Student Ownership:Learning in a

Student-CenteredArt Room BY BARBARA HENRIKSEN A N D R E W S

We got to pick our own projects and set our own goals andobjecti\/es. We were in control of what we wanted to get fromthis class, it was a totally new idea from what any otherclasses in high school are like.

—Female Student (personal communication, 2005)

After taking this art class, / can easily see the differencesbetween truly participating in art, and simpiy doing what one istold to create by the teacher.

—Female Student (personal communication, 2009)

In other art courses you do what the teacher wants and whatthey plan. In this class you have to think.

—Male Student (personal communication, 2007)

40 ART EDUCATION / July 2010

Student doing print-making.

These high school students, whopreviously were unenthusiastic aboutart, now express joy and satisfaction

in tbeir learning. I believe this shift instudent attittide, from reluctant learner toengaged learner, took place in a student-centered class titled Art and Ideas. After 8years of teaching more traditional, media-specific classes, I became frustrated with afew students in each class who were not asenthusiastic about our art projects as I was. Iwanted to reach these students and turn tbeirapathy into excitement. I wanted motivatedlearners.

Before the introdtiction of Art and Ideas,students passively waited for me, the highschool teacher, to introduce assignments anddue dates. They were accustomed toreceiving information, completing projects,and routinely taking tests. Like manyteachers, however, I wanted active learnerswho had a role in shaping curriculum.

To accomplish this goal, I developed astudent-centered approach to teach art at ourhigh school. In 1996 I introduced our newart class. Art and Ideas, with the goal of

putting students at the center of theirlearning. Each semester I teach four sectionsof the class.

Student Ownership of Learningin a Testing-Saturated Culture

Many educators strive to cultivatestudents' ownership of their learning. Tliiscan be challenging with tbe current emphasison high-stakes test scores. Berliner andNicbols (2008) address this concern in"Testing the Joy Out of Learning" inEducational Leadership. They write, "Ahigh-stakes testing climate sends a messagethat the primary purpose of learning is toscore well on the test." Students need to domore than learn how to take standardizedtests. They need to be able to think forthemselves, not just the way the instructorwants them to. A student centered art roomoffers an oasis of freedom in the testinglandscape, allowing students to work andthink creatively.

Using a new approach to classroomteaching, I was able to provide students analternative to the testing atmosphere by

allowing them the opportunity to choosetheir projects and direction of study in art.High school students have many interestsand activities which link to art. In addition,art is an interdisciplinary subject, connectingto literature, history, and mathematics as wellas to one's culture and heritage. Theseconnections, which are the starting points inthe student-centered class, aid students inconceptualizing their ideas and visual artproduction. Projects can be interpreted andexecuted in numerous techniques, all ofwhich provide our students valid learningopportunities. Art and Ideas is an addition toour school curriculum, not a replacement tomore traditional, media-specific or disci-pline-centered art classes such as painting,ceramics, or drawing. Additional informa-tion on a student-centered class structure arediscussed in "Art, Reflection, and Creativity"{Andrews, 2005) and "Art and Ideas:Reaching Nontraditional Art Students"{Andrews, 2001).

July 2010 / ART EDUCATION 41

Allowing students tochoose projectsprovides them theopportunity toinvestigate new ideasand to engage inartmaking that haspersonal meaning.

Student-Centered and Discipline-Centered Art Instruction

Understanding the differences betweenstudent-centered and disciphne-centeredapproaches to art instruction requires aclarification of terms. O'Neill and McMahon(2005) provide several examples.

Harden and Crosby describe theteacher-centered learning strategies asthe focus on the teacher transmittingknowledge, from the expert to thenovice. In contrast, they describestudent-centered learning as focusing onthe students' learning and 'what studentsdo to achieve this, rather than what theteacher does.' This definition emphasizesthe concept of the student 'doing,' (p. 28)

In my student-centered art room, writing,reflecting, and goal setting are essential.These instructional activities offer evidenceof learning, allow for expression of eachstudent's thoughts, offer insights into projectchoices and serve as a communication toolbetween student and teacher. Excerpts frommy students' reflective papers, shared in thisarticle, demonstrate depth of thought,planning, self-assessment, and willingness tolearn from mistakes. Reflective papers arerequired each semester.

I have observed three main differences inmy student-centered classes as compared tomy discipline-centered classes. The firstdifference is a shift in focus from theassignment or project to the student. Thestudent, not the teacher, generates ideas. Thesecond is a subtle shift in the teacher-studentrelationship. Students now view me as ahelpful advisor, as opposed to "the boss."They realize that I am here to help guide theirpath, not dictate it. And third, I have noticeda shirt in the assessment process. Thesedifferences or shifts in focus work togetherand will be discussed in greater detail.

Students paint the finishing touches on theirpapier-mâché imaginary animal.

Focus on the StudentIn student-centered classes, the students

and their ideas are the focus of study. Theclass begins with them and their artisticpursuits. Students choose a medium that willbest express their artistic goals and vision.For example, a student may illustrate a poemin pastel and then create a painting inspiredby the poem. In contrast, a medium-specificart class such as drawing or ceramics doesnot allow the freedom to use a variety ofmedia. In a painting class, for example,painting is the focus and paints are the onlymedia.

The first day of class, I discuss the artisticopportunities and the media available in theart room. Students are free to explore two-and three-dimensional media. Following myintroduction, they record their ideas andartistic goals. Each student chooses a projector direction of art study and writes how s/hewill accomplish it. Thus, students begin thetransition from passive listener to activelearner. The student and I share ideas, discussstrategies, and map out an art plan appro-priate for each. This allows students to workat their pace and interest level. 1 haveobserved that when students take responsi-bility for their art projects, they becomevested and more engaged in their education,as expressed by one sophomore, "whengetting to choose your own project and nothaving the teacher tell you what you have todo, it gives you more motivation, and it isyour best work." This observation iscollaborated by other writers, such as Petri(2006), who writes that "Child-orientedlearning engages students deeply in thelearning process because the children takemore responsibility for their own learning"(p. 40).

In Art and Ideas, as in medium-specific ordiscipline-centered classes, students receiveinformation, guidance, and ideas from theteacher. We study art from multiple culturesand periods. For example, I introduceJapanese Art with a discussion of the history,religion, and culture of the area and theimpact these have on the visual arts. I readrelevant poetry and selected literature whichfosters a greater understanding of the arts. Idiscuss and demonstrate related artisticapproaches, techniques, and reasons forcreating art. We study Japanese brush

42 ART EDUCATION /July 2010

Student working on 3 wire sculpture.

technique, watercolor, calligraphy, and rakupottery. However, I do not assign projectsbased on the study, as students may elect toengage in a suggested activity or to continueworking on their current project.

Allowing students to choose projectsprovides them the opportunity to investigatenew ideas and to engage in artmaking thathas personal meaning. Students are free toexplore topics or techniques that truly excitethem, not simply complete assignments Idesignate. A senior shared:

Each art teacher has had a differentstyle of teaching, but for the mostpart, they gave me little freedom to trynew things. They all required all of thestudents to do the same things. / lovedart, but after four years of this style ofteaching, I got tired of art class andstopped taking art for two years.Having the freedom in Art and Ideas tochoose what / do, also gives me achance to think about what i want todo. The freedom helps me thinkcreatively, whereas in a normal artclass, i do as I am told. In a normal artclass, I wouldn't be looking forward tothe next semester, but in Art andideas. I am.

—Female Student (personalcommunication, 2007)

Two students painting a reproduction of Brooklyn Bridge \n our school's staitway. Many studentseiect to paint reproductions of masterpieces throughout our school as their project choice.Students choose to work on projects inside the art room, or outside the art room. Our high schoolnow has over 200 reproductions of masterpieces. Students love to be able to 'leave their mark' onthe school walls.

July 2010 / ART EDUCATION 43

Student throwing on the pottery wheel. An example ofa student working in mixed media.

"/ have found that wheni work on art that Í havechosen, i work harderon it because i'm notdoing it for a grade, Iam making it for me, "

Shift in the Teacher-StudentRelationships

In my experience in the discipline-centered classroom, students perceive me ascommander and judge. In their eyes, ascommander I give instructions and assignprojects with due dates. As judge, Ipronounce verdicts in the form of grades andtest scores. In my student-centered classes,however, they view me as a facilitator andpilot. They perceive me as a guide who helpsthem reach the artistic destination theychoose.

In our new classroom environment.Students share their ideas and projectconcepts with me daily. As I listen to mystudents, I offer suggestions and expertise,direct them to appropriate resources, andcultivate their problem-solving skills. Wework as a team so that each is able to achievehis/her artistic goal. A senior describes:

During past art classes, i have foundmyself resenting art ana the project Iwas instructed to do because it wasnot what I wanted to create—not myidea—it was the teacher's. I wanted tomake something of my own creation. Imade my name out of cardboard,

leaving one side of my name open,which was different from anything I hadever seen before. It intrigued mebecause it could become functional.This piece changed my view of art Ilike art that is functional and can servea purpose. This change was amazingbecause for the first time art had anactive part in my life. I actually wentout with the purpose of findingsomething to paint and transform. Thiswas essentially my art class.

—Female Student (personalcommunication, 2008)

In Art and Ideas, 1 demonstrate artistictechniques and develop concepts as mystudents are ready. For example, I may workwith a handful of students who haveexpressed an interest in the folding and dyingof fabric in fapanese shibori. After teachingthis group how to successfully execute thenew technique, I noticed they in turn assisttheir peers who want to learn tbe process. Bydoing tbis, I bave students wbo are knowl-edgeable in printmaking, ceramics, water-color, and otber artistic skills who becomemy peer assistants. Botb students, the novice

44 ART E D U C A T I O N / J u l y 2 0 1 0

and the peer assistant, thrive with this set-up.One novice learner wrote. "I learn betterfrom a friend because they're more on mylevel. I can understand them better—and I'dlisten to them more." The peer assistant inthis learning arrangement shared, "The thingI liked best about Architectural Origami wasthat I felt like a famous artist when peoplewould come back and ask me for help. Whatmade me feel even more important was that Iwas iike a teacher." This arrangementpromotes greater interaction among thestudent artists, brings more ideas into theclassroom, and creates an atmosphere ofenthusiasm and creativity. This practice alsoallows me to continually move from group togroup, overseeing all the creativity in theroom.

Shifl in the Assessment ProcessA third difference is a shift in assessment. I

have changed the focus on assessment from asummative focus in which final grades wereessential, to a more collaborative andongoing process. This relieves stress for somestudents, as a junior shared, "The reason Ididn't take art in my earlier years is because Iwas afraid of a bad grade for something Iworked really hard on and did my best on."Assessing is now an ongoing, almostseamless element of the classroom experi-ence. Based on past teaching experience,placing a grade on students' projects trainedsome students to do less. For some students,once they attained their desired grade, theystopped working and studying further. Fromtheir perspective, what was the point ofdoing more if they had already achieved theirdesired grade? Now, in place ofthat attitude,[ heard from a junior, "I have found thatwhen I work on art that I have chosen, Iwork harder on it because I'm not doing itfor a grade, I am making it for me."

I use a multi-faceted approach forassessment, looking at: student portfolios,research, anecdotal records (sketchbooks andjournals), presentations, art projects, studentself evaluations, and assessment of time ontask in class. Students receive an overallgrade that encompasses their engagement intheir chosen area of exploration. Assessingtime on task allows students to becomerisk-takers and to push themselves further.For examples, students attempting morecomplicated and challenging work will stillreceive an A for the day, even if they wereunsuccessful in the process that day. Studentsare more focused on engagement than on

fulfilling assignment requirements, duedates, and grades. Now, the quest forknowledge and discovery has becomeeveryone's goal, resulting in greater, in-depthwork. And what are the results of this type ofthinking? A junior describes:

Just knowing that my grade wouldn'tbe based on how good my art was, itmade me want to work more. To behonest, I am not the best artist. I likednot being judged. Letting kids createthe things they love Is the best way toteach. Yes, it is a risk, but theoutcome is worth it. Art and Ideasrealiy makes you want to explore otherthings and see what is out there. Thisway, students are not just skimmingthe surface. In fact, you are lettingthem dig deeper into their thoughtsand to discover the unknown.

—Male Student (personalcommunication, 2008)

Impact on StudentsThe student-centered approach has

impacted my students in two ways. First,because students' perception of the teacherhas shifted from commander to facilitator,the students' responses to their teacher havealso shifted. They now view me as one whoguides them in achieving their goals, visuallyexpressing their percepts, and constructingideas in new ways. Students, especiallyunenthusiastic or reluctant learners, begin toview the teacher as one who works with andfor them. In their eyes, their teacher hastransitioned from an adversary to anadvocate. This learning opportunity allowsstudents to showcase and develop theirstrengths and interests.

Second, students have taken ownership oftheir learning. They discovered how to learnfor themselves, not just to please a teacher orto pass a test. As a result, students' love forart has grown and enrollment in our school'sart program has doubled. After completing asemester in Art and Ideas class, some of ourstudents wrote:

You know that I hated this school. Butañer awhile in this art class, I reallystarted to enjoy things and I guess youcould say that I actually started tothink for once.

—Female Student (personalcommunication, 2007)

In Art and Ideas a student is free to ¡ethis mind search for that one thing thatwill make it open and spill the contentsof beauty on the medium of life. Greatthings can come from the mind of adreamer and that is what we areallowed to do in this class. Our mindsdream of wondrous projects and herewe create them.

—Male Student (personalcommunication, 2006)

in Art and Ideas you aren't held downby rules or limits. There is a sense offreedom and a sense of power. Whatthe mind can do when there are noboundaries is amazing. I like beingable to pick my own project because Ifind it more interesting. Pablo Picassoonce said, "Every child is an artist. Theproblem is how to remain an artistonce he grows up." This class allowsthe child to grow and ¡earn of art so hedoesn't lose that knowledge or desire.

—Female Student (personalcommunication, 2008)

/ adore Art and ideas because you canbe original and really express yourseff.Making your own curriculum is notdifficult when you have goals andinterests you want to work towards.Art and Ideas, in a sense, gives youthe ability to be the teacher and thestudent. That is what makes this classso unique and effective. If more youngpeople can be reached through thisclass, then we will all have a betterappreciation for the arts. Art is not justa class you take in school, it is a partof your everyday life.

—Female Student (personalcommunication, 2006)

July 2010 / ART EDUCATION 45

ConclusionA student-centered classroom places

students in the center of their own learning.It is an environment where previouslyreluctant learners transition into engagedlearners, taking on the role of helping shapetheir own curriculum.

A student-centered class differs from adiscipline-centered class in three ways. First,there is a shift in focus from the project orassignment to the student. Students, not theteacher, generate ideas for projects that areembedded with personal meaning. Whenstudents visually express their ideas, theybecome truly vested in artmaking. A seconddifference is a subtle shift in the teacher-student relationship, as it becomes apartnership. Because students choosedirections for artmaking and study/research,they view the teacher as one who guides, notdictates, their arti.stic path. The thirddistinction is a transition in assessment. Asummative focus in which final grades are

essential is replaced by a more collaborativeand ongoing process in which students'engagement in their chosen area of explora-tion is important.

My experience with student-centeredclasses produces active, engaged learnerswho bring fresh ideas into the art room.Students have multiple roles and responsi-bilities, working as learners, as teachers whoassist their peers, and as artists. In this vein,students create their best work, takeresponsibility for their learning, and discovera deeper appreciation for art and the creativeprocess.

Barbara Henriksen Andrews is an ArtEducator at New Palestine High School inNew Palestine, Indiana. E-mail: bandrews@newpal.kl2.in.us

REFERENCESAndrews, B. H. (2005). Art, reflection, and

creativity in the classroom. Art Education,58(4), 35-40.

Andrews, B. H. (2001). Art and ideas: Reachingnontraditiona! art students. Art Educatiori,5415). 33-36.

Berliner, D. C & Nichols, S.L. (2008). Testing thejoy out of learning. Educational Leadership,Association for Supervision and CurriculumDevelopment, 65. 14-18.

O'Neill, G., & McMahon, T. (2005). Student-centred learning: What does il mean forstudents and lecturers? Emerging Issues in thePractice of Urjiversity Learning ami Teaching.All Ireland Society for Higher Education,University College Dublin.

Petri, E. (2006). Teacher research in the sociocon-structivist art classroom. Art Education, 59(5)40-45.

AUTHOR'S NOTEAll excerpts from student writings are used withwritten permission.

Edited by Mary Jane Jacoband Michelle Grabner

The Studio Reader pulls back the curtainfrom che art world to reveal the real activities

behind artistic production. What does it meanto be in the studio.' What is the space of the

studio in the artist's practice? How dostudios help artists envision their agency anii,

beyond that, their own lives?Copublished with the Art Institute ot Chicago

PAPER $25.00The University of Chicago Press

www.press.uchicago.edu

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