emph>NCCAS Visual Arts Standards</emph> (First Glimpse Poster, 2014) are conceptually based. There are no specific references to media or techniques, such as Painting and Drawing or Making Art from Clay or Other Materials. The shift in Creating from a media/technical perspective to a conceptual orientation undoubtedly will have significant ramifications of art education.</p> <hd id="AN0118224853-4">A Final Note</hd> <p>The <emph>NAEP Visual Arts Report Card</emph> (Keiper et al., [<reflink idref="bib10" id="ref24">10</reflink>]) is an important national survey that reveals the condition of art education once a decade. It is a report on the status quo. It reveals a few strengths, including the efficacy of consistent studio activities (Paint and Draw, Making Art with Clay) and assigning homework. It also indicates major gaps in instructional practices where over 50% of students never choose their own projects, work in pairs or groups, write about their art, view films and television about art, use new media such as cameras and computer to make art, exhibit their own art, keep sketchbooks or art journals, receive homework assignments, or visit museums or galleries. The <emph>NCCAS Visual Arts Standards</emph> (First Glimpse Poster, 2014) embodies a bold plan for the future. How far we will be able to realize this ambitious endeavor in the near future depends in part on taking stock of where we are today.</p> <hd id="AN0118224853-5">Acknowledgment</hd> <p>The author thanks Dr. Edward Boone, Department of Statistical Sciences and Operations Research, Virginia Commonwealth University, for his invaluable statistical and technical assistance.</p> <ref id="AN0118224853-6"> <title> Endnotes </title> <blist> <bibl id="bib1" idref="ref4" type="bt">1</bibl> <bibtext> National Center for Education Statistics ([11]), Instructions for a Creative Task in the 2008 NAEP Visual Arts Survey, state the following: "Now put your white drawing paper, oil pastels, a mirror, and your charcoal pencil in front of you. Think about how you could communicate something important about your personality by drawing your face and upper body (boldface in original). Using the materials in any way you choose, create a self-portrait that will communicate to a viewer something you think is important about your personality. You may use the mirror if you wish." Retrieved from nces.ed.gov/nationsreportcard/itmrlsx/search.aspx?subject=arts</bibtext> </blist> <blist> <bibl id="bib2" idref="ref8" type="bt">2</bibl> <bibtext> In 1995, the Consortium of National Arts Education Associations published Tomhave's <emph>Opportunity-to-Learn: Standards for Arts Education. Opportunity-to-Learn</emph> lays out standards for dance, music, theater, and visual arts education that schools were encouraged to follow. Three main areas—curriculum and scheduling, staffing, and materials and equipment—were broadly outlined. While <emph>The 2014 NCCAS National Visual Arts Standards</emph> is more specific and prescriptive, there are some similarities between the two.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref19" type="bt">3</bibl> <bibtext> This is the only place in the entire <emph>NCCAS National Visual Arts Standards</emph> where the phrase "group identity" appears.</bibtext> </blist> </ref> <ref id="AN0118224853-7"> <title> REFERENCES </title> <blist> <bibtext> Amorino, J. S. (2009). The artistic impetus model: A resource for awakening artistic expression in adolescents. Studies in Art Education, 50(3), 214–231.</bibtext> </blist> <blist> <bibtext> Berry, N. W. (1998). A focus on art museum/school collaborations. Art Education, 51(2), 8–14.</bibtext> </blist> <blist> <bibtext> Burton, D. (2001). Social dynamics in exhibiting art: Rethinking the practices of art education. Art Education, 54(1), 41–46.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref21" type="bt">4</bibl> <bibtext> Burton, D. (2004). Exhibiting student art. Art Education, 57(6), 41–46.</bibtext> </blist> <blist> <bibl id="bib5" idref="ref22" type="bt">5</bibl> <bibtext> Burton, D. (2006). Exhibiting student art. New York, NY: Teachers College Press.</bibtext> </blist> <blist> <bibl id="bib6" idref="ref23" type="bt">6</bibl> <bibtext> Burton, D. (2010). Web-based student art galleries. Art Education, 63(1), 47–51.</bibtext> </blist> <blist> <bibl id="bib7" idref="ref10" type="bt">7</bibl> <bibtext> Clark, C. (1996). A report: Survey of art museum/school collaborations. Denton, TX: National Center for Art Museum/School Collaborations, University of North Texas.</bibtext> </blist> <blist> <bibl id="bib8" idref="ref11" type="bt">8</bibl> <bibtext> Jeffers, C. (2003). Gallery as nexus. Art Education, 56(1), 19–24.</bibtext> </blist> <blist> <bibl id="bib9" idref="ref15" type="bt">9</bibl> <bibtext> Keiper, S., Sandene, B. A., Perskey, H. R., & Kuang, M. (2009a). 2008 arts education assessment framework. Washington, DC: National Assessment Governing Board.</bibtext> </blist> <blist> <bibtext> Keiper, S., Sandene, B. A., Perskey, H. R., & Kuang, M. (2009b). The nation's report card: Arts 2008 music & visual arts (NCES 2009-488). Washington, DC: National Center for Education Statistics, U. S. Department of Education Statistics.</bibtext> </blist> <blist> <bibtext> National Center for Education Statistics. (2008). Instructions for a creative task in the 2008 NAEP visual arts survey. Retrieved from nces.ed.gov/nationsreportcard/itmrlsx/search.aspx?subject=arts</bibtext> </blist> <blist> <bibtext> National Coalition for Core Arts Standards. (2014). 2014 NCCAS National Visual Arts Standards First Glimpse Poster. Reston, VA: National Art Education Association (NAEA) and State Education Agency Directors of Arts Education (SEADAE).</bibtext> </blist> <blist> <bibtext> Pennisi, A. C. (2005). Negotiating to engagement: Creating an art curriculum with eighth graders. Studies in Art Education, 54(2), 127–140.</bibtext> </blist> <blist> <bibtext> Perskey, H. R., Sandene, B. A., & Askew, J. A. (1998). The NAEP 1997 arts report card (NCES 1999-486). Washington, DC: National Center for Education Statistics, U.S. Department of Education Sciences.</bibtext> </blist> <blist> <bibtext> Szekely, G. (2002). Art homework. Art Education, 55(3), 47–53.</bibtext> </blist> <blist> <bibtext> Tomhave, R. (1995). Opportunity-to-learn standards for visual arts instruction. In R. Tomhave (Ed.), Opportunity-to-learn: Standards for art education (pp. 39–55). Reston, VA: Consortium of National Arts Education Associations.</bibtext> </blist> <blist> <bibtext> Witmer, S., Luke, J., & Adams, M. (2000). Exploring the potential of museum multiple-visit programs. Art Education, 53(5), 46–52.</bibtext> </blist> </ref> <aug> <p>By David Burton</p> <p>Reported by Author</p> </aug> <nolink nlid="nl1" bibid="bib12" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib10" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib14" firstref="ref3"></nolink> <nolink nlid="nl4" bibid="bib13" firstref="ref6"></nolink> <nolink nlid="nl5" bibid="bib15" firstref="ref7"></nolink>
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  Data: This article reports the results of a quartile analysis of the "2008 National Assessment of Educational Progress (NAEP) Visual Arts Report Card." The analysis was made from original datasets supplied by the National Center for Education Statistics. It focuses on 8th-grade students who were currently taking art or recently had taken art. Fourteen Responding and Creating variables are reported in this article. Of the 14 variables, four Responding variables and four Creating variables were found statistically significant. Three Responding and Creating variables were mutually significant. Statistically significant results were found, including Painting and Drawing, Making Art from Clay, Weekly Homework, and Visiting a Museum or Gallery. The analysis suggests that studio production remains a strong component in the art curriculum, and homework assignments and museum visits also can contribute to students' art education. Several areas where students never or hardly ever have experiences are also identified. Comparisons are drawn between the findings from the "2008 NAEP Visual Report Card" (Keiper, Sandene, Perskey, & Kuang, 2009b) and the expectations of the "2014 NCCAS National Core Art Standards" for the future.
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      – SubjectFull: Grade 8
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      – TitleFull: A Quartile Analysis of Selected Variables from the '2008 NAEP Visual Arts Report Card'
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            NameFull: Burton, David
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 01
              Type: published
              Y: 2016
          Identifiers:
            – Type: issn-print
              Value: 0039-3541
          Numbering:
            – Type: volume
              Value: 57
            – Type: issue
              Value: 2
          Titles:
            – TitleFull: Studies in Art Education: A Journal of Issues and Research in Art Education
              Type: main
ResultId 1