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.

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

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