Studio thinking: the real benefits of visual arts education
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
New York [u.a.]
Teachers College Press
2007
|
| Schlagworte: | |
| Online-Zugang: | Table of contents only Inhaltsverzeichnis |
| Beschreibung: | VIII, 120 S. zahlr. Ill. 28 cm |
| ISBN: | 0807748188 9780807748183 |
Internformat
MARC
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|---|---|---|---|
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| 020 | |a 0807748188 |c pbk. : alk. paper |9 0-8077-4818-8 | ||
| 020 | |a 9780807748183 |9 978-0-8077-4818-3 | ||
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| 264 | 1 | |a New York [u.a.] |b Teachers College Press |c 2007 | |
| 300 | |a VIII, 120 S. |b zahlr. Ill. |c 28 cm | ||
| 336 | |b txt |2 rdacontent | ||
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| 338 | |b nc |2 rdacarrier | ||
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| 999 | |a oai:aleph.bib-bvb.de:BVB01-020305736 | ||
Datensatz im Suchindex
| _version_ | 1804142911832457216 |
|---|---|
| adam_text | Contents
Foreword by David
N.
Perkins
v
Preface
vii
Acknowledgments
viii
1
.
Making the Case for the Arts:
Why Arts Education Is Not Just a Luxury I
The Failure of Instrumental Arguments
2
The Framework of Studio Thinking
4
Conclusion
7
2.
Taking Arts Education Seriously:
Our School-Based Colleagues
9
The Three Boston Arts Academy Teachers
9
Beth Balliro: Painting and Ceramics
9
Kathleen Marsh: Sculpture and Drawing
10
Guy Michel
Telemaque:
Photography and Design
10
The Two Walnut Hill Teachers
11
Jason Green:
Ceramics and Ceramic Sculpture
11
Jim Woodside: Drawing
12
Conclusion
12
PART I. STUDIO CLASSROOMS:
THE HOW OF STUDIOTEACHING
3.
Elements of Studio Classrooms 1
5
Creating a Studio Culture
15
Focusing Thinking with Studio Assignments
17
Teaching Through Artworks
19
4.
Studio Structures:
Three Flexible Teaching Formats
21
The Demonstration-Lecture
22
Setting Tasks: African Pottery Project (Example
4.
1
) 23
Illustrating Concepts: Tile Project (Example
4.2) 23
Mode/ing Processes, Approaches, and Attitudes:
Light and Boxes Project (Example
4.3) 24
Students-at-Work
26
The Critique
27
Variations in Use of the Studio Structures
29
PART II. STUDIO HABITS OF MIND:
WHAT THE ARTS
TE
AC
H
5.
Learning to Develop Craft:
Using Art Tools, Materials, and Concepts
33
Teaching Students to Understand Technique
33
Teaching the Theory and Practice of Color:
Inventing Colors Project (Example
5.1) 34
Teaching Students to Understand Studio Practice
36
Teaching the Practice of Maintaining the Studio:
Self-Portraits in Colored Pencil Project (Example
5.2) 36
Teaching the Studio Practice of Keeping a Portfolio:
Light and Boxes Project (Example
5.3) 37
Structuring a Class to Focus
on Both Technique and Studio Practice
37
Teaching Care of the Wheel andThrowingTechnique:
Introducing Centering on the Wheel (Example
5.4) 37
6.
Learning to Engage and Persist:
Committing and Following Through
42
Designing in Clay: Completing the Tile Project
(Example
6.
1)
43
Finishing the Process: Making Puppets Project (Example
6.2) 45
7.
Learning to Envision:
Planning Beyond Seeing
48
Places for an Imaginary Creature:
Inventing Colors Project (Example
7.
1
) 49
Designing in Clay: Beginning the Tile Project (Example
7.2) 5
1
8.
Learning to Express:
Finding Personal Visions
53
Drawing for Feeling:
Figures in Evocative Space Project (Example
8.
1
) 53
Drawing for Meaning:
Imaginary Creatures Project (Example
8.2) 56
9.
Learning to Observe:
Seeing Beyond the Ordinary
58
Seeing with New Eyes: Using the Viewfinder
(Example
9.
1)
58
Seeing the World and Putting It on Paper:
Light and Boxes Project (Example
9.2) 59
1
0.
Learning to Reflect:
Thinking Metacognitively
65
Teaching Students to Question and Explain
65
DrawingYourself as Mythical:
Imaginary Creatures Project (Example 1
0.
1
) 66
Building Objects in Relation:
Coil Sculpture Project (Example 1
0.2) 66
Teaching Students to Evaluate
68
Drawing Values in Color:
Self-Portrait in Colored Pencil Project (Example 1
0.3) 69
11
.
Learning to Stretch and Explore:
Beyond the Familiar
74
Introducing the Medium: Sketching in Clay (Example 11
.
1
) 74
Building Form: Repeating Units Project (Example 11
.2) 76
1
2.
Learning to Understand the Artist s
Worlds: Navigating Domain and Field
79
Teaching Students to Understand
the Domain of Art
79
Considering Representations:
Figures in Evocative Space Project (Example 1
2.
1
) 80
Drawing Inspiration from Images:
African Pottery Projea (Example 1
2.2) 80
Design Inspired by Objects:
Ceramic Sets Project (Example 1
2.3) 8
1
Structuring a Whole Class to Focus on Domain:
Cubism Project (Example 1
2.4) 82
Teaching Students to Understand
the Art Community
85
Exhibition:
Mounting the Show (Example 1
2.5) 85
Creating a Library of Molds:
Coil Sculpture Project (Example 1
2.6) 86
Focusing on Strength and Form:
The Egg Drop Project (Example 1
2.7) 86
PART III: INTEGRATING STUDIO STRUCTURES
WITH THE STUDIO HABITS OF MIND
1
3.
Demonstration-Lecture and
the Studio Habits of Mind
9
1
Fostering Particular Studio Habits of Mind
Through Demonstration-Lectures
91
Integrating Studio Habits of Mind
in the Demonstration-Lecture
94
Teaching theTheory and
Praďice
of Color:
Inventing Colors Project (Example
13.1) 94
Design Inspired by Objects:
Ceramic Sets Project (Example 1
3.2) 95
1
4.
Students-at-Work and the
Studio Habits of Mind
97
Studio Habits of Mind Are Taught in Clusters
97
Introducing Throwing:
Centering on the Wheel Project (Example 1
4.
1
) 97
Conecting Worlds:
Secret Ritual Vessels Project (Example
14.2) 98
Individualizing During
Students-at-Work Sessions
99
Differentiating for Students of Various Ability/Experience
Levels: Abstraction Project (Example
14.3) 99
Individualizing for Multiple Agendas:
Hat and Vest Project (Example
14.4)
101
15.
Critique and the Studio Habits of Mind
103
Teaching Studio Habits of Mind
Through Critique
103
Integrating Studio Habits of Mind
Through Critique
105
Comparing Works:
Contour Drawing Project (Example
15.1)
105
Critiquing Throughout the Process:
Figures in Evocative Space Project (Example
15.2)
106
Conclusion: A Common
Language for Intellectual Growth
109
Using the Studio Thinking Framework
in the Visual Arts
109
Using the Studio Thinking Framework in
Other Arts and
Non-
Arts Disciplines
110
Using the Studio Thinking Framework
Beyond the Classroom
111
Appendix A: Project Examples
112
Appendix B: Conducting the Research
113
References
115
Index
N6
About the Authors
120
|
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| id | DE-604.BV036433213 |
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| indexdate | 2024-07-09T22:39:18Z |
| institution | BVB |
| isbn | 0807748188 9780807748183 |
| language | English |
| lccn | 2007019062 |
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| spelling | Studio thinking the real benefits of visual arts education Lois Hetland ... New York [u.a.] Teachers College Press 2007 VIII, 120 S. zahlr. Ill. 28 cm txt rdacontent n rdamedia nc rdacarrier Kunst Art Study and teaching United States Team learning approach in education United States Kunsterziehung (DE-588)4033637-2 gnd rswk-swf USA Kunsterziehung (DE-588)4033637-2 s DE-604 Hetland, Lois Sonstige oth http://www.loc.gov/catdir/toc/ecip0717/2007019062.html Table of contents only Digitalisierung UB Passau application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020305736&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Studio thinking the real benefits of visual arts education |
| title_auth | Studio thinking the real benefits of visual arts education |
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