We compare epistemologies and aesthetics in the International Baccalaureate Diploma Programme and the Australian New South Wales Stage 6 Visual Arts Syllabus, focusing on curriculum content, pedagogical praxis, and assessment strategies. Both curricula feature making, reflexivity, and critique. International Baccalaureate components are Exhibition, the Process Portfolio, and the Comparative Study. In New South Wales Visual Arts they are the Body of Work and Visual Diary. Issues are the teacher as curriculum; uneven resources; shifting contexts and formulating standardized expectations. In both, qualitative assessment and examination are achieved via articulating criteria and levels of achievement, and examiner training. In International Baccalaureate, what counts as good work can vary in relation to Principal Examiner standards, particularities of context, pedagogy, and resources, with work ranging from sophisticated installations, to anime, to the school art style. In New South Wales Visual Art aesthetic conventions are reinforced because the system is less distributed than International Baccalaureate, where aesthetics become engrained, perpetuating conventions around what counts as good art. In spite of supervening assessment structures, teaching, learning, and assessment in visual arts education is always highly qualitative, unfolding, and rooted in the situated shifting conditions and ways of being in the world of each teacher, student, artwork, examiner, artist, and scholar.

中文翻译：

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视觉艺术课程的认识论和美学、教学实践和评估：国际文凭课程和新南威尔士州第六阶段视觉艺术课程大纲的比较分析

我们比较了国际文凭课程和澳大利亚新南威尔士州第六阶段视觉艺术课程大纲中的认识论和美学，重点关注课程内容、教学实践和评估策略。这两门课程都以创造、反思和批判为特色。国际文凭课程的组成部分包括展示、过程组合和比较研究。在新南威尔士州视觉艺术中，它们是作品主体和视觉日记。问题是教师作为课程；资源不均；改变环境并制定标准化期望。在这两种情况下，定性评估和考试都是通过阐明标准和成绩水平以及考官培训来实现的。在国际文凭组织中，什么是好的作品可能会因主考官的标准、背景的特殊性、教学法和资源而有所不同，作品的范围从复杂的装置、动漫到学校艺术风格。在新南威尔士州，视觉艺术的审美惯例得到了加强，因为该体系的分布程度比国际文凭考试要少，在国际文凭考试中，美学变得根深蒂固，使关于什么是优秀艺术的惯例得以延续。尽管有随之而来的评估结构，但视觉艺术教育中的教学、学习和评估始终是高度定性的、展开的，并植根于每个教师、学生、艺术品、考官、艺术家的世界中不断变化的条件和方式。和学者。