Second Edition
Lois Hetland, Ellen Winner, Shirley Veenema, Kimberly M. Sheridan
Publication Date: April 15, 2013
Pages: 176
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:
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
Professors: Request an Exam Copy
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