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An Uneasy Guest in the Schoolhouse by Ellen Winner Pdf
"In 1982 I travelled to northern Italy to observe the preschools in the city of Reggio Emilia. I made more visits over the years, including my last visit in 2020. I wanted to understand the teaching methods that allowed typical children to make art that looked so much more advanced that that seen in American preschools. The first seeds of this book were planted as I observed the art that Reggio children were able to create"--
Studio Thinking 3 by Kimberly M. Sheridan,Shirley Veenema,Ellen Winner,Lois Hetland Pdf
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
Art Education as a Radical Act by Sara Torres-Vega,Wendy Woon Pdf
This comprehensive volume highlights and centers untold histories of education at the Museum of Modern Art (MoMA) from 1937 to 2020, using the critical voices of artists, scholars, designers, and educators. Exploring these histories as transformative and paradigm-shifting in museum education, it elevates MoMA educators as vocal advocates for harnessing the educational power that museums inherently possess. Divided into three interlinked parts, the first sheds light on the early educational endeavors of the museum while analyzing the context of art education in the United States. The second part focuses on the tenures of Victor D’Amico and Betty Blayton, utilizing the MoMA archives as a primary resource. It includes essays by Ellen Winner, Luis Camnitzer, Susan E. Cahan, Michelle Millar Fisher, HECTOR (Jae Shin & Damon Rich), Gregory Sholette, Carol Duncan, Moreen Maser, Nana Adusei-Poku, Carmen Mörsch, Rika Burnham, Donna M. Jones, and José Ortiz. The third part presents the perspectives of William Burback, Philip Yenawine, Patterson Sims, Deborah F. Schwartz, and Wendy Woon as former MoMA Directors of Education in their own words and considers the forces that shaped their work. This timely and unique exploration ultimately aims to trace and understand the fundamental and evolving concerns of a seemingly underexamined profession constantly striving to maintain relevance in an environment marked by institutional, social, and political uncertainty. Exploring the radical acts undertaken to keep the museum true to its original promise, it delineates the paradox whereby education is both central and invisible to the identity of MoMA and museums more broadly and re-centers the conception of the museum as an educational institution. It is designed for scholars, researchers, and post-graduate students interested in arts education, visual literacy, museum studies, and communication studies.
Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century—and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle
Americans today choose from a dizzying array of schools, loosely lumped into categories of "public" and "private." How did these distinctions emerge in the first place, and what do they tell us about the more general relationship in the United States between public authority and private enterprise? In Public vs. Private, Robert N. Gross describes how, more than a century ago, public policies fostered the rise of modern school choice. In the late nineteenth century, American Catholics began constructing rival, urban parochial school systems, an enormous and dramatic undertaking that challenged public school systems' near-monopoly of education. In a nation deeply committed to public education, mass attendance in Catholic schools produced immense conflict. States quickly sought ways to regulate this burgeoning private sector and the competition it produced, even attempting to abolish private education altogether in the 1920s. Ultimately, however, Gross shows how the public policies that resulted produced a stable educational marketplace, where choice flourished. The creation of the educational marketplace that we have inherited today--with systematic alternatives to public schools--was as much a product of public power as of private initiative. Gross also demonstrates that schools have been key sites in the development of the American legal conceptions of "public" and "private". Landmark Supreme Court cases about the state's role in regulating private schools, such as the 1819 Dartmouth v. Woodward decision, helped define and redefine the scope of government power over private enterprise. Judges and public officials gradually blurred the meaning of "public" and "private," contributing to the broader shift in how American governments have used private entities to accomplish public aims. As ever more policies today seek to unleash market forces in education, Americans would do well to learn from the historical relationship between government, markets, and schools.
The Emerging Spatial Mind by Jodie M. Plumert,John P. Spencer Pdf
How does the spatial mind develop? In this book, Jodie Plumert and John Spencer bring together the leading researchers from the field of spatial cognitive development to examine how the spatial mind emerges from its humble origins in infancy and becomes its mature, flexible, and skilled adult form. The work presented sheds light on how the emerging spatial mind is fostered and shaped over time by our experiences of thinking about and interacting in the space around us. Each chapter presents cutting-edge research and theory that addresses the two pivotal questions of what changes in the spatial mind, and how these changes come about. The authors provide both conceptual and formal theoretical accounts of developmental process at multiple levels of analysis--genes, neurons, behaviors, social interactions--creating a contemporary overview of the general mechanisms of cognitive change. Commentary chapters show how the developmental advances discussed in these accounts fit into our understanding of not only spatial cognitive development, but also spatial cognition more generally.
"How Art Works explores puzzles that have preoccupied philosophers as well as the general public: Can art be defined? How do we decide what is good art? Why do we gravitate to sadness in art? Why do we devalue a perfect fake? Could 'my kid have done that'? Does reading fiction enhance empathy? Drawing on careful observations, probing interviews, and clever experiments, Ellen Winner reveals surprising answers to these and other artistic mysteries. We may come away with a new understanding of how art works on us."--Jacket.
Discusses the friendship between Booker T. Wahington, founder of the Tuskegee Institute, and Julius Rosenwald, president of Sears, Roebuck and Company and how, through their friendship, they were able to build five thousand schools for African Americans in the Southern states.
Studio Thinking from the Start by Jillian Hogan,Lois Hetland,Diane B. Jaquith,Ellen Winner Pdf
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
The Transatlantic Kindergarten by Ann Taylor Allen Pdf
The kindergarten, which offered an innovative approach to early childhood education, was invented in the German-speaking world and arrived in the United States along with German political exiles in the 1850s. In both the United States and Germany, activist women worked to develop and promote this new form of education. Over the course of three generations they created one of the most successful transnational women's movements of the nineteenth century. In this work, Ann Taylor Allen presents a transnational history of the kindergarten as it developed in both Germany and America between 1840 and 1919.
Piety and Privilege by Tom O'Donoghue,Judith Harford Pdf
For centuries, the Catholic Church around the world insisted it had a right to provide and organize its own schools. It decreed also that while nation states could lay down standards for secular curricula, pedagogy, and accommodation, Catholic parents should send their children to Catholic schools and be able to do so without suffering undue financial disadvantage. Thus, from the Pope down, the Church expressed deep opposition to increasing state intervention in schooling, especially during the nineteenth century. By the end of the 1920s however, it was satisfied with the school system in only a small number of countries. Ireland was one of those. There, the majority of primary and secondary schools were Catholic schools. The State left their management in the hands of clerics while simultaneously accepting financial responsibility for maintenance and teachers' salaries. During the period 1922-1967, the Church, unhindered by the State, promoted within the schools' practices aimed at 'the salvation of souls' and at the reproduction of a loyal middle class and clerics. The State supported that arrangement with the Church also acting on its behalf in aiming to produce a literate and numerate citizenry, in pursuing nation building, and in ensuring the preparation of an adequate number of secondary school graduates to address the needs of the public service and the professions. All of that took place at a financial cost much lower than the provision of a totally State-funded system of schooling would have entailed. Piety and Privilege seeks to understand the dynamic between Church and State through the lens of the twentieth century Irish education system.
