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Studio Thinking 3: The Real Benefits of Visual Arts Education

Studio Thinking 3: The Real Benefits of Visual Arts Education

          
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About the Book

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.


Table of 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  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


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Product Details
  • ISBN-13: 9780807766514
  • Publisher: Teachers' College Press
  • Publisher Imprint: Teachers' College Press
  • Edition: New edition
  • Language: English
  • Returnable: Y
  • Sub Title: The Real Benefits of Visual Arts Education
  • Width: 152 mm
  • ISBN-10: 0807766518
  • Publisher Date: 03 Jun 2022
  • Binding: Hardback
  • Height: 229 mm
  • No of Pages: 192
  • Spine Width: 13 mm
  • Weight: 363 gr


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