It involved creating a Positive and Negative Space design with construction paper. The other project was more skills-centered, it focused on the Develop Craft SHoM. This lesson highlighted the SHoM dispositions, Envision and Express. One project was a more personal, expression-centered Artist Book that required students to illustrate their goals/dreams inside. I had all three groups take part in two art projects. In order to gain any answers to these questions, I created an experiment that involved my fourth grade classes. “Does personalization of art projects effect student engagement?” “What type of art project motivates students to create art?”ģ. “ What can I learn from my students based on their reflections?”Ģ. For my portion of the project, I focused on assessing student motivation. In March, we presented our findings at the NAEA Convention in Boston, MA. This past school year, I had the opportunity to work with a talented group of art educators from all over Massachusetts in order to research how the Studio Habits of Mind can be applied to Assessment in the art classroom. I even developed an activity based on the popular game, “Pokemon GO,” called, “Art History GO ” where I introduced the SHoM to my students in a fun (and silly) way! When I started teaching elementary art in Arlington, MA public schools, the SHoM were applied to my curriculum right away. I think they are a great way to explain the benefits of an arts education! I love that the SHoM dispositions will not only help strengthen a students artistic practice, but also create skills that can be applied to other areas of life as well. I have always been a huge fan of the Studio Habits of Mind ever since I first heard of them while in grad school at Massachusetts College of Art and Design. The 5-part book, which tells a story that culminates in the Salem Massachusetts witch trials, has also interested educators looking for alternative ways of assessing student understanding. ![]() Her artist book Witches, Magic & Early New England (2016) was produced as part of the Digital Public Library of America Community Representative program to showcase what makers can do with the DPLA online collections. For several years she has followed the work of makers using archives to create work, in particular their use of online digital resources. ![]() Collaborative media work includes five videos for the show Dangerous Curves: Art of the Guitar at The Museum of Fine Arts, Boston and a series of interactive web-based documentaries funded by the Cultural Landscape Foundation. ![]() Her current work as an artist is in media, mixed media drawing, and artist books. While an instructor in art at Phillips Academy, Andover, MA, (1980–2015), she served Art Department Chair (2006-2012). Research projects include thinking in the arts, portfolio assessment, technology, and schools using multiple intelligences theory. Shirley Veenema brings the perspective of an art teacher (elementary and high school), a researcher at Project Zero from 1987-2007, and a visual artist. After many failed attempts we created seven individual boxes with pockets for small books, and a structure to hold all the individual boxes (Envision, Develop Craft: Technique). Both of us struggled and not surprisingly, we each came up with a different final solution. In fact, for our most recent book, Madwomen & Angels, we even decided to take on a new challenge: 3D figures. It also helped us to develop trust in our ability take on new challenges and the confidence that we could work as a team (Understand Art Worlds: Community). But oh how we struggled! Every time I received a piece from my collaborator, I sighed, “Oh no, flat again.” She did the same upon seeing more of my experiments with shallow relief.įortunately the conversation structure added elements of play and surprise to our struggles and encouraged us to keep going (Engage & Persist, Stretch & Explore). For twenty pieces, the structure of our conversation pushed both of us beyond our comfort zone and stimulated new ways of working (Stretch & Explore, Develop Craft: Technique) -a tension between interests and ways of working that continued for the entire visual conversation.
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