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Studio habits of mind reading assignment8/17/2023 ![]() Much of what develops this habit are the qualities of the assignments we design. Engaging is what it takes to learn strategies to persist. It is important to understand that people engage differently.Ī project that is low stakes, temporary, and has no right answer may help someone with low confidence or who's confused to begin to engage. Learning to embrace problems of relevance within the art world and/or of personal importance, to develop focus and other mental states conducive to working at and preserving art tasks. They kind of tug on each other, and then both dispositions grow. The work needs to speak, and craft is how we make materials speak.Ī lot of times, not always, but a lot, artists work with developing craft in relation to the studio habit "Express." You go back and forth, developing craft to express, trying to express with your craft. ![]() Why? Because inadequate craft diminishes the artwork, the craft needs to read as intended. I want the kids to be driven, to need to pursue good craft, inclined to do another draft. And just as craft requires skill, learning to use that pencil, or getting that structure to stand up, there's also the inclination to use craft. So if all you are doing is teaching technique, craft, the principles and elements of design, you are missing a lot of what is important about developing an artistic mind. There are seven more habits in addition to craft. One of the reasons this studio habit is useful is because it helps teachers see that craft is important it's one of the eight studio habits, but it's not all that's important. Most often, the default belief seems to be that all we need to teach is craft, as if craft is what art is. Studio practice: learning to care for tools, materials, and space. Technique: learning to use tools (e.g., viewfinders, brushes), materials (e.g., charcoal, paint) learning artistic conventions (e.g., perspective, color mixing). What I'm really urging here is more autonomy on the part of the student artist–they need to be making the decisions if they're going to make a better mind. I think we have to be careful of that trap because you can turn your class into a production factory and then your kids don't develop artistic minds, even though they may be making beautiful work that is hanging in the hall. I think we get really trapped and stuck in thinking that it's our job to make really high-quality work, so that we can put it out in the hall and everybody will say that we have a good art program. Your job is to get your students to chase the quality of their own work and make the best work they can make. Artists must make the best art that they can make, but that's not your job. What you need to do as a teacher of art is create kids who make good art, create kids who think well as artists, who have an artistic mind.Īs artists, kids have to learn to chase the quality of their work. If you are an artist and you want to make good art, I urge you to go into your studio and make good art. We have to keep that firmly in mind–though it goes against several grains. The real product of art education is not the works of art, but the child.
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