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 expanded, full-color edition includes new material about how the…

Although attempts are currently being made to understand the connections and differences between art and design education (Zwirn & Zande, 2015), there is little reflection on a key problematic that binds them together: the relationship between form and function. In this article, authors Tyson Lewis and James Thurman briefly share a three-part…

The term "knolling" was first used in 1987 by Andrew Kromelow, then a janitor at Frank Gehry's Santa Monica studio (Heathcote, n.d.). At the time, Gehry, an architect, was designing furniture for Knoll. While cleaning the studio, Kromelow would arrange displaced tools at 90° angles to create an organized surface. Perhaps done out of…

Twenty-two individuals are drawing, painting, collaging, sculpting with cardboard, and building with wooden blocks. Some are working collaboratively, and others work alone. Dialogue with the teacher and social interaction between learners catalyze the learning experience. The core curriculum goal, expressing ideas through self-directed art…

As the original antidote to social alienation (and its tragic repercussions), community art through its large-scale, public, and collaborative nature has the potential to rebuild a sense of community from the inside out. This concentric notion of community art is addressed at both the individual and classroom level, exploring the origins of…

This resource describes how one art classroom used "everyday labor" as a topic to connect artmaking to community workplaces. The work of Theaster Gates, Faith Ringgold, Jacob Lawrence, Jeremy Deller, and Adrian Piper are suggested to stimulate class dialogue about work, labor, and jobs. The author invited members of their farming…

What happens when a teaching method designed around learning new technologies is applied to artmaking for teens in an art museum? How do technology and traditional artmaking techniques connect in the studio? What role does mentorship play? What happens to participants after they leave the program? These questions are central to this case study,…

This article reports the results of a quartile analysis of the "2008 National Assessment of Educational Progress (NAEP) Visual Arts Report Card." The analysis was made from original datasets supplied by the National Center for Education Statistics. It focuses on 8th-grade students who were currently taking art or recently had taken art.…

Creative youth development (CYD) is a dynamic area of community arts education that successfully bridges youth development and arts education. CYD is an intentional, holistic practice that combines hands-on artmaking and skill building in the arts with development of life skills to support young people in successfully participating in adolescence…

The purpose of this study was to explore the anxiety and stress-reducing effects of drawing, using different drawing materials by promoting the development of student confidence. The drawing activities were designed to foster the exploration of identity, emotion, and sense of self, while encouraging the exploration of materials and mark making.…

When used effectively, feedback promotes student ownership in artmaking by encouraging students to inject originality, persist, and improve. Feedback from teacher, self, and peers can also provide students with motivation. In this article, the author explores her students' understanding of the idea of ownership, observes how feedback…

Whaling emerged in ancient times, when whales served as a source of food, fuel, and other everyday resources that were vital for human civilizations. Prehistoric images of whales are found on rocks in a few areas throughout the world, most notably the famous petroglyphs at the Bangudae cliffs in Ulsan, South Korea, which depict whales and other…

Targeting students in grades K-8, Art in Action's program consists of 12 age-appropriate lessons per year led by parent and teacher volunteers. The curriculum is based on historically significant artists and their works of art. Through semi-structured discussions, students examine a variety of masterpieces, learning about the artist as well as…

The first edition of this bestseller was featured in "The New York Times" and "The Boston Globe" for its groundbreaking research on the positive effects of art education on student learning across the curriculum. Capitalizing on observations and conversations with educators who have used the Studio Thinking Framework in diverse…

What is the relationship between student teachers' studio art practice and pedagogy during the student teaching experience? What are the benefits of reflecting on connections between art teaching and artmaking after the student teaching experience? In developing one's art practice, art educators build conceptual frameworks for curriculum with…