Table of contents for Studio thinking : the real benefits of arts education / Lois Hetland ... [et al.] ; foreword by David N. Perkins.

Bibliographic record and links to related information available from the Library of Congress catalog.

Note: Contents data are machine generated based on pre-publication provided by the publisher. Contents may have variations from the printed book or be incomplete or contain other coding.


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Contents
Foreword by David N. Perkins	00
Preface	00
Acknowledgments	00
1.	Making the Case for the Arts: 
Why Arts Education Is Not Just a Luxury	00
The Failure of Instrumental Arguments	00
The Framework of Studio Thinking	00
Conclusion	00
2.	Taking Arts Education Seriously: 
Our School-Based Colleagues	00
The Three Boston Arts Academy Teachers	00
BETH BALLIRO: Painting and Ceramics	00
KATHLEEN MARSH: Sculpture and Drawing	00
GUY MICHEL TELEMAQUE: 
Photography and Design	00
The Two Walnut Hill Teachers	00
JASON GREEN: 
Ceramics and Ceramic Sculpture	00
JIM WOODSIDE: Drawing	00
Conclusion	00
PART I. STUDIO CLASSROOMS: 
THE HOW OF STUDIO TEACHING
3.	Elements of Studio Classrooms	00
Creating a Studio Culture	00
Focusing Thinking with Studio Assignments	00
Teaching Through Artworks	00
4.	Studio Structure: 
Three Flexible Teaching Formats	00
The Demonstration-Lecture	00
Setting Tasks: African Pottery Project (EXAMPLE 4.1)	00
Illustrating Concepts: Tile Project (EXAMPLE 4.2)	00
Modeling Processes, Approaches, and Attitudes: 
Light and Boxes Project (EXAMPLE 4.3)	00
Students-at-Work	00
The Critique: Where Metacognition Materializes	00
Variations in the Use of the Studio Structures	00
PART II. STUDIO HABITS OF MIND: 
WHAT THE ARTS TEACH
5.	Learning to Develop Craft: 
Using Art Tools, Materials, and Concepts	00
Teaching Students to Understand Technique	00
Teaching the Theory and Practice of 
"Inventing Colors" (EXAMPLE 5.1)	00
Teaching Students to Understand 
Studio Practice	00
Teaching the Practice of Maintaining the Studio 
(EXAMPLE 5.2)	00
Teaching the Studio Practice of Keeping a Portfolio 
(EXAMPLE 5.3)	00
Structuring a Class to Focus on Both Technique 
and Studio Practice	00
Introducing Centering on the Wheel (EXAMPLE 5.4)	00
6.	Learning to Engage and Persist: 
Committing and Following Through	00
Designing in Clay: Completing the Tile Project 
(EXAMPLE 6.1)	00
Making Puppets (EXAMPLE 6.2) 	00
7.	Learning to Envision: 
Planning Beyond Seeing	00
Inventing Colors for an Imaginary Creature 
(EXAMPLE 7.1)	00
Designing in Clay: Beginning the Tile Project 
(EXAMPLE 7.2)	00
8.	Learning to Express: 
Finding Personal Visions	00
Drawing Figures in Evocative Space (EXAMPLE 8.1)	00
Expressing Personal Meaning Through 
Imaginary Creatures (EXAMPLE 8.2)	00
9.	Learning to Observe: 
Seeing Beyond the Ordinary	00
Seeing with New Eyes: Using the Viewfinder 
(EXAMPLE 9.1)	00
Seeing the World and Putting It on Paper 
(EXAMPLE 9.2)	00
10.	Learning to Reflect: 
Thinking Metacognitively	00
Teaching Students to Question and Explain	00
Drawing Yourself as a Mythical Creature 
(EXAMPLE 10.1)	00
Building Coil Sculptures of Objects in Relation to 
One Another (EXAMPLE 10.2)	00
Teaching Students to Evaluate	00
Drawing a Self-Portrait in Colored Pencil 
(EXAMPLE 10.3)	00
11.	Learning to Stretch and Explore: 
Risking Error	00
Sketching in Clay (EXAMPLE 11.1)	00
Building Form from Repeating Units (EXAMPLE 11.2)	00
12.	Learning to Understand the Artist's 
Worlds: Navigating Domain and Field	00
Teaching Students to Understand 
the Domain of Art	00
Considering Representations of Figures in 
Evocative Space (EXAMPLE 12.1)	00
Drawing Inspiration from Styles of African Pottery 
(EXAMPLE 12.2)	00
Designing Ceramic Sets (EXAMPLE 12.3)	00
Structuring a Whole Class to Focus on Domain: 
Cubism (EXAMPLE 12.4)	00
Teaching Students to Understand 
the Art Community	00
Mounting the Show (EXAMPLE 12.5)	00
Creating a Library of Molds (EXAMPLE 12.6)	00
Focusing on Strength and Form: 
The Egg Drop Challenge (EXAMPLE 12.7)	00
PART III: INTEGRATING STUDIO STRUCTURES WITH THE STUDIO HABITS OF MIND
13.	Demonstration-Lecture and 
the Studio Habits of Mind	00
Fostering Particular Studio Habits of Mind 
Through Demonstration-Lecture	00
Integrating Studio Habits of Mind 
in the Demonstration-Lecture	00
Teaching the Theory and Practice of 
"Inventing Colors" (EXAMPLE 13.1)	00
Designing Ceramic Sets (EXAMPLE 13.2)	00
14.	Students-at-Work and the 
Studio Habits of Mind	00
Studio Habits of Mind Are Taught in Clusters	00
Introducing the Pottery Wheel and Centering 
(EXAMPLE 14.1)	00
Creating Secret Ritual Vessels (EXAMPLE 14.2)	00
Individualizing During 
Students-at-Work Sessions	00
Differentiating for Students of Various Ability/Experience 
Levels: Abstraction Project (EXAMPLE 14.3)	00
Individualizing for Multiple Agendas: 
Hat and Vest Project (EXAMPLE 14.4)	00
15. Critique and the Studio Habits of Mind	00
Teaching Studio Habits of Mind 
Through Critique	00
Integrating the Studio Habits of Mind 
Through Critique	00
Comparing Blind and Nonblind Contour Drawings 
(EXAMPLE 15.1)	00
Critiquing Figures in Evocative Space (EXAMPLE 15.2)	00
Conclusion: A Common Language: 
How Visual Arts Learning Might 
Really Improve Intellectual Growth	00
Using the Studio Thinking Framework 
in the Visual Arts	00
Using the Studio Thinking Framework in 
Other Arts and Non-Arts Disciplines	00
Using the Studio Thinking Framework 
Beyond the Classroom	00
Appendix A: Project Examples	00
Appendix B: Conducting the Research	00
References	00
Index	00
About the Authors	00

Library of Congress Subject Headings for this publication:

Art -- Study and teaching -- United States.
Team learning approach in education -- United States.