Studio Thinking 2

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. Capitalizing on observations and conversations with educators who have used the Studio Thinking Framework in diverse settings, this expanded edition features new material, including:

• The addition of Exhibitions as a fourth Studio Structure for Learning (along with Demonstration-Lecture, Students-at-Work, and Critique).
• Explanation and examples of the dispositional elements of each Habit, including skill, alertness (noticing appropriate times to put skills to use), and inclination (the drive or motivation to employ skills).
• A chart aligning Habits to the English Language Arts and Mathematics Common Core.
• Descriptions of how the Framework has been used inside and outside of schools in curriculum planning, teaching, and assessment across arts and non-arts disciplines.
• A full-color insert with new examples of student art.

Studio Thinking 2 will help advocates explain arts education to policymakers, help art teachers develop and refine their teaching and assessment practices, and assist educators in other disciplines to learn from existing practices in arts education.

Praise for the First Edition 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

“Hetland and her colleagues reveal dozens of practical measures that could be adopted by any arts program, inside or outside of the school….This is a bold new step in arts education.” —David R. Olson, Professor Emeritus, University of Toronto

“Will be at the top of the list of essential texts in arts education. I know of no other work in art education with this combination of authenticity and insight.” —Lars Lindström, Stockholm Institute of Education

“The eight studio habits of mind should become a conceptual framework for all preservice art education programs; this book should be read by all early and experienced art educators.” —Mary Ann Stankiewicz, The Pennsylvania State University

Lois Hetland is professor and chair of art education at Massachusetts College of Art and Design and senior research affiliate at Project Zero, Harvard Graduate School of Education. Ellen Winner is professor and chair of psychology at Boston College and a senior research associate at Project Zero. Shirley Veenema is an instructor in visual arts at Phillips Academy in Andover, Massachusetts. Kimberly M. Sheridan is an assistant professor in the College of Education and Human Development and the College of Visual and Performing Arts at George Mason University.

“This is an excellent resource for both novice and experienced teachers”

—SchoolArts

“Studio Thinking from the Start is a rich compendium of examples of the studio habits of mind, and novice and experienced teachers will appreciate seeing the practical application of this framework. The book will also be useful for students of art education being introduced to a variety of pedagogical practices in the field.”

―Teachers College Record

Praise for the First Edition 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

“Our decade of using the Studio Thinking Framework in California’s schools positions us for success in this new era because of the foundation of reflective, creative, and critical thinking developed in our schools and districts.”
—From the Foreword by Louise Music, Executive Director of Integrated Learning, Alameda County Office of Education, CA

“Studio Thinking (is) a vision not only of learning in the arts but what could be learning most anywhere.”
—From the Foreword to the First Edition by David N. Perkins, Professor of Education, Harvard Graduate School of Education, and Senior Co-Director of Harvard Project Zero

Table of Contents

Foreword to the Second Edition by Louise Music

Foreword to the First Edition by David N. Perkins

Preface to the Second Edition

Acknowledgments

Chapter 1. Making the Case for the Arts: Why Arts Education Is Not Just a Luxury
   The Failure of Instrumental Arguments
   The Framework of Studio Thinking
   Conclusion

PART I. STUDIO CLASSROOMS: THE HOW OF STUDIO TEACHING

Chapter 2. Elements of Studio Classrooms
   Creating a Studio Culture
   Focusing Thinking with Studio Assignments
   Teaching Through Artworks

Chapter 3. Studio Structures for Learning: Three Flexible Classroom Formats
   The Demonstration–Lecture
   Setting Tasks: African Pottery Project (Example 3.1) 
   Illustrating Concepts: Tile Project (Example 3.2)
   Modeling Processes, Approaches, and Attitudes: Light and Boxes Project (Example 3.3)
   Students-at-Work
   The Critique
   Variations in Use of the Studio Structures

Chapter 4. A Fourth Overarching Studio Structure: Exhibition
   Examples from Two Sites
   Phases of Exhibition
   What Can Be Learned from Exhibitions

PART II. INTRODUCING THE STUDIO HABITS OF MIND: A DISPOSITIONAL VIEW OF WHAT THE ARTS TEACH

Chapter 5. Develop Craft: Technique, Studio Practice
   Technique
   Teaching the Theory and Practice of Color: Inventing Colors Project (Example 5.1)
   Studio Practice
   Teaching the Practice of Maintaining the Studio: Self-Portraits in Colored Pencil Project (Example 5.2)
   Teaching the Studio Practice of Keeping a Portfolio: Light and Boxes Project (Example 5.3)
   Structuring a Class to Focus on Both Technique and Studio Practice
   Teaching Care of the Wheel and Throwing Technique: Introducing Centering on the Wheel (Example 5.4)

Chapter 6. Engage and Persist: Committing and Following Through
   Designing in Clay: Completing the Tile Project (Example 6.1)
   Finishing the Process: Making Puppets Project (Example 6.2)

Chapter 7. Envision: Thinking in Images
   Places for an Imaginary Creature: Inventing Colors Project (Example 7.1)
   Designing in Clay: Beginning the Tile Project (Example 7.2)

Chapter 8. Express: Finding Meaning
   Drawing for Feeling: Figures in Evocative Space Project (Example 8.1)
   Drawing for Meaning: Imaginary Creatures Project (Example 8.2)

Chapter 9. Observe: Really Seeing, Not Just Looking
   Seeing with New Eyes: Using the Viewfinder (Example 9.1)
   Seeing the World and Putting It on Paper: Light and Boxes Project (Example 9.2)

Chapter 10. Reflect: Question and Explain, Evaluate
   Question and Explain
   Drawing Yourself as Mythical: Imaginary Creatures Project (Example 10.1)
   Building Objects in Relation: Coil Sculpture Project (Example 10.2)
   Evaluate
   Drawing Values in Color: Self-Portrait in Colored Pencil Project (Example 10.3)

Chapter 11. Stretch and Explore: Taking a Leap
   Introducing the Medium: Sketching in Clay (Example 11.1)
   Building Form: Repeating Units Project (Example 11.2)

Chapter 12. Understand Art Worlds: Domain, Communities
   Domain
   Considering Representations: Figures in Evocative Space Project (Example 12.1)
   Drawing Inspiration from Images: African Pottery Project (Example 12.2)
   Design Inspired by Objects: Ceramic Sets Project (Example 12.3)
   Structuring a Whole Class to Focus on Domain: Cubism Project (Example 12.4)
   Communities
   Creating a Library of Molds: Coil Sculpture Project (Example 12.5)
   Focusing on Strength and Form: The Egg Drop Project (Example 12.6)

PART III: INTEGRATING STUDIO STRUCTURES OF LEARNING WITH THE STUDIO HABITS OF MIND

Chapter 13. Demonstration–Lecture and the Studio Habits of Mind
   Fostering Particular Studio Habits of Mind Through Demonstration–Lectures
   Integrating Studio Habits of Mind in the Demonstration–Lecture
   Teaching the Theory and Practice of Color: Inventing Colors Project (Example 13.1)
   Design Inspired by Objects: Ceramic Sets Project (Example 13.2)

Chapter 14. Students-at-Work and the Studio Habits of Mind
   Studio Habits of Mind Are Taught in Clusters
   Introducing Throwing: Centering on the Wheel Project (Example 14.1)
   Connecting Worlds: Secret Ritual Vessels Project (Example 14.2)
   Individualizing During Students-at-Work Sessions
   Differentiating for Students of Various Ability/Experience Levels: Abstraction Project (Example 14.3)
   Individualizing for Multiple Agendas: Creating Hat and Vest Project (Example 14.4)

Chapter 15. Critique and the Studio Habits of Mind
   Teaching Studio Habits of Mind Through Critique
   Integrating Studio Habits of Mind Through Critique
   Comparing Works: Contour Drawing Project (Example 15.1)
   Critiquing Throughout the Process: Figures in Evocative Space Project (Example 15.2)

Chapter 16. Exhibition and the Studio Habits of Mind
   Using Exhibition to Teach Studio Habits of Mind
   Integrating Studio Habits of Mind in the Exhibition
   A Freshman Show (Example 16.1)
   A Sophomore Show (Example 16.2)
   Junior Shows (Example 16.3)
   Mounting a Senior Show in 2002 (Example 16.4)
   Mounting a Senior Show in 2012 (Example 16.5)
   End-of-Term Exhibitions (Example 16.6)
   A Senior Show (Example 16.7)
   Korean Student Show in Korea (Example 16.8)

Chapter 17. Studio Thinking: A Common Language for Practice, Research, and Policy
   Using the Framework: Getting Started
   Using the Framework in Visual Arts Education
   Using the Framework in Dance, Theater, and Music Education
   Using the Framework in Non-Arts Education
   Using the Framework in Preservice Teacher Education Programs
   Using the Framework in Museum and Gallery Education
   Using the Framework for Research
   Using the Framework in Visual Arts Policy

Appendix A: Project Examples

Appendix B: Conducting the Research

References

Index

About the Authors