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Studio Thinking 3

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Studio Thinking 3: The Real Benefits of Visual Arts Education

by Kimberly M. Sheridan, Shirley Veenema, Ellen Winner, and Lois Hetland

Foreword by Mario R. Rossero

Published by: Teachers College Press

Imprint: Teachers College Press

Sales Date: 2022-06-03

Hardcover

CA$141.95

Published: June 2022

Product Details

Imprint: Teachers College Press

Page Count: 192 Pages

Dimensions: 8.75 x 11.20

192 Pages, 8.75 x 11.20 in

Hardcover

CA$141.95

ISBN: 9780807766514

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Description
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Contents

Studio Thinking 3 is a new edition of a now-classic text, a research-based account of teaching and learning in high school studio arts classes. It poses a framework that identifies eight habits of mind taught in visual arts and four studio structures by which they are taught. This expanded, full-color edition includes new material about how the framework has been used since the original study, with new perspectives from artist-teachers who currently apply the Studio Thinking Framework in their own practice. It also reviews how contemporary organizations, educators, and researchers outside the arts have utilized the framework, highlighting its flexibility to inform teaching and learning.

New chapters for Studio Thinking 3:

Students as Contemporary Artists: Building Agency in the Studio highlights how studio teachers support learner autonomy, including the ability to create increasingly self-directed artworks.
Artist-Teachers examines how artistic practices and teaching practices intertwine and how the Studio Thinking Framework can nurture the relationship between them.
Assessment is a Conversation introduces the practical ways that teachers are using Studio Thinking to assess and evaluate students? work, working processes, and thinking in the arts.
Studio Thinking discusses how the Studio Thinking Framework has informed teaching and research in visual arts, theater, dance, music, arts integration, STEAM, and other contexts.

The first edition of this bestseller was featured in The New York Times and The Boston Globe for its groundbreaking research on the positive effects of art education on student learning across the curriculum. Studio Thinking 3 will help advocates explain arts education to policymakers, support art teachers in developing and refining their teaching and assessment practices, and assist educators in other disciplines to learn from existing practices in arts education.

Book Features:

An explanation of ?art as thinking? that unpacks and clarifies how teaching art is the process of teaching thinking.
An account of what Studio Thinking looks like in diverse contemporary settings.
Models of studio arts instruction that illuminate what educators are doing to support students? learning in the arts and why they are doing it that way.
Full-color images with examples of student art throughout the book.

Contents

Foreword to the Third Edition by Mario R. Rossero ?ix

Foreword to the First Edition by David N. Perkins ?xi

Preface to the Third Edition ?xiii

Acknowledgments ?xv

1. ?Making the Case for the Arts: Arts Education Is Not Just a Luxury ?1
The Framework of Studio Thinking ?1
Why a Frame for Studio Teaching and Learning? ?2
Conclusion ?5

Part I. Studio Classrooms: The How of Studio Teaching

2. ?Elements of Studio Classrooms ?13
Creating a Studio Culture ?13
Focusing Thinking With Studio Assignments ?15
Teaching Through Artworks ?15

3. ?Studio Structures for Learning ?18
The Demonstration?Lecture ?18
Setting Tasks: African Pottery Project (Example 3.1) ?19
Illustrating Concepts: Tile Project (Example 3.2) ?20
Modeling Processes, Approaches, and Attitudes: Light and Boxes Project (Example 3.3) ?21
Students-at-Work ?22
The Critique ?23
Variations in Use of the Studio Structures ?25
A Fourth Overarching Structure: Exhibition ?26
Features of Exhibition ?27
What Can Be Learned from Exhibition ?27

Part II. Introducing the Studio Habits of Mind: A Dispositional View of What the Arts Teach

4. ?Develop Craft: Technique, Studio Practice ?31
Technique ?31
Teaching the Theory and Practice of Color: Inventing Colors Project (Example 4.1) ?31
Studio Practice ?34
Teaching the Practice of Maintaining the Studio: Self-Portraits in Colored Pencil Project (Example 4.2) ?34
Teaching the Studio Practice of Keeping a Portfolio: Light and Boxes Project (Example 4.3) ?34
Structuring a Class to Focus on Both Technique and Studio Practice ?35
Teaching Care of the Wheel and Throwing Technique: Introducing Centering on the Wheel (Example 4.4) ?35

5. ?Engage and Persist: Committing and Following Through ?41
Designing in Clay: Completing the Tile Project (Example 5.1) ?41
Finishing the Process: Making Puppets Project (Example 5.2) ?43

6. ?Envision: Thinking in Images ?48
Places for an Imaginary Creature: Inventing Colors Project (Example 6.1) ?48
Designing in Clay: Beginning the Tile Project (Example 6.2) ?50

7. ?Express: Finding Meaning ?53
Drawing for Feeling: Figures in Evocative Space Project (Example 7.1) ?53
Drawing for Meaning: Imaginary Creatures Project (Example 7.2) ?56

8. ?Observe: Really Seeing, Not Just Looking ?59
Seeing with New Eyes: Using the Viewfinder (Example 8.1) ?59
Seeing the World and Putting It on Paper: Light and Boxes Project (Example 8.2) ?60

9. ?Reflect: Question and Explain, Evaluate ?67
Question and Explain ?68
Drawing Yourself as Mythical: Imaginary Creatures Project (Example 9.1) ?68
Building Objects in Relation: Coil Sculpture Project (Example 9.2) ?68
Evaluate ?70
Drawing Values in Color: Self-Portrait in Colored Pencil Project (Example 9.3) ?71

10. ?Stretch and Explore: Taking a Leap ?77
Introducing the Medium: Sketching in Clay (Example 10.1) ?77
Building Form: Repeating Units Project (Example 10.2) ?79

11. ?Understand Art Worlds: Domain, Communities ?84
Domain ?85
Considering Representations: Figures in Evocative Space Project (Example 11.1) ?85
Drawing Inspiration from Images: African Pottery Project (Example 11.2) ?85
Design Inspired by Objects: Ceramic Sets Project (Example 11.3) ?86
Structuring a Whole Class to Focus on Domain: Cubism Project (Example 11.4) ?87
Communities ?90
Creating a Library of Molds: Coil Sculpture Project (Example 11.5) ?91
Focusing on Strength and Form: The Egg Drop Project (Example 11.6) ?91

Part III: Integrating Studio Structures of Learning With the Studio Habits of Mind

12. ?Demonstration?Lecture and the Studio Habits of Mind ?97
Fostering Particular Studio Habits of Mind Through Demonstration?Lectures ?97
Integrating Studio Habits of Mind in the Demonstration?Lecture ?100
Teaching the Theory and Practice of Color: Inventing Colors Project (Example 12.1) ?100
Design Inspired by Objects: Ceramic Sets Project (Example 12.2) ?101

13. ?Students-at-Work and the Studio Habits of Mind ?104
Studio Habits of Mind Are Taught in Clusters ?104
Introducing Throwing: Centering on the Wheel Project (Example 13.1) ?104
Connecting Worlds: Secret Ritual Vessels Project (Example 13.2) ?105
Individualizing During Students-at-Work Sessions ?105
Differentiating for Students of Various Ability/Experience Levels: Abstraction Project (Example 13.3) ?106
Individualizing for Multiple Agendas: Creating Hat and Vest Project (Example 13.4) ?109

14. ?Critique and the Studio Habits of Mind ?110
Teaching Studio Habits of Mind Through Critique ?110
Integrating Studio Habits of Mind Through Critique ?111
Comparing Works: Contour Drawing Project (Example 14.1) ?112
Critiquing Throughout the Process: Figures in Evocative Space Project (Example 14.2) ?113

15. ?Exhibition and the Studio Habits of Mind ?116
Using Exhibition to Teach Studio Habits of Mind ?116
Integrating Studio Habits of Mind in the Exhibition ?119
A First Show (Example 15.1) ?119
A Sophomore Show (Example 15.2) ?119
Junior Shows (Example 15.3) ?120
A Senior Show (Example 15.4) ?120
End-of-Term Exhibitions (Example 15.5) ?120
A Senior Show (Example 15.6) ?121
Korean Student Show in Korea (Example 15.7) ?121

16. ?Students as Contemporary Artists: Building Agency in the Studio ?123
How Teachers Support Student Agency ?123
Students Are Contemporary Artists ?127

Part IV: Studio Thinking in Contemporary Practice

17. ?Artist-Teachers: Using Studio Thinking to Connect Artistic and Teaching Practices ?131
Artistic Practice Informs Teaching ?131
Teaching Practice Informs Artistic Practice ?131
Two Practices: Nurturing the Relationship ?132
About the Artist-Teachers ?133
David Ardito: Mistakes as Portals of Discovery ?135
Kimberley D?Adamo: Finding a Fit ?136
Danielle DeVellis: Making a Room Into a Studio ?137
Natalia Dominguez: Words Matter ?138
Bryce Johnson: Balancing Craft and Expression ?138
Trena Noval: Using the Studio Habits as Process ?139
Jaimee Taborda: Nurturing a Community of Artists ?140
Seeing Studio Thinking Across the Artist-Teachers? Stories ?141

18. ?Assessment Is a Conversation ?143
Assessing Visual Art ?143
Assessment Defanged: Learning and Assessment in the Arts as a Form of Conversation With Todd Elkin ?145
Assessment Moments That Support Individual Development With Kimberley D?Adamo ?147
Assessing the Thinking Process With Studio Habits With JoE Douillette ?150
Conclusion ?154

19. ?Studio Thinking ?155
A Common Language in the Arts ?155
Studio Thinking Beyond the Arts ?161
Reinventing Studio Thinking ?162

Appendix A: Project Examples ?164

Appendix B: Conducting the Research ?165

References ?167

Index ?170

About the Authors ?176