Stretch and Explore – This is the heart of creativity. This helps you self-monitor and become independent.ħ. Reflect in your journals! Learn to articulate about your work and process, record your ideas and growth. Reflect – Question and Explain: Learn to think, explain, and talk with others about an aspect of your work or working process Evaluate: learn to judge your own work and working process, and the work of others in relation to standards. Observe – Learn to attend to visual contexts more closely than ordinary “looking” requires, and thereby to see things that otherwise might not be seen. Express and Create – Learn to create works that convey an idea, a feeling, an atmosphere, an emotion, a narrative/story, a drama, a sense of movement, or a personal meaning.ĥ. Envision – Learn to picture mentally what cannot be directly observed and imagine possible next steps in making a piece.Ĥ. Make a personal connection to the art assignment. Engage and Persist – Learn to embrace problems of relevance within the art world and/or of personal importance, to develop focus and other mental states conducive to working and persevering at art tasks. Learn technique to enable you to create what you intended.Ģ. Craft – Learn to use and care for tools, materials, and procedures. These habits of mind are important not only for the visual arts but for most disciplines/areas of study or employment.ġ. Students develop valuable dispositions in art classes.ĭispositions: Skills, alertness to opportunities to use these skills, and the inclination to use them-a trio of qualities that comprise high-quality thinking. Pam teaches visual art at Lisbon High School and is a teacher leader for the Maine Arts Assessment Initiative.īelfast High School art teacher Heidi O’Donnell shared this link to an online assessment project where students are sharing their ideas on Studio Habits of Mind. Thank you to Pam Ouellette who has shared a summary of the book. Practicing teachers voices, lessons, and pictures are included in the book. The authors provide research on how the habits of mind are learned by studying visual arts. (new printing is due out next month) It is a book that provides some answers to why art education is essential. Also, while both frameworks are process focused, AB were written with TAB specifically in mind.Studio Thinking: The Real Benefits of Art Education was written by Lois Hetland, Ellen Winner, Shirley Veenema and first published in 2007. However, SHoM are a finite list of eight categories of learning and AB are the ever-expanding description of what artists do that is central to the Apex Model. SHoM and AB are similar in that they are both related to holistic art assessment and teaching thinking. Some other AB-based units from Apex: Artists Steal, Artists Ask Essential Questions, Artists Understand Space, Artists Communicate and Artists Solve Problems. Instead of using those behaviors to only assess work I’m using them to drive planning and instruction. Artistic Behaviors like “Artists Reference Culture” and “Artists Respond To Current Events” are some I’m planning to address with my Art Two class in the next semester. They’ve expanded from the original list of eight behaviors used mostly for assessment into the cornerstone of how I teach and plan. Originally AB were a reflection tool for students but they’ve evolved into much more.
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