In recent years, increased attention has been paid to feedback and assessment in Fine Art. This has revealed a need for the pedagogic culture of Art and Design subjects to be better understood, particularly from the perspective of the student experience. Accordingly, this article presents findings from a Higher Education Academyfunded project that investigated feedback and assessment within creative practice through a case study of Newcastle University’s Open Studios (OS) feedback and assessment model. Through this we argue that multifaceted feedback models best address some of the problems surrounding the feedback–assessment relationship in studio-based disciplines, particularly assisting students to develop the critical and reflective capacities on which much studio-based tuition is built. Within this, however, careful consideration needs to be made of the power relationships in studio dialogues. Unlike traditional academic disciplines, the research revealed a premise placed on feedback rather than grades within Fine Art where, as the students put it ‘it’s more about building a practice’.
City of Dreams is a ten year mission to make the conurbation of NewcastleGateshead the 'best place to be young' by enabling the local population of children and young people -165,000 under 25s -to have the opportunity to engage with culture and creativity. As well as enhancing engagement with culture and the creative arts, it also aims to be a platform for children and young people's voice and to increase their influence in cultural organisations. Through this, City of Dreams seeks to support young people in becoming active and creative citizens who are able to improve their life chances. Established in 2018, City of Dreams is an initiative led by Newcastle Gateshead Cultural Venues 1 (NGCV is a voluntary partnership of 10 organisations running 20 venues, archives and heritage sites across Tyne and Wear) and which has 52 affiliated organisations drawn from a variety of sectors including voluntary, community and social enterprise and the arts. This broad base of support evidences the collective intent to create a transformational shift in the way the cultural sector, and indeed cities themselves, engage with young participants and audiences.
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