I teach a curriculum planning course in an art education teacher preparation program. Early in the semester, I ask my preservice art educators to identify and describe the pedagogical qualities of good teachers and good teaching, and conversely, bad teaching. Each year, I am saddened by the number of stories shared regarding mean-spirited studio critiques devoid of useful information that moves an artist forward in their work. Some of the stories come from high school classrooms, but the majority of bad critiques take place in college-level studio courses. Without exception, my students can remember the sting of the words, the feeling of being humiliated, and the overall uselessness of a critique that offered nothing toward bettering their artmaking. I can remember my own experiences with good critiques that increased my skills and encouraged me to take more risks. Likewise, I recall critiques that offered nothing in the way of thought-provoking inquiry that might inspire me to work harder or smarter, but instead left me hot-faced and near tears. We must do better as educators. The antidote lies in Terry Barrett’s new book Crits: A Student Manual (2019). As a graduate student, I was fortunate to take several courses with Barrett, and I experienced his personal mission to

中文翻译：

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评审：学生手册

我在美术教育教师准备课程中教授课程计划课程。在学期初，我请我的职前美术教育者确定并描述好的老师和好的教学，而反过来就是不好的教学的教学质量。每年，我都为共享卑鄙的工作室评论而感到悲伤，这些评论缺乏有用的信息，无法推动艺术家前进。一些故事来自高中教室，但大多数不良批评都发生在大学水平的工作室课程中。我的学生无一例外地记得单词的刺痛，被羞辱的感觉，以及批评的整体无用性，这些批评并没有改善他们的艺术创作。我可以通过良好的评论来记住自己的经历，这些经历提高了我的技能，并鼓励我冒险。同样，我回想起那些批判性思考的方式，这些评论没有任何启发性，可能会激发我更加努力或更聪明的工作，反而使我满脸热泪。作为教育者，我们必须做得更好。解毒剂存在于Terry Barrett的新书《 Crits：A Student Manual》（2019）中。作为一名研究生，我很幸运地与Barrett一起学习了几门课程，并且经历了他的个人使命：