Hello! For those of you that are new here, welcome! Thank you for visiting and I hope you enjoy your time here! And for returning readers, a very special welcome back! I don’t know about you all but this seemed like the summer that never was to me! It flew by so quickly, I can hardly believe that classes are right around the corner (and many of you heroes have already started back!)
The beginning of the year is a great time to revisit your values and reaffirm your beliefs to prepare and get energized for the work ahead. Since several of you are new Color Wheel Killers, I think it’s especially appropriate to share why I’m here and hopefully that will resonate with you and this community will be something you want to continue to be a part of. Together we can advance the field of visual art learning.
I started this blog a year ago as a challenge to myself to be more transparent in my teaching and therefore more vulnerable - to share what I was doing with others struggling with how to teach better and more creatively. I wanted a place where I could share my thoughts about teaching and the things going on in my classroom. It was a risk I’m glad I’ve taken and has since helped me to think more deeply and meaningfully about my teaching practice and research. I’ve taken (mischievous) pleasure knowing that my provocative title has connected with you and others as we think about how better to connect our students to their own creativity through encounters with contemporary art.
So why is my (in)famous logo, poor Carl the Color Wheel, getting dispatched in such gruesome fashion? Well, because blood is cool, obviously. But yes, I know it's not so much the gore but my call for eliminating color wheels that can elicit gasps among some of my colleagues, even accusations of blasphemy. ‘YOU MONSTER!! HOW COULD YOU?!? HOW ELSE CAN STUDENTS LEARN TO APPRECIATE COLOR?!? The color wheel is precious and every child must know it, use it, memorize it, and love it. Blue and red make purple! Yellow and purple complement each other! This is critical art stuff here!’ I worry how some of my colleagues seem to so strongly identify with this tool or see it somehow as endemic of all of art education. I'm not attacking anyone - just an idea.
What do I have against color wheels, the art teacher’s beloved class accessory? For the record, I like color and I think color theory is really interesting. like rainbows. I’m not opposed to circular rainbows.
I consider myself to be in good company in my disdain for the color wheel. Art educator Olivia Gude, whom I’ve followed for years, has likewise repeatedly called for an end to the antiquated practice of making color wheels:
And HS Art teacher Amelia Hernandez recalls an Olivia Gude anti-color wheel presentation from a recent NAEA convention in Chicago where Gude says, “If you still get the urge to teach a color wheel assignment, just lie down on the ground and wait until the feeling passes.”
While I might see similarities between my thinking and that of one of the top movers-and-shakers in our field, I’m definitely not trying to claim superiority by any means. How do I know color wheels are a waste of time? Because I’ve made classrooms full of students paint color wheels (but we made them into flowers, so that’s better right?!? No? No.) I deeply regret it. If you have done this too, I’m not judging you. But if you don’t have a darn good reason for doing it after reading this, then I might.
What is most important about art? This is a question my mentor Craig Roland would ask his students. What’s the one thing you want them to remember about their time in your art class?
Our time is so short with our students and therefore even more precious. Every student doesn’t take art, isn’t required or doesn’t have access to take visual art in school. Will they go throughout their lives with the secret shame of never having made a wheel of colors of their very own? Will they have some disadvantage in life which you could point to? In the typical visual art class, not every student is going to be an artist. In fact, this is most likely true for the vast majority of them. How does the color wheel improve the life of the dentist? The auto mechanic? The garbage person? The postal worker? How will the color wheel help them encounter a contemporary work of art or engage an object in an artful way.
Of course, I’m sure everyone thinks what they’re teaching is important. I didn’t think I was wasting my student’s time as they spent class after class filling in the colors. But why is the color wheel important? Is it important beyond itself? Some call it an important tool. But is the use of a tool in it’s form or in it’s purpose? Certainly, a pencil can be beautiful - but isn’t the beauty of the pencil found in the purpose in which it is employed? An elegant equation? A poignant sentence? An expressive line?
But surely the color wheel has some purpose! I grant you that. I see no doubt that the color wheel serves the painter better than most. It’s a little less useful already for other visual art forms however, say for example the sculptor that works in earthtones or the digital artist whose color palette is based on an entirely different wheel of color based on light rather than pigment. For every person that claims how useful the color wheel was to them, I wonder if I couldn’t find 100 that would say not a day has gone by that they have occupied their thoughts with wheels of color?
Understanding the color wheel will help students see better! They will appreciate color more! First, I’d like to see the evidence for this. Seriously. I’m unaware of any research that demonstrates that an intervention involving color wheel training is correlated with subsequent reports of significantly higher levels of aesthetic satisfaction. Secondly, do you really think the color wheel is the best, or only, way to produce that satisfaction?
Is there a right way to use color? Color wheels allegedly teach students “ideal” ways to choose colors. This must certainly refer to some of the so-called “rules” some art teachers must be referring to when they state that “you must first learn the rules before you can break the rules.” But color preference is personal, cultural, and contextual. The color wheel can tell you what colors might look “pretty” or “nice” together (according to a particular socio-cultural viewpoint) and encourages encourage a formulaic or prescriptive application of color. “Step 1: Follow directions; Step 2: Use at least 1 color and its complement; Step 3: Clean up after...” Sound familiar? Much like a disgruntled older woman in search of beef in the 80s, I can’t help but ask: “Where’s the meaing?”
Color is important to me when it is meaningful. Color is important when it helps us create and understand meaning around us. How do I perceive color? What colors create which effects? What colors might best portray a feeling I’m going for? How do certain colors make me feel? How can I use color to affect my mood or that of others? None of these questions are answered by the color wheel.
I see the color wheel in good company with the elements and principles of art. They are the grammar of art, but not the message. They are they HOW, not the WHY or even WHAT. Humans are naturally driven by meaning and purpose and that is not supplied by grammar but comes from the heart. Certainly not useless, but moreso overemphasized if anything. More sophistication does not necessarily imply more meaning. Greater sophistication comes with practice and practice comes with inclination. Interest can be sparked by a good teacher, but not if we are focusing on what isn’t meaningful. To privilege the mechanical aspects of art over the meaningful aspects is pointless to me. We must always begin with the meaning. We must engage ourselves with the purposes of art and go beyond the superficial aspects.
We are all attached to the past in one way or another. Call it tradition, nostalgia, or sentiment. We all have things we either don’t want or are afraid to let go. But when those things get in the way of learning, when those things reduce what we do in art to the lowest common denominator so it can become a multiple choice question on some irrelevant test, then we must challenge ourselves to abandon those things holding us back. If I was a writing teacher, my site might be called, “Kill Your Cursive.” It’s not the style so much as the substantive role art and creativity can have in the lives of everyday people today and have had throughout history.
If you came out of an art education without ever seeing a color wheel, I think it would still be possible for you to live a long and happy life. I believe you’d still be able to enjoy the colors of a sunset or a butterfly’s wing or a Van Gogh.
We live in an age where we can’t believe our eyes. The majority of young people and adults can’t tell the difference between a fake image or news story and a real one. How have we supposedly helped our students “see” if they cannot even see the difference between what is real and what’s fake? How does this prepare them for an unforeseen future as a fully-functional citizen? Will memorizing a color wheel somehow better aid them participate in the society of the future than critical thinking skills or the ability to consider multiple interpretations, build empathy, or make meaning? Because looking at art can help develop those skills. Reproducing colors in a circle don’t.
To grow, we must be prepared to abandon the old ways of doing things and leave behind the things we may once have found useful, even loved, but that no longer serve us. Kill Your Color Wheels is a reminder to focus on what's important: How can art make a real difference in our students’ lives? Plus, killing a color wheel is silly - and I like silly.
If you are as interested in answering that question as I am, then I hope you’ll continue to revisit my blog from time to time and refresh your own thinking with my writing and research. What old habits or ideas are YOU trying to let go?
Thanks so much for reading and I hope you’ll continue to practice and call for more meaningful, creative, contemporary visual art learning!
For more on my views on color wheels, as well some thoughts on art education and creativity, check out the following podcasts:
Art Class Curator Episode 09 Killing Your Color Wheels with Jim O’Donnell: https://artclasscurator.com/09-killing-your-color-wheels-with-jim-odonnell/
Art Ed Radio: Episode 105 Art Ed Should Thrive, Not Just Survive: https://www.theartofed.com/podcasts/art-ed-thrive-not-just-survive-ep-105/
For a similar take on the elements and principles and their role in art education, please check out Cindy Ingram’s excellent blog post at: https://artclasscurator.com/why-i-hate-the-elements-and-principles-of-art-but-teach-them-anyway/
For more interesting ways to think about color, and more picking on the color wheel, see Olivia Gude’s articles
“Color Coding”: http://www.academia.edu/7339685/Color_Coding
Want to learn more about color and perception? Check out this amazing TED Talk by neuroscientist Beau Lotto: https://www.ted.com/talks/beau_lotto_optical_illusions_show_how_we_see
Want to learn even more about color and perception? Check out “relative color”: http://colorisrelative.com/color/
Want to learn even more more about color and perception? More relative color at: http://purplepwny.com/blog/color_relativity_color_theory_beyond_the_wheel.html
“Especially as a beginner, it can be very tempting to look towards mathematical formulas and rigid step-by-step approaches to picking your colors. Unfortunately, there isn’t any one formula that will work for every situation.”
Note: Sorry once again for the delay of my post! Like I said before, this has been whirlwind of a summer! I can’t believe that a new school year is here already! There are so many things I want to share with you, like the wonderful time spent talking to Art Class Curator Cindy Ingram for her new podcast, my lovely first experience working with the Art of Ed creating my first video presentation for their summer conference, my phenomenal experience working with high school creatives during the 31st annual Art-All State Massachusetts as an Artist-Mentor, my trip to Wichita Kansas to present at the regional USSEA Conference where I shared insights gained examining the potential connections between burns, creativity, my classroom community, and finally the art projects I completed, such as a 90 page creative non-fiction novelette about growing up with a mother suffering severe mental illness, which took me 8 years off and on to complete, as well as some other pieces! Phew!!! Hopefully, I’ll have a chance to weave those experiences into future blog posts for you all! In the meantime I'll have classes to teach and a dissertation proposal that will need approving so please expect 1-2 posts a month for the immediate future! Thanks again for your continued support!
Assessment is not a bad word. Though it seems that way in art education sometimes. I can empathize with folks who find the term 'exhausting.' Saying the A-word might even trigger some kind of low-grade academic PTSD for some. I think it’s because we’re so used to being abused by it, both as students and then as teachers.
But remember that at its core, assessment is simply about value. What we assess is what we look for and what we look for is what we value. What values are you promoting in your classroom assessment? Are you valuing learning over grades? There is a difference. What about dialogue over monologue? Subjectivity vs false pretenses of objectivity? Vulnerability and risk-taking vs the formulaic and the path of least resistance?
Assessment is not the same as grades. Grades at best serve expediency, but expediency is not compatible with learning any more than it is with art. Galloping through a museum to see as much art as possible is not the way to have meaningful experiences with art. Art is slow. Art is demanding. It asks the viewer to notice something,even reflect on what you notice, as opposed to the rest of daily life when we simply go and do mindlessly.
Meeting with every single student to determine grades is also slow (at least compared to a computerized test or mechanically determined grade). Assessment, if it is to be authentic, is also slow. But I believe that we should have the courage to assess face-to-face and to do so through dialogue. In this fast-paced world, we must slow down for our students’ sakes if we want them to slow down as well. We ended my class this semester with final meetings where I met with all 30 pre-service teachers in my class to assess portfolios of writing and determine a grade together.
Even though we have been graded ad nauseam for the better part of 15 to 20 years of our lives, few and far between are the instances where we share responsibility for our own evaluation or even evaluate ourselves. This seems rather strange. These future teachers will go on to emphasize grading because that is what the system demands; that is what they have been subjected to as students and all they know. But shouldn’t they get to have experiences actually grading SOMEONE before they are in a classroom ACTUALLY grading someone before student teaching? Don’t we, as a field, think that, at the very least, self-assessment might build empathy for students and expand the thinking of these future teachers BEFORE they get into the classroom when they can still ask questions and experiment safely?
I told them it would feel weird and uncomfortable, maybe because evaluation is hard and maybe because they have so little practice self-evaluating in traditional settings. Step into that discomfort. It will be over before they knew it. This semester, I used an analogy that I liked quite a lot because I thought it would be very “sticky” – the tattoo artist. Sure, my students get the logic I explained above, but will they REMEMBER when they are the teacher in charge? My answer was the tattoo artist analogy. I told them that traditionally, a prospective tattoo artist would practice drawing for a long time and maybe practice tattooing a piece of meat from the supermarket. When they wanted to graduate to become a professional, they would tattoo themselves. This has two benefits. First, is your work good enough for you to be willing to wear it? Second, you know how it feels when you do it to someone else. It builds empathy. So it makes sense to give a future teacher the opportunity to share the steering wheel when it comes to their own evaluation so that they know how it feels. The problem is, this analogy may or may not be true, because I’ve heard conflicting accounts. I’ll keep looking for one because the truth matters to me but this one may work for a time.
Some students had to mull over very difficult questions that every teacher faces. Whatever they chose would have lasting consequences. Would they evaluate themselves fairly, as they are expected to evaluate their students? Or would they take advantage of the opportunity? It seemed like an obvious teachable moment to put the ball in their courts. I believe their decisions says a lot about who they will become as teachers, and I thought they all showed character as they practiced wrestling with the tough choices every teacher faces in a less risky environment.
Fortunately, the vast majority of them did very well so I was able to relax a bit. A few conversations were tough and awkward but teachable moments on how to move through disagreement. There was no point where I had to overrule anyone, though there were occasions where I and the student came to terms with final grades that were lower than the student hoped. But there were also occasions where perhaps overly-critical students and I came to terms with grades higher than they expected as well. Nevertheless, they seemed sincere in their understanding of how those grades seemed fair. Overall, I loved the experience and it seemed like they all responded well to it. And I have some evidence to back that up. While I’ll wait until my next post to get my exit survey data, I will share that before their experience with authentic assessment in my course, 39% of the pre-service teachers said they were interested in practicing authentic assessment in their own future classrooms, but by the end of the semester, that number had increased to 68% - an increase of nearly 30%!
On Effort & Assessment
Hearing what my students talk about and write about gives me insight into what they value. What I tried to do was listen. I give my students multiple opportunities to reflect on something and may ask them about something several different ways. I tell them this is because I do not want to use only one bucket to catch a waterfall, as I explain to them. I’m looking for the learning when I’m reading and listening to and observing what my students say and do. If I only look one time, that’s like using one bucket to catch all that information. If I look for something multiple ways, then I will use several buckets and increase my chances of finding what I’m looking for, if it is there. We must be sure we find what we are looking for and not what we are hoping for, and likewise, our students should have the opportunity to prove what they have and have not learned beyond a shadow of a doubt. That is justice, and at the end of the day, that above all else must drive our decision making in the classroom just as it must drive a civil society.
One nearly universal theme I heard in students’ self-evaluations was effort being highly prized, privileged in my opinion from accomplishment or acquiring specific skills or knowledge. I’m afraid that this is something of a lowest common denominator from my point of view. Is the person expending every last ounce of their strength and effort attempting to move a boulder more admirable than the clever person that uses a lever and actually moves the stone? Not to me.
Obviously we all need to put in effort! Obviously EVERY student IDEALLY would normally be operating at the edge of their potential in order for their limitations to expand. I have a hard time imagining a single teacher promoting a lack of effort in their classroom. But how do you begin to weigh or measure it and would that be useful at all? Would everyone be successful if they just put in effort? Sounds ridiculous to me. In my opinion, effort would be a quality of the classroom culture to be valued, modeled, and practiced, rather than something academic to be evaluated. Hasn’t it been our desire to REDUCE the amount of effort required for tasks that has driven our technology? Doesn’t evolution privilege the adaptation and not the effort expended? Surely, it is this emphasis on effort above all else that makes people think that, while learning is often hard, it can also be meaningful and fun. If we measure by effort alone, surely the most dismal learning tasks are then the most beneficial, right? If a teacher doesn't grade effort, that doesn't mean no effort suddenly becomes acceptable. It seems to me we grade their effort when students are being forced to do things.
I wonder if, in practice, prizing even effort leads to a deficit view. The student quit due to their flawed character and lack of effort, not because the system is unfair or irrelevant. “They’re lazy!” is the favorite attack upon the disenfranchised. Yet here at college, after so many years of school, is what is most prized? Not first improvement? Growth? Self-fulfillment? Achievement? Surely, all this represents the institutionalized view, as nearly every high achieving student (future teachers) in my class emphasized effort. To the contrary, the best studio art classes I ever taught were guided by the mantra of a familiar green puppet: Do or do not, there is not try.
I don't look for effort, I want engagement. And I was very pleased to hear many respond very positively to their Creative Growth Goals, which honestly I had wondered if having students choose CGGs would’ve worked. And it didn’t, completely, this first semester by any means (well, I started in the Fall but it was formalized in my Spring class). I was worried because I had to remind several students which goal they had chosen at their midpoint meetings. But they seemed truly engaged in their focus on developing a skill or ability such as idea generation or uncertainty or experimentation.
It’s hard, sometimes, to know with great certainty when you are conferencing with students and reviewing their portfolios that the risk of confirmation bias is extremely STRONG when you AND the students both have a horse in the race. I think we have to weigh our judgments carefully and this is why I seek transparency with my students. But what I took away from their positive responses was not so much the specifics of it but that they responded well to being able to choose a goal that was they then were prompted to weave throughout their coursework. Additionally, much like this assignment, they really benefited from prompts to reflect back on their decisions from the beginning of the semester which they could use as a point of reference to assess growth. Students like feeling like they’re making progress, but in many classes students are not given the opportunity to reflect. Comprehensive tests and papers do not serve this function. But I was happy that the students enjoyed exercising their agency in selecting something in the course they’d like to focus on. This is something I want to more deeply engrain through the core of future classes.
Assessment is rarely easy, but for me it is one of the most important things I do in the classroom. But grades, while attractive to bureaucrats and folks that don’t know much about learning, are not the answer. I told my students at their meetings was that the objective of our final meeting was to take all of the rich experiences we’ve had this semester, the story that you have created this semester, and do our best to fit all of that into one of these odd little shapes (as I point to the OSU grade scale). We lose a lot doing this, because it is nearly impossible to reverse engineer that story out of the funny little shape. But you and I will know that there is a lot of meaning in that shape, even if it is hidden. And most importantly, it is the dialogue, reflection and choice - the essential ingredients of authentic assessment - that my students found meaningful which they will carry with them well after they leave the classroom. Paradoxically, this means slowing down and focusing on those art and creativity values, skills, and dispositions that we will practice the rest of our lives. These are the things I value and so that is what I assess.
In my next post, I’ll share the results of the exit surveys my students completed. What did they think of our time together? Tune in next time and I'll discuss the result and reveal how their data will affect my planning for next year! The challenges of change!
Lastly, thanks for your patience in waiting for this post! It's been a few weeks as I had classes ending and beginning; several major deadlines; and some personal matters all coming at the same time. I appreciate your continued support!
Our students spend a disproportionate amount of time looking at us. They probably spend more time looking at us than our loved ones. Don’t you wonder how your students see you? I know I have.
It’s hard to know how others view us. We all have those who see us lovingly, those who look at us with disapproval, and the majority who don’t see us at all. Our students see a lot of us and over the course of a semester it is possible for a student to view us from all three points of view.
It can be a risk asking others to share their view of you. You might not like what you they show you. They don’t know how you might react. You’re asking for honesty when there’s a lot of uncertainty. Such an interaction can require vulnerability on both sides.
But teaching and learning require trust. Asking students to draw you, especially early in the year, could be a tremendous bonding experience. Especially if you look at the drawings together and share in some laughs. Humor, and proving that you have a sense of humor, can be tremendous advantages in forming community.
This semester, I wanted to find out how my students see me and I found the perfect spot to swap it into my curriculum. For the last several years, I have enjoyed introducing my students to the Stages of Artistic Development. I lead several exercises that help teachers empathize with their students by helping them get into the mindset of a child drawing at different stages of artistic development. These stages can be related to those proposed by developmental psychologists Piaget and Vygotsky (who both sound correct if you ask me). I pair experiential learning in the classroom with the reading Young in Art by Craig Roland (an academic descendant of Lowenfield) and some updated info from more current research.
We start with some relaxation exercises before engaging in exercises in scribbling, pre-symbolic, symbolic, and naturalistic drawing. I’ve described these exercises in a previous post, but this time there were a couple of key differences. For realism, instead of exploring shading like we did last semester, I chose to return to leading students in learning to draw a more realistic face. We examined proportions linking our observation to math concepts, including that most anything can serve as a means of measuring in a pinch.
The part I like most about teaching drawing faces together is changing my students’ perceptions of something they thought they knew very well. When I poll the class, about 90%+ of them say that the eyes are one-third from the top of the head. However this guess is disproven easily using a pencil as shown in Betty Edwards’ Drawing on the Right Side of the Brain. Using the pencil to measure from the eye to the top of the head and then from the eye to the chin reveals that the measurements are the same and thus the eyes are in fact in the middle of the head.
Each of them has probably looked at themselves in the mirror most everyday for nearly two decades, yet they never noticed where their own eyes rest on their faces! We rationalize this oversight by discussing how recognizing emotion in faces is critical to socializing and even survival, so our attention tends to fall only between the eyebrows and the mouth - where emotion is most obvious. The forehead and hair just aren’t as important so our brain seems to edit them out of our perception unless we observe closely.
This ‘blind spot’ tends to surprise students and is something they seem to remember for a long time after. It’s also prime time for them to employ meta-cognitive strategies to relax themselves and manage the stress that often comes when trying realistic drawing after giving it up so long ago. Many report back how helpful my coaching is during this point in the process, supporting the use of scaffolding and the zone of proximal development.
The second difference in this journey through the stages of artistic development was a twist on the symbolic stage. For an assignment in my teaching and learning class with Dr. Edmiston, we were asked to consider how we are viewed by our students and to see things from their perspective. I and another classmate decided we would go one step farther and actually ask our classes to draw us and show us how they view us.
Getting my students to draw me was something I had wanted to do for a while, ever since I saw how teacher and artist Chris Pearce, creator of Teachable Moments, would give his students extra credit on a test if they made a drawing of him. Online you can find an impressive collection of portraits created by his students.
I explained that since most of them had most likely stopped developing their drawing skills after reaching the symbolic stage that they shouldn’t worry about their drawing skills and just try to have fun. I instructed them to remain anonymous by not including their names. I wanted them to use their imaginations to caricature me or make me into a cartoon if they wanted. I told them that I wasn’t going to look at their drawings until after class and I’d share them during our critique day. I assured them that no matter what, I would have a sense of humor and not hold anything against anyone personally. I wanted them to uninhibited to be honest.
I was nervous asking the students to draw me. It’s hard for me to not take things personally. This wasn’t the first time I’ve asked a class to draw me, as I often did this for Drawing 1 when we would take turns using each other as clothed drawing models the day before our professional model arrived so that students had some practice but could also better empathize with the difficult job of our model! But I was still anxious for some reason! Maybe because this was the first time I had done this. Or maybe I was worried someone might not be so nice in their rendering of me? Or was I worried about how I’d react and that maybe I’m too sensitive for something like this.
When I taught elementary and middle school art, students would occasionally gift me a picture they had made of me or I might dig one out of a pile of doodles from free draw. These little mementos were treasures for me. Being drawn by a child is a special honor. Even though my current students are a little older, I still feel honored and love these drawings very much.
Overall, I thought my students were very sweet to me. “Art Jim” seems happy, energetic, and passionate about art. There’s some dancing, jumping, and exclaiming. Sometimes I’m pensive or lost in thought. I often appear with a camera, documenting my students and their work. Other times I’m wielding art supplies. I can identify two wonderful homages to shows like the Simpsons and Star Trek: The Next Generation which I adore. I’m much less rounder than I expected in their drawings, and too hairy in all of them, just like real life these days. Each one is different and I love seeing the unique style that each student uses to depict me. I like how they see me. Now it’s up to me to live up to their vision of me. Life imitating art imitating life.
We enjoyed reviewing the drawings together at our critique. Students noticed how many folks chose to show my appearance but several tried to show my personality and we debated which approach was preferable. My students also wanted me to talk about taking risks and if I get uncomfortable. I shared that, as an artist, there have been many times when I have had to step into my discomfort, especially when working in public. As a teacher, I’m uncomfortable before most every class. But I have to be brave because I want my students to be brave. I’m happy that they picked up on these aspects of the assignment. We looked together. Discussed together. Laughed together. I think I’ll definitely continue this assignment in future classes.
Have you ever asked your students to depict you? How do you think you look to your students?
NOTE: While Chris Pearce’s work was one inspiration, I looked very hard for an article I thought I had read years ago about a teacher who asked his students to draw him like I did but could not find anything. If anyone knows what I’m talking about and has the link please email me! Thank you!
It can be a risk asking others to share their view of you. You might not like what you they show you. They don’t know how you might react. You’re asking for honesty when there’s a lot of uncertainty. Such an interaction can require vulnerability on both sides.
I'll mostly be blogging about my experience teaching pre-service teachers about creativity and artmaking. I teach a class called Art Curriculum & Concepts for Teachers for undergrads planning on becoming classroom teachers. Among other things, I'm attempting to "Go Gradeless" while experimenting with more effective approaches to teaching visual art integration.