Full Description
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 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. The authors have added a new chapter on assessment to introduce the practical and thoughtful ways that teachers are using Studio Thinking to assess and evaluate students' work, working processes, and thinking in the arts.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.
A new chapter with rich examples of approaches to assessment.
New analyses on how studio art teachers support learner agency.
Updated examples from practice showing how artist-teachers are using the Studio Thinking Framework.
Full-color images with examples of student art.
Contents
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 5Part 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 153. 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) 355. 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) 10113. 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 14118. 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
