Studio Thinking

EDUCATION / Arts in Education

Students of all ages can learn to think like artists! Studio Thinking: The Real Benefits of Visual Arts Education changed the conversation about quality arts education. Now, a decade later, this new publication shows how the eight Studio Habits of Mind and four Studio Structures can be used successfully with younger students in a range of socioeconomic contexts and school environments. Book Features: Habit-by-habit definitions, classroom examples, and related visual artist exemplars emphasizing contemporary artists. Full color mini-posters teachers can hang in their classrooms to illustrate each of the eight Studio Habits of Mind. Sample templates for students to use as they plan, reflect upon, and talk about works of art. Innovative approaches to assessment and strategies for implementation. Photos throughout the book of Studio Thinking signage and activities, students making art, and student artworks. Suggestions for using Studio Thinking for arts education advocacy. COMPANION VOLUME— Studio Thinking 2: The Real Benefits of Visual Arts Education, Second Edition Lois Hetland, Ellen Winner, Shirley Veenema, and Kimberly M. Sheridan

Studio Thinking 3 is a new edition of a now-classic text, a research-based account of teaching and learning in high school studio arts classes. It poses a framework that identifies eight habits of mind taught in visual arts and four studio structures by which they are taught. This edition includes new material about how the framework has been used since the original study, with new perspectives from artist-teachers who currently apply the Studio Thinking Framework in their own practice. It also reviews how contemporary organizations, educators, and researchers outside the arts have utilized the framework, highlighting its flexibility to inform teaching and learning. The authors have added a new chapter on assessment to introduce the practical and thoughtful ways that teachers are using Studio Thinking to assess and evaluate students’ work, working processes, and thinking in the arts. 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

A proven program for enhancing students' thinking and comprehension abilities Visible Thinking is a research-based approach to teaching thinking, begun at Harvard's Project Zero, that develops students' thinking dispositions, while at the same time deepening their understanding of the topics they study. Rather than a set of fixed lessons, Visible Thinking is a varied collection of practices, including thinking routines?small sets of questions or a short sequence of steps?as well as the documentation of student thinking. Using this process thinking becomes visible as the students' different viewpoints are expressed, documented, discussed and reflected upon. Helps direct student thinking and structure classroom discussion Can be applied with students at all grade levels and in all content areas Includes easy-to-implement classroom strategies The book also comes with a DVD of video clips featuring Visible Thinking in practice in different classrooms.

Discover why and how schools must become places where thinkingis valued, visible, and actively promoted As educators, parents, and citizens, we must settle for nothingless than environments that bring out the best in people, takelearning to the next level, allow for great discoveries, and propelboth the individual and the group forward into a lifetime oflearning. This is something all teachers want and all studentsdeserve. In Creating Cultures of Thinking: The 8 Forces We MustMaster to Truly Transform Our Schools, Ron Ritchhart, author ofMaking Thinking Visible, explains how creating a culture ofthinking is more important to learning than any particularcurriculum and he outlines how any school or teacher can accomplishthis by leveraging 8 cultural forces: expectations, language, time,modeling, opportunities, routines, interactions, andenvironment. With the techniques and rich classroom vignettes throughout thisbook, Ritchhart shows that creating a culture of thinking is notabout just adhering to a particular set of practices or a generalexpectation that people should be involved in thinking. A cultureof thinking produces the feelings, energy, and even joy that canpropel learning forward and motivate us to do what at times can behard and challenging mental work.

Future Fictions - Future Literacy - Future Ethics.

​This book is the result of a research symposium sponsored by the Association for Educational Communications and Technology [AECT]. The fifteen chapters were developed by leaders in the field and represent the most updated and cutting edge methodology in the areas of instructional design and instructional technology. The broad concepts of design, design thinking, the design process, and the design studio, are identified and they form the framework of the book. This book advocates the conscious adoption of a mindset of design thinking, such as that evident in a range of divergent professions including business, government, and medicine. At its core is a focus on “planning, inventing, making, and doing.” (Cross, 1982), all of which are of value to the field of educational technology. Additionally, the book endeavors to develop a deep understanding of the design process in the reader. It is a critical skill, often drawing from other traditional design fields. An examination of the design process as practiced, of new models for design, and of ways to connect theory to the development of educational products are all fully explored with the goal of providing guidance for emerging instructional designers and deepening the practice of more advanced practitioners. Finally, as a large number of leading schools of instructional design have adopted the studio form of education for their professional programs, we include this emerging topic in the book as a practical and focused guide for readers at all levels.

"What’s going on in this picture?" With this one question and a carefully chosen work of art, teachers can start their students down a path toward deeper learning and other skills now encouraged by the Common Core State Standards. The Visual Thinking Strategies (VTS) teaching method has been successfully implemented in schools, districts, and cultural institutions nationwide, including bilingual schools in California, West Orange Public Schools in New Jersey, and the San Francisco Museum of Modern Art. It provides for open-ended yet highly structured discussions of visual art, and significantly increases students’ critical thinking, language, and literacy skills along the way. Philip Yenawine, former education director of New York’s Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art—as well as poems, primary documents, and other visual artifacts—to increase a variety of skills, including writing, listening, and speaking, across a range of subjects. The book shows how VTS can be easily and effectively integrated into elementary classroom lessons in just ten hours of a school year to create learner-centered environments where students at all levels are involved in rich, absorbing discussions.