Keoni Mcfee

How often did your class meet?

Due to a rotating letter day schedule, the class met three to four days per week for 57-minute class periods.

The AP Drawing course runs concurrently with the third-level Portfolio Preparation class, bringing together students from various studio disciplines—drawing, painting, ceramics, and mixed media—to work within a shared creative environment.

How did you guide students in developing and refining their inquiry statements and portfolio direction during their Sustained Investigations?

Before students identified a direction for their Sustained Investigation, they examined sample portfolios on the AP website, reviewed topic prompts, and studied the work of master artists. I also asked students to bring in previous artworks, especially pieces created outside of school, to recognize and build upon their intrinsic motivation, an essential factor in developing a successful investigation. As students brainstormed potential focuses, they were encouraged to select themes that were personally meaningful and aligned with their preferred materials, techniques, and subject matter, while also remaining open to experimentation and risk-taking. Once several pieces were created, students analyzed their portfolios as a whole to identify emerging connections, contrasts, and new possibilities for exploration. These discussions informed the refinement of their initial focus statements into more specific inquiry statements, which continued to evolve throughout the year through feedback, critique, and reflection.

How did you scaffold writing into students’ art making and thinking processes?

I scaffold writing into students’ art making and thinking processes through reflection prompts tied to their research, ideas, and artwork for the Sustained Investigation. Students are encouraged to take notes during peer critiques, and one-on-one teacher–student conferences provide additional guidance and content to include in their written documentation. As students progress in their Sustained Investigation, they accumulate substantial material that they can draw from when crafting concise responses to AP portfolio prompts. Throughout this process, students receive ongoing feedback and opportunities to revise, helping them strengthen both the clarity and depth of their writing while connecting it directly to their artistic development.

What did you learn from working with your students, and how did you connect their learning to real-world opportunities or creative careers?

I discovered that many students were already engaging in real-world experiences through their art, including commissions, logo designs, and exploring creative career paths. My goal was to continue fueling their artistic drive with additional opportunities. Students learned more about creative careers through college visits, submitted artwork to juried art shows, displayed in a few galleries throughout the state, and participated in field trips to professional art spaces. After submitting their AP portfolios, students have the opportunity to create the graduating class shield and the graduation program cover—an honor and a long-standing town tradition that provides real-world experience in community-based commissions. In this process, they collaborate with peers, gather input from their graduating class, and interact with faculty and administrators outside the art department, gaining practical experience in professional art making, teamwork, and client collaboration.

What advice would you offer to other AP Art and Design teachers?

Consider teaching from your students’ perspectives and exploring multiple approaches to instruction. Art making is rarely linear, and over the years I have observed that each student develops their portfolio in a unique way. A few years ago, my colleague and I decided to experience the Sustained Investigation process firsthand as part of our professional development. We identified an inquiry topic, followed the College Board criteria to develop our own Sustained Investigation slides, and relied on each other and our students for feedback. Experiencing the process from a student’s perspective helped me better understand the challenges and opportunities students encounter and highlighted that even though we are both practicing artists, my creative processes differed significantly from my colleague's. This insight has profoundly shaped how I support my students. I differentiate instruction to meet the needs of each individual artist, providing multiple pathways for demonstrating learning. By considering the Sustained Investigation from the student’s perspective, I can guide them in a way that is authentic to their creative style rather than imposing rigid requirements or deadlines. Embracing flexibility and personalization allows students to develop their Sustained Investigations more organically and meaningfully.

What makes you most proud of your school’s AP Art and Design program and its impact on your students and teacher(s)?

Watching our students develop as artists as they curate their portfolios is incredibly rewarding.

Guilford High School has always been a strong proponent of the visual arts and actively seeks opportunities to display our students’ artwork in public spaces—whether it’s an art show at the Guilford Free Library, a mural that our students design and paint at the local police station, or through partnerships with other arts organizations in town.

What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?

It’s important to nurture young artists.