Studio Thinking 3

Kimberly M. Sheridan is an associate professor in the College of Education and Human Development and the College of Visual and Performing Arts at George Mason University and is co-director of the Mason Arts Research Center. Shirley Veenema is an art teacher (elementary and high school), a researcher at Project Zero from 1987-2007, and a visual artist. Ellen Winner is professor emerita of psychology at Boston College and a senior research associate at Project Zero, Harvard Graduate School of Education. Lois Hetland is professor emerita of art education at Massachusetts College of Art and Design.

• ContentsForeword to the Third Edition by Mario R. Rossero  ixForeword to the First Edition by David N. Perkins  xiPreface to the Third Edition  xiiiAcknowledgments  xv1.  Making the Case for the Arts: Arts Education Is Not Just a Luxury  1The Framework of Studio Thinking  1Why a Frame for Studio Teaching and Learning?  2Conclusion  5Part I. Studio Classrooms: The How of Studio Teaching2.  Elements of Studio Classrooms  13Creating a Studio Culture  13Focusing Thinking With Studio Assignments  15Teaching Through Artworks  153.  Studio Structures for Learning  18The Demonstration–Lecture  18Setting Tasks: African Pottery Project (Example 3.1)  19Illustrating Concepts: Tile Project (Example 3.2)  20Modeling Processes, Approaches, and Attitudes: Light and Boxes Project (Example 3.3)  21Students-at-Work  22The Critique  23Variations in Use of the Studio Structures  25A Fourth Overarching Structure: Exhibition  26Features of Exhibition  27What Can Be Learned from Exhibition  27Part II. Introducing the Studio Habits of Mind: A Dispositional View of What the Arts Teach4.  Develop Craft: Technique, Studio Practice  31Technique  31Teaching the Theory and Practice of Color: Inventing Colors Project (Example 4.1)  31Studio Practice  34Teaching the Practice of Maintaining the Studio: Self-Portraits in Colored Pencil Project (Example 4.2)  34Teaching the Studio Practice of Keeping a Portfolio: Light and Boxes Project (Example 4.3)  34Structuring a Class to Focus on Both Technique and Studio Practice  35Teaching Care of the Wheel and Throwing Technique: Introducing Centering on the Wheel (Example 4.4)  355.  Engage and Persist: Committing and Following Through  41Designing in Clay: Completing the Tile Project (Example 5.1)  41Finishing the Process: Making Puppets Project (Example 5.2)  436.  Envision: Thinking in Images  48Places for an Imaginary Creature: Inventing Colors Project (Example 6.1)  48Designing in Clay: Beginning the Tile Project (Example 6.2)  507.  Express: Finding Meaning  53Drawing for Feeling: Figures in Evocative Space Project (Example 7.1)  53Drawing for Meaning: Imaginary Creatures Project (Example 7.2)  568.  Observe: Really Seeing, Not Just Looking  59Seeing with New Eyes: Using the Viewfinder (Example 8.1)  59Seeing the World and Putting It on Paper: Light and Boxes Project (Example 8.2)  609.  Reflect: Question and Explain, Evaluate  67Question and Explain  68Drawing Yourself as Mythical: Imaginary Creatures Project (Example 9.1)  68Building Objects in Relation: Coil Sculpture Project (Example 9.2)  68Evaluate  70Drawing Values in Color: Self-Portrait in Colored Pencil Project (Example 9.3)  7110.  Stretch and Explore: Taking a Leap  77Introducing the Medium: Sketching in Clay (Example 10.1)  77Building Form: Repeating Units Project (Example 10.2)  7911.  Understand Art Worlds: Domain, Communities  84Domain  85Considering Representations: Figures in Evocative Space Project (Example 11.1)  85Drawing Inspiration from Images: African Pottery Project (Example 11.2)  85Design Inspired by Objects: Ceramic Sets Project (Example 11.3)  86Structuring a Whole Class to Focus on Domain: Cubism Project (Example 11.4)  87Communities  90Creating a Library of Molds: Coil Sculpture Project (Example 11.5)  91Focusing on Strength and Form: The Egg Drop Project (Example 11.6)  91Part III: Integrating Studio Structures of Learning With the Studio Habits of Mind12.  Demonstration–Lecture and the Studio Habits of Mind  97Fostering Particular Studio Habits of Mind Through Demonstration–Lectures  97Integrating Studio Habits of Mind in the Demonstration–Lecture  100Teaching the Theory and Practice of Color: Inventing Colors Project (Example 12.1)  100Design Inspired by Objects: Ceramic Sets Project (Example 12.2)  10113.  Students-at-Work and the Studio Habits of Mind  104Studio Habits of Mind Are Taught in Clusters  104Introducing Throwing: Centering on the Wheel Project (Example 13.1)  104Connecting Worlds: Secret Ritual Vessels Project (Example 13.2)  105Individualizing During Students-at-Work Sessions  105Differentiating for Students of Various Ability/Experience Levels: Abstraction Project (Example 13.3)  106Individualizing for Multiple Agendas: Creating Hat and Vest Project (Example 13.4)  10914.  Critique and the Studio Habits of Mind  110Teaching Studio Habits of Mind Through Critique  110Integrating Studio Habits of Mind Through Critique  111Comparing Works: Contour Drawing Project (Example 14.1)  112Critiquing Throughout the Process: Figures in Evocative Space Project (Example 14.2)  11315.  Exhibition and the Studio Habits of Mind  116Using Exhibition to Teach Studio Habits of Mind  116Integrating Studio Habits of Mind in the Exhibition  119A First Show (Example 15.1)  119A Sophomore Show (Example 15.2)  119Junior Shows (Example 15.3)  120A Senior Show (Example 15.4)  120End-of-Term Exhibitions (Example 15.5)  120A Senior Show (Example 15.6)  121Korean Student Show in Korea (Example 15.7)  12116.  Students as Contemporary Artists: Building Agency in the Studio  123How Teachers Support Student Agency  123Students Are Contemporary Artists  127Part IV: Studio Thinking in Contemporary Practice17.  Artist-Teachers: Using Studio Thinking to Connect Artistic and Teaching Practices  131Artistic Practice Informs Teaching  131Teaching Practice Informs Artistic Practice  131Two Practices: Nurturing the Relationship  132About the Artist-Teachers  133David Ardito: Mistakes as Portals of Discovery  135Kimberley D'Adamo: Finding a Fit  136Danielle DeVellis: Making a Room Into a Studio  137Natalia Dominguez: Words Matter  138Bryce Johnson: Balancing Craft and Expression  138Trena Noval: Using the Studio Habits as Process  139Jaimee Taborda: Nurturing a Community of Artists  140Seeing Studio Thinking Across the Artist-Teachers' Stories  14118.  Assessment Is a Conversation  143Assessing Visual Art  143Assessment Defanged: Learning and Assessment in the Arts as a Form of Conversation With Todd Elkin  145Assessment Moments That Support Individual Development With Kimberley D'Adamo  147Assessing the Thinking Process With Studio Habits With JoE Douillette  150Conclusion  15419.  Studio Thinking  155A Common Language in the Arts  155Studio Thinking Beyond the Arts  161Reinventing Studio Thinking  162Appendix A: Project Examples  164Appendix B: Conducting the Research  165References  167Index  170About the Authors  176

Praise for Previous Editions of Studio Thinking―"Winner and Hetland have set out to show what it means to take education in the arts seriously, in its own right." ― The New York Times"This book is very educational and would be helpful to art teachers in promoting quality teaching in their classrooms." ― School Arts Magazine<"Studio Thinking is a major contribution to the field."—Arts & Learning Review"The research in Studio Thinking is groundbreaking and important because it is anchored in the actual practice of teaching artists …The ideas in Studio Thinking continue to provide a vehicle with which to navigate and understand the complex work in which we are all engaged."― Teaching Artists Journal