The article describes how an art classroom can function as an "art thinking lab" to foster metacognition in students. The key aspects of this model include creating a safe and inclusive environment; focusing on learning processes over time; explaining learning theories clearly; establishing a shared vocabulary for thinking; incorporating both individual and group work, including collaborative projects and peer critiques; and using creative means like metaphor to reflect on thinking processes. The goals are to help students understand and monitor their own thinking, appreciate diverse ways of thinking and learning, and develop positive dispositions toward learning.
20. The Transformative Potential of Creative Assignments in Higher Education.pdfCarrie Tran
This paper encourages incorporating creativity into higher education assignments to deepen student learning experiences. It provides an example from a Community Studies course where students created representations of their worldviews, such as a drawing. This "disorienting" creative assignment facilitated transformative learning as it prompted personal insights and critical examination of dominant norms. Student surveys showed increased motivation and confidence through creative assignments. While challenging to assess creativity, separating process from product and including reflection can help evaluate student engagement and understanding.
This research proposal aims to investigate effective methods for elementary school students to appreciate art. The current art curriculum focuses on aesthetic perception, application of art, creative expression, and appreciation of art. However, students lack skills and confidence in appreciating art. This study will examine if using big books can help students apply Feldman's four elements of art criticism: description, formal analysis, interpretation, and judgment. It will use a quantitative method with a pre-test and post-test design to assess students' verbal and written art appreciation before and after using big books. The findings could provide insights on developing students' art appreciation abilities.
How do we use the arts to develop students' creativity in schoolsEduSkills OECD
This document discusses using arts education to develop student creativity. It addresses common questions like how the arts can foster creative thinking skills and the right assessment strategies. The document also examines partnerships between schools and cultural institutions in Denmark. These partnerships aim to provide artistic challenges and novel perspectives to inspire student creativity. However, the document notes that intentional practice and reflection are needed for creative learning. Qualitative methods are also suggested to better understand the complexity of creativity in these partnerships. Overall, the document advocates giving students freedom to explore and find their own expertise through arts education.
The document discusses several theories of learning including behaviorism, Gardner's theory of multiple intelligences, McCarthy's four types of learners, and constructivism. It notes criticisms of behaviorism for its simplistic view of learning and lack of accounting for human engagement. Constructivism sees learning as an active process where people construct their own understanding through experiences and relating new knowledge to prior knowledge. A constructivist museum would provide opportunities for learners to interact with exhibits and construct their own understanding.
The main focus of education should not be purely vocational but rather in nurturing interests, skills, and knowledge across an array of topics that are personally meaningful and individualized to each student. The ultimate goal education should be to prepare students for life in all its complexities - creative learning is a key element in achieving this goal.
This document provides summaries of several articles related to art and design education:
1) It discusses theories of art studio pedagogy and how educational theories can be extracted from current teaching practices to inform new theories.
2) It examines how art schools can be spaces for managed risk-taking and how neo-liberal policies have limited creative agency.
3) It explores how design processes can be used as modes of academic inquiry to generate knowledge about design practices, research areas, and societal issues.
The document discusses developing creative thinking in education. It argues that creativity is being stifled in many school systems and promotes teaching methods that nurture creativity in students. These include using open-ended questions, experiments, conversations, and interactive workbooks. The goal is to enhance classical education with creativity training so that future generations can use technology ethically and remain humane.
20. The Transformative Potential of Creative Assignments in Higher Education.pdfCarrie Tran
This paper encourages incorporating creativity into higher education assignments to deepen student learning experiences. It provides an example from a Community Studies course where students created representations of their worldviews, such as a drawing. This "disorienting" creative assignment facilitated transformative learning as it prompted personal insights and critical examination of dominant norms. Student surveys showed increased motivation and confidence through creative assignments. While challenging to assess creativity, separating process from product and including reflection can help evaluate student engagement and understanding.
This research proposal aims to investigate effective methods for elementary school students to appreciate art. The current art curriculum focuses on aesthetic perception, application of art, creative expression, and appreciation of art. However, students lack skills and confidence in appreciating art. This study will examine if using big books can help students apply Feldman's four elements of art criticism: description, formal analysis, interpretation, and judgment. It will use a quantitative method with a pre-test and post-test design to assess students' verbal and written art appreciation before and after using big books. The findings could provide insights on developing students' art appreciation abilities.
How do we use the arts to develop students' creativity in schoolsEduSkills OECD
This document discusses using arts education to develop student creativity. It addresses common questions like how the arts can foster creative thinking skills and the right assessment strategies. The document also examines partnerships between schools and cultural institutions in Denmark. These partnerships aim to provide artistic challenges and novel perspectives to inspire student creativity. However, the document notes that intentional practice and reflection are needed for creative learning. Qualitative methods are also suggested to better understand the complexity of creativity in these partnerships. Overall, the document advocates giving students freedom to explore and find their own expertise through arts education.
The document discusses several theories of learning including behaviorism, Gardner's theory of multiple intelligences, McCarthy's four types of learners, and constructivism. It notes criticisms of behaviorism for its simplistic view of learning and lack of accounting for human engagement. Constructivism sees learning as an active process where people construct their own understanding through experiences and relating new knowledge to prior knowledge. A constructivist museum would provide opportunities for learners to interact with exhibits and construct their own understanding.
The main focus of education should not be purely vocational but rather in nurturing interests, skills, and knowledge across an array of topics that are personally meaningful and individualized to each student. The ultimate goal education should be to prepare students for life in all its complexities - creative learning is a key element in achieving this goal.
This document provides summaries of several articles related to art and design education:
1) It discusses theories of art studio pedagogy and how educational theories can be extracted from current teaching practices to inform new theories.
2) It examines how art schools can be spaces for managed risk-taking and how neo-liberal policies have limited creative agency.
3) It explores how design processes can be used as modes of academic inquiry to generate knowledge about design practices, research areas, and societal issues.
The document discusses developing creative thinking in education. It argues that creativity is being stifled in many school systems and promotes teaching methods that nurture creativity in students. These include using open-ended questions, experiments, conversations, and interactive workbooks. The goal is to enhance classical education with creativity training so that future generations can use technology ethically and remain humane.
1. Art is subjective and difficult to define, as each person has their own perspective and interpretation of beauty. Producing art requires both talent and ability, with talent being innate and ability being learned.
2. This study focuses on visual arts like painting, sculpture, and photography. Learning visual arts from a young age can help children develop skills like creativity, critical thinking, and appreciation for beauty.
3. The study aims to allow children freedom in art creation without restrictions from adults, while also nurturing an appreciation for art. This can help children's cognitive and physical development as well as confidence and social skills.
Reflective Writing In The Art Room - Kari LomaxKari Lomax
The document summarizes research conducted on incorporating reflective writing into an 8th grade art class. The teacher implemented art journals where students wrote goals, reflections, and thoughts about their creative process. Throughout the semester, the teacher collected data on students' mindsets, writing abilities, and growth. Initial findings showed students struggled with writing goals related to artistic choices and saw reflection as looking back rather than improving. The teacher adapted strategies like interviewing students and revisiting goal setting. Later results indicated students developed a growth mindset and were proud of their work. The teacher concluded reflective writing can foster creativity and metacognition if implemented consistently from the start.
Slides of my presentation given at an EATAW conference in Tallinn in June 2015. The presentation reports on Mystory - Digital English project which suggests a creativity and visuality based approach to developing academic skills, in particular related to writing processes. Presentation abstract plus notes are available at: https://goo.gl/NdcLHf.
Any comments and questions are appreciated.
Investigating cognitive prosesses within a practical art contextekinrashid
This document summarizes a study that investigated the cognitive processes used by three students during a five-hour art-making activity. The researchers employed a phenomenological case study approach, observing the students, having them record their experiences, and conducting in-depth interviews. The study aimed to understand how students learn and apply knowledge during art-making and identify any cognitive processes unique to art. Several themes emerged from analyzing the student experiences and descriptions, including enjoyment guiding their techniques, using art as a form of learning, experimentation, creating realistic impressions using composition and color, and energetic versus contemplative working styles. The findings provide insights into the cognitive processes involved in art-making.
This document outlines a study on creative pedagogical design for teacher education. The objectives are to explore innovative pedagogies, implement learner-centered approaches, and assess the effects of creative pedagogy. The methodology involves 4 phases - creative pedagogy developed by teachers, creative teaching, creative learning by students, and students creating their own pedagogies. The goal is to start a process of sustainable improvement in teaching and learning through creativity.
This document discusses how integrating visual art projects into other subjects can develop students' curiosity, creativity, and risk-taking. It provides examples of projects done in an elementary art class that incorporate language arts, social studies, and Spanish. The benefits mentioned are making interconnections between subjects, strengthening skills, and discovering individual abilities. Students go through phases of planning, working flexibly, and evaluating their work. The goal is to create inventive thinkers by allowing students' natural abilities to bloom through exploration without pressure.
Chloe Beckmeyer, a 5th grade student, was interviewed as part of a research project about ideology in art education. Chloe's art class focuses on disciplines like aesthetics, art history, and art production. The teacher, Ms. Best, identifies her approach as mostly perennialism, which emphasizes teaching elements and principles of art. Chloe enjoys expressing herself and using materials creatively in her projects. The research found Chloe is exposed to various art forms and encouraged to share her work, indicating influences from multiple ideologies in her classroom.
With voice, values, and vision elementary art students can begin to develop a legacy.
Students assign symbols to their interests, hobbies, favorite subjects and foods, personal and physical characteristics, and aspirations, drawing at least two symbols on small square cards. Students attach symbols to a large connect card to align symbols with other students’ symbols like dominoes. In addition to being able to move the entire domino card to different parts of the mind map or even different maps, each of the two symbols are moveable, as all of the aforementioned components are jpegs. Part of the experience includes exhibiting cards, using separate mind maps. Students experience how separate may not be equal and how sorting methods are demoralizing and rejoining offers renewal. Students attempt to connect with their peers or certain peers more frequently, by analyzing interests less rigidly, attaching and reattaching cards, and drawing more symbols to facilitate a match with a symbol of another.
This presentation focuses on developing critical and creative thinking skills in pre-service teacher education students so they can foster these skills in their future classrooms. While these concepts are introduced, they are not always emphasized in practice across disciplines. Drawing and asking open-ended questions are presented as tools to promote ongoing creative opportunities and thinking. Research indicates a relationship between art education and higher levels of critical thinking dispositions in students.
The document discusses the history of art projects in schools and argues they have remained largely unchanged despite changes in art practices. It notes that traditional school art projects often do not allow for genuine creative expression or teach students about contemporary art. The author argues that art projects in schools should introduce students to a wide range of artistic techniques and practices to engage them in meaningful exploration and meaning making through discipline-based inquiry. Good art projects should not be recitations of themes or prescribed formulas, but should employ relevant contemporary artistic methods to investigate students' lives.
This document discusses issues with traditional art projects taught in schools. It summarizes Arthur Efland's 1976 work that identified distinct "school art styles" produced in schools that lacked creative expression and taught conventional, rule-based art. While art education has evolved, the types of projects taught have remained similar for decades. The document argues that art projects should encode complex aesthetic strategies and investigate meaningful topics, rather than symbolize predetermined themes or teach decontextualized skills. Good projects utilize skills and vocabulary authentically and engage students in authentic artistic processes rather than making facsimiles of art styles.
This document discusses issues with traditional art projects taught in schools. It summarizes Arthur Efland's 1976 work that identified distinct "school art styles" produced in schools that lacked creative expression and taught conventional, rule-based art. While art education has evolved, the types of projects taught have remained similar for decades. The document argues that art projects should encode complex artistic strategies, engage students in authentic artistic processes, and utilize skills and vocabulary in meaningful contexts, rather than symbolizing or being de-contextualized exercises. Good projects investigate topics rather than just illustrate themes, and reflect contemporary artistic practices.
The document discusses various aspects of creativity including definitions, theories, and models. It defines creativity as bringing something new into existence, whether a product, process, or thought. The directed creativity cycle model depicts creativity as involving observation, conceptualization, idea generation, development, and implementation. A three-pronged systems model shows creativity as influenced by person, domain, and social factors. The document also discusses characteristics of creative individuals and impediments to developing creativity in children.
This document provides guidance for teaching elementary students how to appreciate art. It discusses the importance of developing appreciation, respect and love for their own artwork as this will influence how they analyze and judge other works. It outlines several methods teachers can use to facilitate art appreciation, including descriptive observation, aesthetic scanning, analysis, visual literacy exercises, interpretation and reflection. The document stresses creating a supportive environment where students feel comfortable sharing their work and giving/receiving respectful feedback.
A New Language For Creativity In Fashion DesignHolly Fisher
This document discusses creativity in fashion design. It explores how the creative process involves combining existing elements in new ways to solve challenges. The development of innovative products requires going through different stages from research to creation to completion. The document also examines how both internal and external factors can positively or negatively influence a designer's creative work and ideas. It provides techniques to stimulate creativity, such as brainstorming, and discusses how work environments should support creative professionals to help renew their creative potential without blocks.
Creativity or letting go of certainties, invited webinar 6 June 13Chrissi Nerantzi
This document discusses creativity and creative curriculum design. It explores how definitions of creativity have evolved over time through different waves. Creative curriculum is described as focusing on flexibility, originality, personalization and collaboration rather than rigid norms. The document advocates for valuing creativity in institutional culture and discusses how metaphors and social media can foster creative thinking. Inspiration is said to come from curiosity, challenges and a willingness to make mistakes.
The document discusses revolutionary leadership through an art classroom for grades 6-12. It outlines establishing a student-centered environment through modifying the teacher's role to one of mutual learning between teacher and students. Over several weeks, students' independent thought and leadership in their creative processes emerges. The goal is for students to produce artworks through this mutual learning approach, applying multidisciplinary ideas. Materials are introduced related to student-led discussion topics. Assessment focuses on students' individualized creative processes and participation in discussions.
This presentation provides methodologies for students to lead, teach, and showcase their work. It includes sections on elements, energies, and actions that each have four components to guide personal growth. Students are empowered to define projects and curate galleries to pursue their passions. Constructive critiques from peers are encouraged to support students in communicating their goals and improving. The goal is to give students opportunities to direct their own learning and inspire others through showcasing their work.
The document discusses using a portfolio approach to teaching and learning. It proposes that portfolios can be used in three spheres: personal, community of inquiry, and demonstration of competency. In the personal sphere, portfolios allow individuals to capture ideas and make connections. In the community sphere, portfolios facilitate sharing ideas and learning from others. In the competency sphere, portfolios are curated to showcase learning for stakeholders. The portfolio approach provides a framework for managing 21st century learning by giving structure to educational processes and better capturing ideas through clear intentions.
Paper Mate Write Bros Ballpoint Pens, Medium PRichard Hogue
The passage discusses the positive and negative impacts of social media and mass media on adolescents. It notes that teens spend up to 11 hours per day on social media and are exposed to media via electronics. Social media influences how teens dress, act, talk and what they discuss. While mass media can shape adolescent minds and ideas, it remains unclear whether the overall impact is positive or negative. The passage intends to explore this issue by analyzing social media's impacts through sociological lenses of identity and groupthink.
Writing Phrases Best Essay Writing Service, Essay WritRichard Hogue
The document discusses the social and environmental impacts of vertical integration in the banana export trade in Honduras. It explains that in the late 1800s, Honduras was the largest banana exporter to the US. Over time, banana production gradually transitioned from small, individual farms to large monopolies controlled by three major companies. This led to significant social and environmental changes in Honduras as the companies consolidated land and power over banana production and export.
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1. Art is subjective and difficult to define, as each person has their own perspective and interpretation of beauty. Producing art requires both talent and ability, with talent being innate and ability being learned.
2. This study focuses on visual arts like painting, sculpture, and photography. Learning visual arts from a young age can help children develop skills like creativity, critical thinking, and appreciation for beauty.
3. The study aims to allow children freedom in art creation without restrictions from adults, while also nurturing an appreciation for art. This can help children's cognitive and physical development as well as confidence and social skills.
Reflective Writing In The Art Room - Kari LomaxKari Lomax
The document summarizes research conducted on incorporating reflective writing into an 8th grade art class. The teacher implemented art journals where students wrote goals, reflections, and thoughts about their creative process. Throughout the semester, the teacher collected data on students' mindsets, writing abilities, and growth. Initial findings showed students struggled with writing goals related to artistic choices and saw reflection as looking back rather than improving. The teacher adapted strategies like interviewing students and revisiting goal setting. Later results indicated students developed a growth mindset and were proud of their work. The teacher concluded reflective writing can foster creativity and metacognition if implemented consistently from the start.
Slides of my presentation given at an EATAW conference in Tallinn in June 2015. The presentation reports on Mystory - Digital English project which suggests a creativity and visuality based approach to developing academic skills, in particular related to writing processes. Presentation abstract plus notes are available at: https://goo.gl/NdcLHf.
Any comments and questions are appreciated.
Investigating cognitive prosesses within a practical art contextekinrashid
This document summarizes a study that investigated the cognitive processes used by three students during a five-hour art-making activity. The researchers employed a phenomenological case study approach, observing the students, having them record their experiences, and conducting in-depth interviews. The study aimed to understand how students learn and apply knowledge during art-making and identify any cognitive processes unique to art. Several themes emerged from analyzing the student experiences and descriptions, including enjoyment guiding their techniques, using art as a form of learning, experimentation, creating realistic impressions using composition and color, and energetic versus contemplative working styles. The findings provide insights into the cognitive processes involved in art-making.
This document outlines a study on creative pedagogical design for teacher education. The objectives are to explore innovative pedagogies, implement learner-centered approaches, and assess the effects of creative pedagogy. The methodology involves 4 phases - creative pedagogy developed by teachers, creative teaching, creative learning by students, and students creating their own pedagogies. The goal is to start a process of sustainable improvement in teaching and learning through creativity.
This document discusses how integrating visual art projects into other subjects can develop students' curiosity, creativity, and risk-taking. It provides examples of projects done in an elementary art class that incorporate language arts, social studies, and Spanish. The benefits mentioned are making interconnections between subjects, strengthening skills, and discovering individual abilities. Students go through phases of planning, working flexibly, and evaluating their work. The goal is to create inventive thinkers by allowing students' natural abilities to bloom through exploration without pressure.
Chloe Beckmeyer, a 5th grade student, was interviewed as part of a research project about ideology in art education. Chloe's art class focuses on disciplines like aesthetics, art history, and art production. The teacher, Ms. Best, identifies her approach as mostly perennialism, which emphasizes teaching elements and principles of art. Chloe enjoys expressing herself and using materials creatively in her projects. The research found Chloe is exposed to various art forms and encouraged to share her work, indicating influences from multiple ideologies in her classroom.
With voice, values, and vision elementary art students can begin to develop a legacy.
Students assign symbols to their interests, hobbies, favorite subjects and foods, personal and physical characteristics, and aspirations, drawing at least two symbols on small square cards. Students attach symbols to a large connect card to align symbols with other students’ symbols like dominoes. In addition to being able to move the entire domino card to different parts of the mind map or even different maps, each of the two symbols are moveable, as all of the aforementioned components are jpegs. Part of the experience includes exhibiting cards, using separate mind maps. Students experience how separate may not be equal and how sorting methods are demoralizing and rejoining offers renewal. Students attempt to connect with their peers or certain peers more frequently, by analyzing interests less rigidly, attaching and reattaching cards, and drawing more symbols to facilitate a match with a symbol of another.
This presentation focuses on developing critical and creative thinking skills in pre-service teacher education students so they can foster these skills in their future classrooms. While these concepts are introduced, they are not always emphasized in practice across disciplines. Drawing and asking open-ended questions are presented as tools to promote ongoing creative opportunities and thinking. Research indicates a relationship between art education and higher levels of critical thinking dispositions in students.
The document discusses the history of art projects in schools and argues they have remained largely unchanged despite changes in art practices. It notes that traditional school art projects often do not allow for genuine creative expression or teach students about contemporary art. The author argues that art projects in schools should introduce students to a wide range of artistic techniques and practices to engage them in meaningful exploration and meaning making through discipline-based inquiry. Good art projects should not be recitations of themes or prescribed formulas, but should employ relevant contemporary artistic methods to investigate students' lives.
This document discusses issues with traditional art projects taught in schools. It summarizes Arthur Efland's 1976 work that identified distinct "school art styles" produced in schools that lacked creative expression and taught conventional, rule-based art. While art education has evolved, the types of projects taught have remained similar for decades. The document argues that art projects should encode complex aesthetic strategies and investigate meaningful topics, rather than symbolize predetermined themes or teach decontextualized skills. Good projects utilize skills and vocabulary authentically and engage students in authentic artistic processes rather than making facsimiles of art styles.
This document discusses issues with traditional art projects taught in schools. It summarizes Arthur Efland's 1976 work that identified distinct "school art styles" produced in schools that lacked creative expression and taught conventional, rule-based art. While art education has evolved, the types of projects taught have remained similar for decades. The document argues that art projects should encode complex artistic strategies, engage students in authentic artistic processes, and utilize skills and vocabulary in meaningful contexts, rather than symbolizing or being de-contextualized exercises. Good projects investigate topics rather than just illustrate themes, and reflect contemporary artistic practices.
The document discusses various aspects of creativity including definitions, theories, and models. It defines creativity as bringing something new into existence, whether a product, process, or thought. The directed creativity cycle model depicts creativity as involving observation, conceptualization, idea generation, development, and implementation. A three-pronged systems model shows creativity as influenced by person, domain, and social factors. The document also discusses characteristics of creative individuals and impediments to developing creativity in children.
This document provides guidance for teaching elementary students how to appreciate art. It discusses the importance of developing appreciation, respect and love for their own artwork as this will influence how they analyze and judge other works. It outlines several methods teachers can use to facilitate art appreciation, including descriptive observation, aesthetic scanning, analysis, visual literacy exercises, interpretation and reflection. The document stresses creating a supportive environment where students feel comfortable sharing their work and giving/receiving respectful feedback.
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This document discusses creativity in fashion design. It explores how the creative process involves combining existing elements in new ways to solve challenges. The development of innovative products requires going through different stages from research to creation to completion. The document also examines how both internal and external factors can positively or negatively influence a designer's creative work and ideas. It provides techniques to stimulate creativity, such as brainstorming, and discusses how work environments should support creative professionals to help renew their creative potential without blocks.
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This document discusses creativity and creative curriculum design. It explores how definitions of creativity have evolved over time through different waves. Creative curriculum is described as focusing on flexibility, originality, personalization and collaboration rather than rigid norms. The document advocates for valuing creativity in institutional culture and discusses how metaphors and social media can foster creative thinking. Inspiration is said to come from curiosity, challenges and a willingness to make mistakes.
The document discusses revolutionary leadership through an art classroom for grades 6-12. It outlines establishing a student-centered environment through modifying the teacher's role to one of mutual learning between teacher and students. Over several weeks, students' independent thought and leadership in their creative processes emerges. The goal is for students to produce artworks through this mutual learning approach, applying multidisciplinary ideas. Materials are introduced related to student-led discussion topics. Assessment focuses on students' individualized creative processes and participation in discussions.
This presentation provides methodologies for students to lead, teach, and showcase their work. It includes sections on elements, energies, and actions that each have four components to guide personal growth. Students are empowered to define projects and curate galleries to pursue their passions. Constructive critiques from peers are encouraged to support students in communicating their goals and improving. The goal is to give students opportunities to direct their own learning and inspire others through showcasing their work.
The document discusses using a portfolio approach to teaching and learning. It proposes that portfolios can be used in three spheres: personal, community of inquiry, and demonstration of competency. In the personal sphere, portfolios allow individuals to capture ideas and make connections. In the community sphere, portfolios facilitate sharing ideas and learning from others. In the competency sphere, portfolios are curated to showcase learning for stakeholders. The portfolio approach provides a framework for managing 21st century learning by giving structure to educational processes and better capturing ideas through clear intentions.
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Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
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Art Studio As Thinking Lab Fostering Metacognition In Art Classrooms.Pdf
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Art Education
ISSN: 0004-3125 (Print) 2325-5161 (Online) Journal homepage: http://www.tandfonline.com/loi/uare20
Art Studio as Thinking Lab: Fostering
Metacognition in Art Classrooms
Julia Marshall & Kimberley D'Adamo
To cite this article: Julia Marshall & Kimberley D'Adamo (2018) Art Studio as Thinking
Lab: Fostering Metacognition in Art Classrooms, Art Education, 71:6, 9-16, DOI:
10.1080/00043125.2018.1505377
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2. in
Art
Classrooms
Julia Marshall and
Kimberley D’Adamo
Figure 1. My Thought Process Is Like a Gumball Machine by Noah (2016).
Art
Studio
as
thinking
Lab:
Fostering
Metacognition
hAt CAN high SChooL Art CLASSeS oFFer
to both ASpiriNg ArtiStS ANd StudeNtS
who hAve other iNtereStS ANd goALS?
here’s an answer: thinking skills. thinking skills are
essential for all learners, and both art creation and
encountering art provide opportunities for complex
thinking and, therefore, for honing conceptual skills
(eisner, 2002). beyond that, art experiences can spur
students to reflect on how they think and to expand
and refine their thinking. that is to say, art classes can
cultivate metacognition.
November 2018 9
W
3. 10 Art Education
Art’s capacity to foster metacognition puts art education in sync
with general education where understanding and monitoring one’s
thinking are acknowledged to be essential to an individual’s success
in school and life (Kolencik & Hillwig, 2011; McGuire & McGuire,
2015; Silver, 2013). The mindfulness inherent in metacognition
also connects it to efforts to make classroom environments more
inclusive and collaborative.
This article pursues both trains of thought and describes how an
art class can be an art thinking lab—a site for everyone to practice
thinking and develop metacognition together in the context of
creative work. It describes pedagogy and curriculum developed
by Kimberley D’Adamo, an art teacher at Berkeley High School
in Berkeley, California, with support from her students and the
co-author of this article.
Metacognition
First narrowly defined by Flavell (1979) as thinking about
one’s thinking, metacognition is now understood as the ability to
monitor one’s thinking and learning (Kolencik & Hillwig, 2011;
Silver, 2013). Silver (2013) explains metacognition as the act
of stepping back from a task to name and frame what happens
within it. This ability to step back is transferable to new situations
and it benefits learning and thinking skill development in all
disciplines. That is why the Common Core State Standards and the
Next Generation Science Standards focus on the development of
thinking skills and on metacognition.
Equally important, being metacognitive helps learners develop
positive dispositions toward learning and gives them autonomy
and agency, both of which generate motivation and engagement
(Kolencik & Hillwig, 2011). Metacognition, therefore, is key to
navigating challenges and problems, to fulfilling one’s potential and
thriving in life. No wonder the growing interest in metacognition.
Metacognition in the Art Class
Metacognition is particularly important for people involved
in creative endeavors, including artists. It enables them to build
on what works, learn from mistakes, and get better at what they
do. Being metacognitive can also ease a novice artist’s anxiety
about being creative by de-mystifying creativity through exposing
the basic mechanisms of it. In doing so, it gives apprehensive art
students the wisdom to handle challenges and disappointments
and the strategies they can use to move forward.
The art room is an ideal place to foster metacognition for six
reasons. First, it is a site for thinking. As Eisner (2002) argued,
making art takes a lot of thought. This includes thinking before,
during, and after creating works of art. For that reason, art teachers
often ask their students to reflect on their thinking when they
critique their artworks. In a milieu such as this, going beyond
simply recognizing thinking to focus more closely on how thinking
works is the next logical step.
Second, art classrooms are studios. In a studio environment,
learners “do” art as well as study art. This is not often the case in
academic classes where students primarily study content. Doing art
encourages reflection on process and thinking within the context
of hands-on experience. Here we can see why an art class could
surpass its academic counterparts in fostering metacognition.
Third, the art class is where thinking gives rise to images and
objects that are tangible, concrete manifestations of the thought
that went into them. Images, in this case artworks, can make
thinking visible and, therefore, accessible (Ritchart, Church, &
Morrison, 2011). Art images, therefore, can spur conversations
about how thinking intertwines with and shapes creative process
and meaning making.
Fourth, the kinds of thought employed in an art class are
many, complex, and diverse, and they produce a variety of
outcomes. Eisner (2002) argued that art experiences prompt
the brain to process sensory experience and connect it to ideas
or prior experiences, make decisions and value judgments, and
solve aesthetic problems. To this, he added the mental work
of representing an idea or feeling in a visual form or material,
or imagining something that is not there. Eisner highlighted
the cognitive complexity of artmaking with its interweaving of
perception, logic, and imagination. Understanding this complexity
enables students to appreciate their minds and their artwork more
fully.
Fifth, the art classroom is essentially communal with individuals
working alone and in concert. For that reason, art classrooms
encourage individual and collective thinking and learning. They
can be places where swarm intelligence (Rolling, 2013) can emerge.
Swarm intelligence is the collective capacity to learn and create.
As a swarm, an art class can generate both group creativity and
individual creativity. Group creativity materializes out of collective
thinking toward a goal, while individual creativity is stimulated
and cultivated through interaction with the group. For a swarm,
developing metacognition is a collaborative endeavor and a
binding force.
Sixth, art classes are sites of experimentation with pedagogical
ideas and methods. This environment invites creative approaches
to pedagogy, which could include arts-based research projects and
a variety of exercises that focus on thinking and metacognition.
The Art Thinking Lab
The art thinking lab provides an unusual model for art courses.
Although it shares many of the goals and practices of more
conventional art classes, the art thinking lab differs in its laser-like
focus on particular basic art skills: thinking, learning, and creative
inquiry. The following are key aspects of the model.
The art room is an ideal place to
foster metacognition for six reasons.
4. A Safe, Caring, and Inclusive Classroom
When young people are asked to explore and expose personal
things, such as how they think, they must feel comfortable, safe,
and supported. The art thinking lab is a supportive environment
that encourages all learners to excel, builds a sense of belonging
for all, and eliminates the notion that some students are inherently
more talented than others. It emphasizes every student’s strengths,
concentrates on the cognitive and technical skills all learners can
master in their own way, and values each student’s dispositions,
thinking, and expression. The group activities discussed later in
this article are key to constructing a safe environment.
An art thinking lab also promotes student influence and agency
in the classroom. Over time, a supportive environment can evolve
into a student-guided community. D’Adamo plants the seed for
this transformation by introducing students to Critical Pedagogy
(Freire, 1973), a progressive approach to education that upends
conventional classroom hierarchies by shifting the power from the
teacher to learners, who are thus enabled to take control of and
responsibility for their learning. This change happens over time
as a class progresses and becomes increasingly collaborative and
student-centered.
A Focus on Learning Over Time
Art-based thinking and learning develop over time and an art
thinking lab highlights this, placing less emphasis on individual
artworks as discrete manifestations of thought and more on the
learning and thinking that emerges as ideas are researched and
artworks are generated. This requires making explicit connections
among artworks and ideas as they surface, and revisiting and
revising each artwork rather than moving on quickly from one
to another. Fewer discrete finished artworks emerge from this
approach but the thinking that goes into the works is deeper and
more metacognitive.
The focus on the arc of learning is central to the art-based
research (ABR) model practiced in the art thinking lab, which
foregrounds individual exploration of topics through creative
art-based inquiry (see Marshall & D’Adamo, 2011). In D’Adamo’s
ABR thinking lab, students explore topics of interest to them, and
they chronicle their thinking and their creative inquiry process
in research workbooks. In their books, they mix and match visual
imagery with verbal reflections and notes to create a tangible,
visual chronicle of their process. Because all of their thinking,
information, images, and ideas are in one place, students become
particularly metacognitive. They are able to look back to earlier
work and see how their thinking and ideas continue to emerge,
accumulate, and progress.
Clear and Concrete Explanations of Learning
A rudimentary understanding of learning enables students to
recognize their personal abilities and challenges, to identify with
other learners, and become more metacognitive. For this reason,
D’Adamo familiarizes students with fundamental learning theories
of Constructivism, Social Constructivism, the Zone of Proximal
Development (ZPD) (Vygotsky & Cole, 1978), and the Theory of
Multiple Intelligences (MI) (Gardner, 1983).
Constructivism provides two general suppositions: Learning is a
matter of connecting new information to previous knowledge, and
learners construct knowledge rather than absorb it (Efland, 2002).
By noting the role of prior knowledge in learning, Constructivist
theory helps student artists see how experience and knowledge set
the stage for their art-based research, and also that the more they
know about their subject, the richer their artworks can become.
Furthermore, grasping the notion that learners construct their
own knowledge prompts students to take responsibility for their
learning.
Social Constructivism (Vygotsky & Cole, 1978) explains how
learning occurs through social interaction. This helps students
appreciate the cognitive value of working together. Vygotsky’s
notion of the ZPD explains how learning occurs when a person
is ready to learn something new. With an understanding of the
ZPD, students can recognize when they are in the “zone” and are
thus able to embrace and navigate the uncertainty, struggle, and
discomfort that often accompany learning. Traversing the ZPD
often requires guidance from a more experienced person. When
students understand this, they can appreciate the advice they
receive from their teacher and peers.
Gardner’s MI is valuable to students because it opens up the
concept of intelligence to include numerous ways of learning and
processing information and ideas. In acknowledging visual-spatial,
verbal-linguistic, kinesthetic, interpersonal, and intrapersonal
modes of learning, MI supports diverse learners and breaks down
conventional notions of talent and intelligence, thus making the art
class more inclusive.
Ultimately, knowledge of the mechanisms of learning brings
transparency to the classroom. While students examine their own
minds, they also come to understand the mind of the teacher and
the workings of the curriculum. This sets the stage for student
collaboration with their teacher on curriculum and pedagogy.
A Common Vocabulary and Language
Naming and framing specific kinds of thinking establishes the
common vocabulary to cultivating metacognition (Silver, 2013).
This enables students to talk to each other in precise, clear, and
A rudimentary understanding of
learning enables students to recognize
their personal abilities and challenges.
11
November 2018
5. 12 Art Education
meaningful ways. Without a shared vocabulary, conversations can be
unfocused and superficial. Moreover, a common language builds a sense
of community. Just as cultural groups are shaped and bound through a
shared language, art classes are, too.
To build a common language, students in the art thinking lab
participate in directed scaffolding activities. For example, they brainstorm
lists of “thinking words” that include both academic terms for thought,
and “poetic thinking words” that describe the abstract thinking involved
in creative process in terms of common activities such as cooking
or gardening. Tying thinking to hands-on experiences makes the
mechanisms of creative process intelligible and meaningful. Figure 2 is
a list of academic and poetic thinking words generated by one group of
students.
After group sessions, students continue developing their personal
lists. Figures 3 and 4 are Petra’s notes on vocabulary and reflections on
metacognition.
Many of the kinds of thinking associated with art are also at play in the
other disciplines. Students can realize this by working together to develop
a list of cross-disciplinary thinking terms. This helps them to see how
similar kinds of thinking propel all school subjects while prompting them
to appreciate the cognitive benefits of artmaking. Figure 5 is a concept
map students drew of the thinking they find in their classes.
Figure 2. Thinking Words. Class poster (2016).
Figure 3. Metacognition and Thinking Words by petra (2016). Figure 4. Metacognition and Thinking Words by petra (2016).
6. November 2018 13
Group and Individual Work
In the art thinking lab, independent work on research and
related artworks is counterbalanced with ongoing group activities.
This fluctuation between individual and collaborative work offers
group support for personal work, helps build a safe environment,
and gives the curriculum variety and a sense of rhythm and
momentum. The class participates in three kinds of cooperative
activities, some led by the teacher and others led by students. They
include: group idea gathering and concept mapping, collaborative
art projects, and small group critiques.
Group Idea Generation
To help students think expansively regarding concepts to
research, D’Adamo conducts group concept mapping sessions
that generate lots of ideas for research topics. Since students
often confuse the concepts to be researched with the projects that
address them, the class also concept-maps project ideas. Writing
about the difference between concepts and projects also helps make
the distinction explicit. Figure 6 is a concept map Petra created in
a group session that explored the concept that “cats are beautiful
predators.” Here, Petra maps the contradictory qualities that are
associated with cats and explains the difference between concepts
and projects.
Collaborative Art Projects
Collaboration ignites idea generation, which expands students’
individual thinking. Moreover, working in teams on artworks
brings students closer together and prompts them to value each
Figure 5. Metacognition Across the Disciplines.
Class poster (2016).
Figure 6. Concept Map by petra (2016).
7. 14 Art Education
other’s skills and ideas. One such collaboration is a version
of “Project Runway,” a popular TV program in which groups
solve design problems in a short amount of time with limited
and unusual materials (Figures 7 and 8).
Small Group Critiques
Ongoing, in-process critiques are a backbone of the art
thinking lab. In them, students work together with little
teacher intervention. These critiques are essentially looking,
listening, and idea-sharing sessions that keep students
connected, energized, and on track with their individual
work. The tone of these sessions is friendly and supportive.
Peers are viewed as Warm Demanders (Bondy & Ross,
2008), whose assessment and advice are seen as gifts to the
artist. This not only sets a friendly supportive tone, making
critiques emotionally safe and non-competitive, but it also
gives students the desire to learn from and be inspired by each
other. Guidelines for engagement and critique are important
to these conversations and it is best if students participate in
their development. These rules should identify effective ways
to critique and the behavioral expectations for both artist and
advise-giver. Figure 9 is Daniela’s notes on these guidelines.
Creative Ways to Reflect on Process
The art thinking lab is where creativity is enhanced by
metacognition. The inverse is also true. Metacognition
develops through creative work. Beyond naming, framing,
and recording creative thinking, students can also look
at creative process through an artistic lens. Metaphor, the
portrayal of one thing as another (Lakoff & Johnson, 1980),
provides one way to do this. A metaphor works well because
it anchors abstract notions to known and tangible entities.
Encapsulating the essence of process metaphorically enables
learners to become metacognitive in more playful, imaginative
ways.
Figures 7 and 8. Project Runway. photographs by
Kimberley d’Adamo (2016).
Figure 9. Notes on Guidelines for Critiques by daniela (2016).
8. November 2018 15
Figure 10 is Petra’s metaphor for her thinking brain: boiling
water. In Figure 11, Molly pictures her thinking as a Banyan tree,
while in Figure 1, Noah envisions his thought process as a gumball
machine. The differences among these three images and the ideas
they convey demonstrate the variety of student perspectives and
the many ways we can conceptualize creative process and thinking.
Likely Problems
The art thinking lab approach is ambitious and unconventional;
it flips the conventional classroom hierarchy and tests common
expectations of students, administrators, and parents alike.
Acceptance of the approach can vary from one context to
another. At Berkeley High School, D’Adamo finds parents and
administration to be very enthusiastic and supportive. Student
resistance, although limited, does occur. Generally speaking, the
students who resist the course were highly successful in art classes
that stress technical drawing and painting skills. These students
come to the art thinking lab with a set notion of art. The shift
in focus from technique to concept, content and thinking often
obliges these students to think differently about art and the skills
it requires.
Eliminating student reluctance must begin on Day 1 with a clear
explanation of the art thinking lab and its differences from more
conventional art classes. This includes clarifying class expectations
and thoroughly explaining the rationale behind them. D’Adamo
also recommends establishing relationships with reluctant students
and showing appreciation for their technical skills. Another
Figure 10. My Brain Is Like Boiling Water by petra (2016).
Figure 11. My Thinking Is Like a Banyan Tree by Molly (2016).
9. 16 Art Education
strategy is citing contemporary art to justify the shift of emphasis
to thinking and concepts. Most students respond enthusiastically
to contemporary art, particularly art that addresses issues that are
edgy and interesting to them. When students see how current art
can be timely, meaningful, provocative, and interesting, they open
up to new art forms and the thinking behind them. Eventually
these students realize that they can apply their advanced technical
skills to make conceptually interesting and meaningful art.
Students also may find it challenging to take charge of their own
learning. In general, this has not been the case in D’Adamo’s class.
To the contrary, students find it gratifying to be considered capable
of thinking for themselves and directing their own progress.
Students may also resist examining their creative process and
thinking for fear of impeding their creativity. The authors asked
students about this and found students did not express this fear.
Indeed, many expressed how being metacognitive helps them to
create their artwork, to see themselves as thinkers, to appreciate
each other, and to understand the underlying presence of thinking
in everything they do. Alexandra expressed these sentiments and
more in her reflection.
Learning about metacognition in this class helped me to
appreciate the beauty and variety of the ways we think…. i’ve
observed my methods in many environments more closely,
especially how i start writing things and where ideas come
from, since studying metacognition.… Metacognition could
be a valuable tool in dispelling ideas of “smartness”that often
create hurtful hierarchies in classes. if we understand that each
person has a different way of processing things, we will be able
to value our differences better. (Carthar, 2016)
Concluding Thoughts
The art thinking lab represents an inquiry into how learning and
thinking can generate ways of teaching art that link educational
imperatives to studio practice and art to its sister disciplines. It is,
therefore, an ongoing, evolving experiment with the educational
benefits of creative thinking, art-based research, and art
integration.
The art thinking lab is also a social experience; individuals
thrive in a communal culture of learners that is passed onto and
further shaped by new waves of learners. The art thinking lab,
therefore, is a site or a pedagogical structure that generates an
evolving, harmonized assembly of learners who exemplify swarm
intelligence (Rolling, 2013).
It must be noted that an art thinking lab takes careful
and thorough scaffolding, flexible structures, and a dogged
concentration on what matters. Developing it takes time, a
willingness to explore theories and experiment with strategies,
openness to students and their ideas, and an embrace of change.
While it fosters metacognition in learners, the art thinking lab also
challenges teachers to be metacognitive as well. n
Author Note
See website for more information and examples: www.artasresearch.org
Julia Marshall is Professor of Art Education at San Francisco State
University, San Francisco, California. Email: jmarsh@sfsu.edu
Kimberley D’Adamo is an Art Teacher at Berkeley High School in
Berkeley, California. Email: kimberleydadamo@gmail.com
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teacher as warm demander.
Educational Leadership, 66(1), 54-58.
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metacognition. Research Workbook.
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creation of mind. New Haven, CT:
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and cognitive monitoring: A new
area of cognitive-developmental
inquiry. American Psychologist,
34(10), 906-911.
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the oppressed. New York, NY:
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Strategies you can incorporate
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York, NY: Palgrave MacMillan.
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References
The art thinking lab generates an evolving,
harmonized assembly of learners who
exemplify swarm intelligence.