Jaquith, D. B. (2015a). The attachment test. Arts & Activities, 157(4), 13. Jaquith, D. B. (2015b). What I know about... clay, drawing, printmaking, fibers, grades K-2. Unpublished assessment. Newton, MA: Newton Public Schools.
The power of studentdirected pedagogy demonstrated in the art room is significant and merits consideration across domains, as an elegant way to provide authentically differentiated learning ... Colangelo, N., & Davis, G. A. (2003).
Taking inspiration from a variety of contemporary approaches, this book presents a framework for Choice-Based instruction for Secondary Level (grades 6-12) Art Education.
EDUCATION / Arts in Education
It is great to see them thinking about art time outside of school. (Harmon, 2016) Winter. In late winter, Wynita introduces additional media, broadening the studio offerings. With more complex techniques and concepts, students can now ...
Miss Scott—matron of the hospital where girls are taken for physical insanity testing Dr. Field—doctor examining girls in hospital for insanity Miss Tillie Maynard—patient committed with Bly Miss Annie Neville—patient committed with Bly ...
This book expands on the framework established in The Open Art Room to incude new methods, updated concepts, and continuous refinement of their growing practices. -- adapted from page [4] of cover.
American education: The colonial experience, 1607–1783. New York: Harper & Row Cremin, L. A. (1980). American education: The national experience, 1783–1876. New York: Harper & Row. D'Amico, V. (1942). Creative teaching in art.
requests for help during art-making, is the clear understanding of a child's motivations, big ideas, interests, strengths and skills – and allowing a child to be in multiple and changing roles of both novice and expert.
This is the vision of personalized learning an approach to education founded in collaborative conversations where students are no longer bystanders in their own development.
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.