{"product_id":"studio-thinking-3-the-real-benefits-of-visual-arts-education-paperback-softback-9780807766507","title":"Studio Thinking 3; The Real Benefits of Visual Arts Education (Paperback \/ softback) 9780807766507","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eStudio Thinking 3\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eThe Real Benefits of Visual Arts Education\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eKimberly M. Sheridan (Author), Shirley Veenema (Author), Ellen Winner (Author), Lois Hetland (Author), Mario R. Rossero (Foreword by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780807766507\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 3 June 2022\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e192 pages\u003cbr\u003e27.7 x 21.5 x 0.9 cm, 0.174 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003cstrong\u003ePraise for Previous Editions of \u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eStudio Thinking―\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Winner and Hetland have set out to show what it means to take education in the arts seriously, in its own right.\" ― \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"This book is very educational and would be helpful to art teachers in promoting quality teaching in their classrooms.\" ― \u003cem\u003eSchool Arts Magazine\u003c\/em\u003e\u0026lt;\u003c\/p\u003e\n\u003cp\u003e\"Studio Thinking is a major contribution to the field.\"—\u003cem\u003eArts \u0026amp; Learning Review\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"The research in Studio Thinking is groundbreaking and important because it is anchored in the actual practice of teaching artists …The ideas in \u003cem\u003eStudio Thinking\u003c\/em\u003e continue to provide a vehicle with which to navigate and understand the complex work in which we are all engaged.\"― \u003cem\u003eTeaching Artists Journal\u003c\/em\u003e\u003c\/p\u003e\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cem\u003eStudio Thinking 3\u003c\/em\u003e 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.\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe first edition of this bestseller was featured in \u003cem\u003eThe New York Times\u003c\/em\u003e and \u003cem\u003eThe Boston Globe\u003c\/em\u003e for its groundbreaking research on the positive effects of art education on student learning across the curriculum. \u003cem\u003eStudio Thinking 3\u003c\/em\u003e will help advocates explain arts education to policymakers, support art teachers in developing and refining their teaching and assessment practices, and assist educators in other disciplines to learn from existing practices in arts education.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBook Features:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e   \u003cli\u003eAn explanation of \"art as thinking\" that unpacks and clarifies how teaching art is the process of teaching thinking.\u003c\/li\u003e   \u003cli\u003eAn account of what Studio Thinking looks like in diverse contemporary settings.\u003c\/li\u003e   \u003cli\u003eModels of studio arts instruction that illuminate what educators are doing to support students' learning in the arts and why they are doing it that way. \u003c\/li\u003e   \u003cli\u003eA new chapter with rich examples of approaches to assessment.\u003c\/li\u003e   \u003cli\u003eNew analyses on how studio art teachers support learner agency. \u003c\/li\u003e   \u003cli\u003eUpdated examples from practice showing how artist-teachers are using the Studio Thinking Framework.\u003c\/li\u003e   \u003cli\u003eFull-color images with examples of student art.\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/font\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cul\u003e\n\u003cli\u003eContents\u003c\/li\u003e\n\u003cli\u003eForeword to the Third Edition by Mario R. Rossero  ix\u003c\/li\u003e\n\u003cli\u003eForeword to the First Edition by David N. Perkins  xi\u003c\/li\u003e\n\u003cli\u003ePreface to the Third Edition  xiii\u003c\/li\u003e\n\u003cli\u003eAcknowledgments  xv\u003c\/li\u003e\n\u003cli\u003e1.  Making the Case for the Arts: Arts Education Is Not Just a Luxury  1\u003cbr\u003e The Framework of Studio Thinking  1\u003cbr\u003eWhy a Frame for Studio Teaching and Learning?  2\u003cbr\u003eConclusion  5\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/font\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart I. Studio Classrooms: The \u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eHow\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eof Studio Teaching\u003cli\u003e2.  Elements of Studio Classrooms  13\u003c\/li\u003e\u003c\/strong\u003e\u003cbr\u003e Creating a Studio Culture  13\u003cbr\u003eFocusing Thinking With Studio Assignments  15\u003cbr\u003eTeaching Through Artworks  15\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e3.  Studio Structures for Learning  18\u003c\/strong\u003e\u003cbr\u003e The Demonstration–Lecture  18\u003cbr\u003e\u003cem\u003eSetting Tasks: African Pottery Project (\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e3.1)\u003c\/em\u003e  19\u003cbr\u003e\u003cem\u003eIllustrating Concepts: Tile Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e3\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  20\u003cbr\u003e\u003cem\u003eModeling Processes, Approaches, and Attitudes: Light and Boxes Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e3\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e3)\u003c\/em\u003e  21\u003cbr\u003eStudents-at-Work  22\u003cbr\u003eThe Critique  23\u003cbr\u003eVariations in Use of the Studio Structures  25\u003cbr\u003eA Fourth Overarching Structure: Exhibition  26\u003cbr\u003eFeatures of Exhibition  27\u003cbr\u003eWhat Can Be Learned from Exhibition  27\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart II. Introducing the Studio Habits of Mind: A Dispositional View of \u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eWhat\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003ethe Arts Teach\u003cli\u003e4.  Develop Craft: Technique, Studio Practice  31\u003c\/li\u003e\u003c\/strong\u003e\u003cbr\u003e Technique  31\u003cbr\u003e\u003cem\u003eTeaching the Theory and Practice of Color: Inventing Colors Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e4\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  31\u003cbr\u003eStudio Practice  34\u003cbr\u003e\u003cem\u003eTeaching the Practice of Maintaining the Studio: Self-Portraits in Colored Pencil Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e4\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  34\u003cbr\u003e\u003cem\u003eTeaching the Studio Practice of Keeping a Portfolio: Light and Boxes Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e4\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e3)\u003c\/em\u003e  34\u003cbr\u003eStructuring a Class to Focus on Both Technique and Studio Practice  35\u003cbr\u003e\u003cem\u003eTeaching Care of the Wheel and Throwing Technique: Introducing Centering on the Wheel\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e4\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e4)\u003c\/em\u003e  35\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e5.  Engage and Persist: Committing and Following Through  41\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eDesigning in Clay: Completing the Tile Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e5\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  41\u003cbr\u003e\u003cem\u003eFinishing the Process: Making Puppets Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e5\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  43\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e6.  Envision: Thinking in Images  48\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003ePlaces for an Imaginary Creature: Inventing Colors Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e6\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  48\u003cbr\u003e\u003cem\u003eD\u003c\/em\u003e\u003cem\u003eesigning in Clay: Beginning the Tile Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e6\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  50\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e7.  Express: Finding Meaning  53\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eDrawing for Feeling: Figures in Evocative Space Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e7\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  53\u003cbr\u003e\u003cem\u003eDrawing for Meaning: Imaginary Creatures Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e7\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  56\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e8.  Observe: Really Seeing, Not Just Looking  59\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eSeeing with New Eyes: Using the Viewfinder\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e8\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  59\u003cbr\u003e\u003cem\u003eSeeing the World and Putting It on Paper: Light and Boxes Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e8\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  60\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e9.  Reflect: Question and Explain, Evaluate  67\u003c\/strong\u003e\u003cbr\u003e Question and Explain  68\u003cbr\u003e\u003cem\u003eDrawing Yourself as Mythical: Imaginary Creatures Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e9\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  68\u003cbr\u003e\u003cem\u003eBuilding Objects in Relation: Coil Sculpture Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e9\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  68\u003cbr\u003eEvaluate  70\u003cbr\u003e\u003cem\u003eDrawing Values in Color: Self-Portrait in Colored Pencil Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e9\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e3)\u003c\/em\u003e  71\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e10.  Stretch and Explore: Taking a Leap  77\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eIntroducing the Medium: Sketching in Clay\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e10\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  77\u003cbr\u003e\u003cem\u003eBuilding Form: Repeating Units Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e10\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  79\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e11.  Understand Art Worlds: Domain, Communities  84\u003c\/strong\u003e\u003cbr\u003e Domain  85\u003cbr\u003e\u003cem\u003eConsidering Representations: Figures in Evocative Space Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e11\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  85\u003cbr\u003e\u003cem\u003eDrawing Inspiration from Images: African Pottery Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e11\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  85\u003cbr\u003e\u003cem\u003eDesign Inspired by Objects: Ceramic Sets Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e11\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e3)\u003c\/em\u003e  86\u003cbr\u003e\u003cem\u003eStructuring a Whole Class to Focus on Domain: Cubism Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e11\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e4)\u003c\/em\u003e  87\u003cbr\u003eCommunities  90\u003cbr\u003e\u003cem\u003eCreating a Library of Molds: Coil Sculpture Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e11\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e5)\u003c\/em\u003e  91\u003cbr\u003e\u003cem\u003eFocusing on Strength and Form: The Egg Drop Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e11\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e6)\u003c\/em\u003e  91\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart III: Integrating Studio Structures of Learning With the Studio Habits of Mind\u003cli\u003e12.  Demonstration–Lecture and the Studio Habits of Mind  97\u003c\/li\u003e\u003c\/strong\u003e\u003cbr\u003e Fostering Particular Studio Habits of Mind Through Demonstration–Lectures  97\u003cbr\u003eIntegrating Studio Habits of Mind in the Demonstration–Lecture  100\u003cbr\u003e\u003cem\u003eTeaching the Theory and Practice of Color: Inventing Colors Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e12\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  100\u003cbr\u003e\u003cem\u003eDesign Inspired by Objects: Ceramic Sets Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e12\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)\u003c\/em\u003e  101\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e13.  Students-at-Work and the Studio Habits of Mind  104\u003c\/strong\u003e\u003cbr\u003e Studio Habits of Mind Are Taught in Clusters  104\u003cbr\u003e\u003cem\u003eIntroducing Throwing: Centering on the Wheel Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e13\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e1)\u003c\/em\u003e  104\u003cbr\u003e\u003cem\u003eConnecting Worlds: Secret Ritual Vessels Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e13\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e2)  \u003c\/em\u003e105\u003cbr\u003eIndividualizing During Students-at-Work Sessions  105\u003cbr\u003e\u003cem\u003eDifferentiating for Students of Various Ability\/Experience Levels: Abstraction Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e13\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e3)\u003c\/em\u003e  106\u003cbr\u003e\u003cem\u003eIndividualizing for Multiple Agendas: Creating Hat and Vest Project\u003c\/em\u003e \u003cem\u003e(\u003c\/em\u003e\u003cem\u003eE\u003c\/em\u003e\u003cem\u003example\u003c\/em\u003e \u003cem\u003e13\u003c\/em\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e4)\u003c\/em\u003e  109\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e14.  Critique and the Studio Habits of Mind  110\u003c\/strong\u003e\u003cbr\u003e Teaching Studio Habits of Mind Through Critique  110\u003cbr\u003eIntegrating Studio Habits of Mind Through Critique  111\u003cbr\u003e\u003cem\u003eComparing Works: Contour Drawing Project (Example 14.1)\u003c\/em\u003e  112\u003cbr\u003e\u003cem\u003eCritiquing Throughout the Process: Figures in Evocative Space Project (Example 14.2)\u003c\/em\u003e  113\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e15.  Exhibition and the Studio Habits of Mind  116\u003c\/strong\u003e\u003cbr\u003e Using Exhibition to Teach Studio Habits of Mind  116\u003cbr\u003eIntegrating Studio Habits of Mind in the Exhibition  119\u003cbr\u003e\u003cem\u003eA First Show (Example 15.1)\u003c\/em\u003e  119\u003cbr\u003e\u003cem\u003eA Sophomore Show (Example 15.2)\u003c\/em\u003e  119\u003cbr\u003e\u003cem\u003eJunior Shows (Example 15.3)\u003c\/em\u003e  120\u003cbr\u003e\u003cem\u003eA Senior Show (Example 15.4)\u003c\/em\u003e  120\u003cbr\u003e\u003cem\u003eEnd-of-Term Exhibitions (Example 15.5)\u003c\/em\u003e  120\u003cbr\u003e\u003cem\u003eA Senior Show (Example 15.6)\u003c\/em\u003e  121\u003cbr\u003e\u003cem\u003eKorean Student Show in Korea (Example 15.7)\u003c\/em\u003e  121\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e16.  Students as Contemporary Artists: Building Agency in the Studio  123\u003c\/strong\u003e\u003cbr\u003e How Teachers Support Student Agency  123\u003cbr\u003eStudents Are Contemporary Artists  127\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart IV: Studio Thinking in Contemporary Practice\u003cli\u003e17.  Artist-Teachers: Using Studio Thinking to Connect Artistic and Teaching Practices  131\u003c\/li\u003e\u003c\/strong\u003e\u003cbr\u003e Artistic Practice Informs Teaching  131\u003cbr\u003eTeaching Practice Informs Artistic Practice  131\u003cbr\u003eTwo Practices: Nurturing the Relationship  132\u003cbr\u003e\u003cem\u003eAbout the Artist-Teachers\u003c\/em\u003e  133\u003cbr\u003eDavid Ardito: Mistakes as Portals of Discovery  135\u003cbr\u003eKimberley D'Adamo: Finding a Fit  136\u003cbr\u003eDanielle DeVellis: Making a Room Into a Studio  137\u003cbr\u003eNatalia Dominguez: Words Matter  138\u003cbr\u003eBryce Johnson: Balancing Craft and Expression  138\u003cbr\u003eTrena Noval: Using the Studio Habits as Process  139\u003cbr\u003eJaimee Taborda: Nurturing a Community of Artists  140\u003cbr\u003eSeeing Studio Thinking Across the Artist-Teachers' Stories  141\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e18.  Assessment Is a Conversation  143\u003c\/strong\u003e\u003cbr\u003e Assessing Visual Art  143\u003cbr\u003e\u003cem\u003eAssessment Defanged: Learning and Assessment in the Arts as a Form of Conversation With Todd Elkin\u003c\/em\u003e  145\u003cbr\u003e\u003cem\u003eAssessment Moments That Support Individual Development With Kimberley D'Adamo\u003c\/em\u003e  147\u003cbr\u003e\u003cem\u003eAssessing the Thinking Process With Studio Habits With JoE Douillette\u003c\/em\u003e  150\u003cbr\u003eConclusion  154\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e19.  Studio Thinking  155\u003c\/strong\u003e\u003cbr\u003e A Common Language in the Arts  155\u003cbr\u003eStudio Thinking Beyond the Arts  161\u003cbr\u003eReinventing Studio Thinking  162\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAppendix A: Project Examples  164\u003cli\u003eAppendix B: Conducting the Research  165\u003c\/li\u003e\n\u003cli\u003eReferences  167\u003c\/li\u003e\n\u003cli\u003eIndex  170\u003c\/li\u003e\n\u003cli\u003eAbout the Authors  176\u003c\/li\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n","brand":"Teachers College Press","offers":[{"title":"Brand New","offer_id":52685663666456,"sku":"9780807766507","price":28.86,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/studio-thinking-3-the-real-benefits-of-visual-arts-education-paperback-softback-9780807766507","provider":"Freshly Printed Books","version":"1.0","type":"link"}