They pursue this question by systematically
collecting examples of student work over time, and collaboratively analyzing that work with colleagues who help them make sense of what the students do and do not know as well as what they can and can not yet do.
The
student teaching supervisor also relied on the cooperating teacher to
collect and send additional screenshots, a process that ensured the supervisor saw a true representation
of the
student teacher's
work and not only the
student teacher's best
examples.
As a
student in 1949 at the Art
Students League
of New York, for
example, he laid paper on the floor
of the building's entrance to capture the footprints
of those entering and exiting.10 The creation
of receptive surfaces on which to record,
collect, or index the direct imprint
of elements from the real world is especially central to the artist's pre-1955
works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State
of Criticism» isolated this particular approach to surface as collection point as the singular contribution
of Rauschenberg's
works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue
of a visual experience
of nature but
of operational processes.»