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Working toward third space: visual literacy acquisition in art studio classrooms

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Working toward third space: visual literacy acquisition in art studio classrooms

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WORKING TOWARD THIRD SPACE:

VISUAL LITERACY ACQUISITION IN ART STUDIO CLASSROOMS

by

Michelle Mary Lee

A Dissertation Presented to the
FACULTY OF THE USC ROSSIER SCHOOL OF EDUCATION
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF EDUCATION

December 2010

Copyright 2010 Michelle Mary Lee




ii
DEDICATION

For my mother and in memory of my grandmother, thank you for everything.




iii

ACKNOWLEDGEMENTS

I would like to extend my deep appreciation to my dissertation chair and mentor,
Dr. Sylvia Rousseau, for her valuable guidance over the last four years. She has shared
with me her expertise in teaching and unwavering passion for a more just and humane
world. I would also like to thank my other committee members, Dr. Stuart Gothold, Dr.
Daniel Tiffany, and Dr. Gocke Gokalp, for their valuable input, great insight related to
my study, and support for arts education.




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TABLE OF CONTENTS

Dedication.....................................................................................................................ii
Acknowledgements .................................................................................................... iii
List of Figures ..............................................................................................................v
Abstract .......................................................................................................................vi
CHAPTER ONE: THE PROBLEM AND UNDERLYING FRAMEWORK ............1
CHAPTER TWO: REVIEW OF THE LITERATURE…………………………..….19
CHAPTER THREE: RESEARCH METHODOLOGY…………….…………….…40
Table: Theoretical Framework………………………………….…..…...…...41

CHAPTER FOUR: FINDINGS……………………………………….………….….49
CHAPTER FIVE: ANALYSIS AND DISCUSSION……………………….……....89
REFERENCES……………………………………………………………….……..102
APPENDICES
APPENDIX A: Rubric for Mediated Third Space Art Studio Classroom.... 108
APPENDIX B: Rubric for Artifacts: Artwork…….………………………..110
APPENDIX C: Rubric for Artifacts: Writing……………………..…….….112




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LIST OF FIGURES

Figure 4.1 Cross Contour Drawing ………………………………………...…………71

Figure 4.2 Positive Negative Painting ………………………………………………...73

Figure 4.3 “Truism” Typography Project……………………………………...……...75

Figure 4.4 Sgraffito Ceramic Vase……………………………………………………77

Figure 4.5 Altered Book…………….……………………………………….….….....78

Figure 4.6 Literary Masks in Plaster “The Tin Man”……..…………………………..80

Figure 4.7 AP Concentration 1 “Childhood Innocence and Reality”.………………...81

Figure 4.8 AP Concentration 2 “Childhood Innocence and Reality”.……….……......82

Figure 4.9 Surrealism Painting…………………………………..……….……….…...83

Figure 4.10 AP Concentration from “Youth and Disguise” Altered Photography……84

Figure 5.1 The Unity Through Diversity Quilt………………………………………..99


ABSTRACT

The visual art classroom can provide an important social and cognitive space for
expression that fosters the development of students’ visual literacy. Using Gutierrez’s
(1993) theoretical framework of the third space, Dewey’s (1943) theory of the mediated
classroom, and Freeman (2003) and Taylor’s (2008) concept of visual literacy, the
researcher analyzed the attributes of the mediated third space in the visual art studio
classroom and the work being produced. The analysis of the third space model has the
potential to transform other classroom models. Further, the art studio space in the
presence of an art teacher serves to develop students’ visual literacy that can foster
multicultural awareness.

vi



1
CHAPTER ONE

INTRODUCTION

The room is bustling with energy. The students walk around to gather supplies,
talk with others, look at classmates’ work, and listen to music while creating art. A few
students are grouped in pairs. Their work is set up side by side against the wall. The
students are engaged in mini-critiques of one another’s work. They look at classmates’
artwork, talk about the successes, reflect on their concerns, make comments about one
another’s art, and make suggestions on how to complete the art piece. The teacher
stands behind the students, listens to, confirms, and joins the students’ dialogue about
the art piece. Sometimes the teacher makes suggestions, but more often than not allows
for the students to become their own educators, of one another and themselves. This is
what may go on in a visual art studio classroom.
The visual arts classrooms can provide an important social and cognitive space
for expression that fosters the development of students’ visual literacy (Catterall, 2002).
Further, the art studio space in the presence of an art teacher, serves to develop
students’ visual literacy within a community of artists that can inspire a dedication to
excellence, cultural awareness, community development, and individual capital (Eisner,
1998). The construction of a community of artists is not a unidirectional trajectory, but
rather a multi-course path affected by students’ shared experiences, interactions and
expressions within multiple contexts, including their lives in everyday and academic
communities (McLaughlin & Heath, 1993).




2

The interaction and production found in an art studio classroom is parallel
to John Dewey’s (1943) concept of the mediated classroom and provides a basis for the
third space concept of Guiterrez, Baquedano-Lopez, Tejeda, et al. (1999). John Dewey
(1943) advocated that learning is based upon the quality of the learner’s experience,
which is supported and mediated from the members of the classroom. Guitierrez,
Baquedano-Lopez, Alvarez, et al. (1999) state that the third space provides the
“meditational context and tools necessary for future social and cognitive development.”
The mediated third space notions from Dewey (1943) and Guiterrez, Baquedano-Lopez,
Tejeda, et al. (1999) appropriates the funds of knowledge of groups of youth in an
environment where they participate in powerful and meaningful learning. The third
space is that place in the classroom that neither belongs exclusively to the teacher nor to
the students, but it is mediated so that they all own and share it.
Understanding this mediated environment is extended by Bronfenbrenner (1979)
who asserts that a stakeholder, including the teacher, integrated within a socio-cultural
ecosystem such as the art studio classroom organization, may increase his or her
effectiveness as an agent for social change and personal growth by the person’s
participation in the third space. Such purposeful assembling allows for a productive and
enriched exchange of ideas. The mediated classroom brings into focus the role of many
different sources or funds of knowledge (Moll, Velez-Ibanez, & Greenberg, 1989) such
as homes, peer groups, and other networks of relationships represented in students’ and
teachers’ ecosystems that have played a role in their development. The construction of
this place creates an acknowledgement of the roles these sources play in the lives of



3
students, and creates a process by which all of these influences can come together in the
interactive environment of the mediated classroom (McLaughlin & Heath, 1993). One
important effect of this process is the development of student literacy, as students are
encouraged to draw upon and share their vast repertoire of life experiences in the
process of making meaning from real life or life represented in text. In the case of art
classrooms, this process can be useful to students as they move beyond the visual arts
studio to other classrooms, and as they move from their home environment into peer
groups and into the larger community.
Visual Literacy in the Arts Studio Classroom.
The definition of visual literacy in this study extends beyond the traditional
definition of literacy, it takes into consideration that literacy acquisition is a complex
process (Moll, Velez-Ibanez, & Greenberg, 1989).
Visual Literacy
Visual literacy is the ability to recognize and understand ideas conveyed through
visible actions or images such as pictures (Merriam-Webster Dictionary, 2009). Please
note this is the common definition of visual literacy. Another definition that is more
aligned with this study is that visual literacy is the ability to interpret, negotiate, and
make meaning from information presented in the form of an image. Visual literacy is
based on the idea that pictures can be “read” and that meaning can be communicated
through a process of reading (Freire,1970). Reviewing the different components of arts,
literacy, and language, may prove instructive on how the third space model can promote
visual literacy acquisition within an art studio classroom. The definition of literacy,
cultivated in this third space, acknowledges the many different funds of knowledge such



4
as homes, peer groups, and other systems and network of relationships shape the
students’ ability to make meaning of oral and written texts, as well as the multiple
images they encounter in every day life and in the media.
In the context of the third space, it is important to examine the ways that these
funds or networks of relationships are appropriated to shape the ways of knowing
through what Gee (1999) calls discourses that students use or try to learn in schools. In
parallel to the third space, a socio-cultural context that is grounded in purposeful
assembling, (Bronfenbrenner, 1979) naturally flourishes around shared ideas, as
stakeholders dedicate their attention to a shared focus like the production of art. As art
immerses them in interpreting and creating images, within a mediated socio-cultural
environment, they have heightened opportunities to develop visual literacy.
The Visual Art Studio and Visual Literacy
The visual art studio classroom has the potential to help students construct
meaning from the competing discourses and sources of knowledge present where
students come together from different backgrounds from their peers or their teachers
(Moje, Collazo, Carrillo, & Marx, 2001). The rich discourses derived from diverse
classroom settings and active engagement with others provides new ideas and ways of
processing information, which in turn increases mental activity and learning (Langer,
1978). Coser (1975) joins Langer (1978) and suggests that when teachers encourage
students to tap into multiple perspectives from previous life experiences, they can create
a learning environment that fosters cognitive growth.
Romotsky and Romotsky (1975) and Raney (1999) allude to the visual art studio
classroom as a natural setting that can cultivate students’ cognitive development and



5
visual literacy. Through the model of an art studio classroom that examines various
stakeholders’ perspectives about the art form and the context, art education is embodied
as shared knowledge that can be cultivated within each learner.
The habits of mind and cognitive structures represented by the visual literacy
developed in the mediated visual art studio classroom can therefore strengthen the
student’s ability to participate in the sophisticated language and literacy required in
other disciplines, especially if teachers in other disciplines work at creating a third space
environment as well. Further these experiences in the mediated visual arts studio
classroom nurture the student’s perspectives on the world. They learn to embrace
conflict and differences as a normal. They come to perceive differences and
commonalities within their life experiences. These are major elements of visual literacy
(Gurin Dey, Hurtado, & Gurin, 2002).
Teachers who create environments akin to the third space found in the visual art
studio classroom can further facilitate acquisition of the language and literacy within
their disciplines to enable students to construct the disciplinary knowledge. By
implication, the same opportunities to learn found in the visual arts studio classroom are
often not present in the traditional classroom where “top-down” approaches are not
designed to meet the unique needs of all students. One could imply from these
researchers that the same opportunities to develop visual literacy has been historically
closely associated with arts education (Raney, 1999) and is largely nurtured by the
environment of social interaction, most frequently found in the art studio classroom.




6

Background
Currently, research into this topic is inconclusive. Heath (2001) points out that
there is a dire need for research that concentrates on the social interactions of peers and
the pedagogical implications of learning outside of the traditional classroom.
Achieving a Third Space
Romotsky and Romotsky (1975), Raney (1999), Heath (2001), and Guitierrez
(2008) all articulate the importance of the third space model as an ideal practice of a
shared humanity that manifests a profound obligation to others in which intercultural
exchange and difference is celebrated. According to the literature, a third space model
can be viewed within a context of an art studio classroom, a mediated classroom where
coordinated action and multiple levels and layers of knowledge from stakeholders
contribute to deep forms of learning, and in particular students’ to acquire visual
literacy.
These authors show that visual literacy is not transferred directly from one
source, i.e., teacher to student, but is filtered and mediated through multiple contexts
and codes. Heath’s (2001) concept of learning in and outside of the traditional
classroom and the emphasis on social interactions of peers parallel the concept of the
third space, a particular social environment of development in which students begin to
reconceive who they are and what they might be able to accomplish academically and
beyond (Guitierrez, 2008). The third space includes not only what students acquire in
formal learning environments such as schools, but also what students learn by
participating in a range of practices outside of school (Guitierrez, 2008). A mediated



7
third space art studio classroom encourages open exploration and connections to an
array of other knowledge. The mediated third space art studio classroom alludes to a
fertile context that can best serve a community of learners’ cultivation of visual literacy
and innovative thought (Burton, 2000).
Perceptions and Misperceptions about Art in Education

Despite the growing interest in the relationship between the arts and the new
knowledge that stems from the arts experience, there has been some resistance by
educators and critics to acknowledging art as a legitimate form of literacy (Thompson,
2006). In addition, few studies tap into the question of what the broader world of
literacy education can learn from arts education.
There is a long history of questioning the role of arts education. Much
discussion has been cast on how the arts can foster the expression of ideas, how they aid
cultural communication, and how they can promote a more humanistic curriculum.
Fowler (1996) joins Heath (2001), Romotsky and Romotsky (1975), and Raney (1999)
and states that the arts have enormous educational potential, presenting a multitude of
learning and teaching opportunities. More recently, Pink (2006) furthered the notion of
the importance of the arts by stating that, “the MFA is the new MBA.” Pink warns that
the status quo is moving from an Information Age to a Conceptual Age.
The Arts in a New Conceptual Age
In the art studio classroom, through the process of creating a whole by
constructing meaning out of multiple prior experiences, students will also begin to
develop their creative identities. Despite the growing interest in the relationship
between the arts and the new knowledge that stems from the arts experience, there have



8
been few studies that tap into the question of what the broader world of literacy
education can learn from art education (Burton, Horowitz, & Abeles, 1999; Heath &
Smyth, 1999).
Pink (2006) states that in this new Conceptual Age of left -brain skills (skills
that focus on logic, analysis, mathematics) are necessary, but are no longer sufficient.
Rather, this rapidly changing world requires more adept right brain functions:
understanding the context around the facts, the relationships between ideas, and the big
picture. Views of the arts akin to Pink establish the new role for the arts in preparing
students for the demands of the Conceptual Age.
According to Pink (2006), in-depth knowledge of a single area no longer
guarantees success. He states that, in the future, people must be able to see beyond the
individual puzzle pieces to envision the whole picture. Viewing visual images as puzzle
pieces is a way to help students develop stronger visual literacy. Allowing opportunities
for students to scrutinize how interdependent images can create a whole picture that
makes sense can increase student’ visual literacy acquisition. People must learn to see
connections between things that may seem diverse and separate, linking uncommon
elements to create meaning. This is the kind of action that takes place in arts studio
classroom that is mediated with characteristics akin to the third space. (Freedman, 2003)
Now more than ever, there is a widespread search for meaning and purpose in
the midst of diversity something that people can discover through the arts. Eisner (2009)
parallels Pink’s (2006) assertion of making connections to see or create the big picture
with the idea that everything interacts, that there is no content without form, and no
form without content. The arts provide individuals with a means of seeing connections



9
to create the big picture. These connections are created in the context of a learning
community. What helps to liberate students from their fear of creating their own
artwork, writing, or speaking about their artwork is encouragement from students’ peers
and seeing a large number of examples. The studio arts classroom allows for individuals
to practice Eisner’s (2009) notion of seeing or creating the big picture. The process is
enhanced by interaction and shared experiences.
Arts teaching within the traditional art classroom model is more akin to the
“factory as school” model; it does not intentionally structure itself to see its purpose;
nor does it allow for individuals to make connections or see or create the big picture. In
this traditional model, visual literacy is predetermined and viewed only through the lens
of the teacher. The acquisition of visual literacy is increased when it is practiced in the
cultural and social setting of the art studio classroom model (Catterall, 2002).
Other researchers have explored visual literacy within the context of the
learners’ lives (Burton, Horowitz, & Abeles, 1999; Heath & Roach, 1999), including
multiple experiences in different settings. In particular, art activists and art educators
have argued to state policymakers that the arts contribute to learning as students learn to
define who they are and see themselves as part of a larger culture. They also state that
the arts help students by offering opportunities to broaden perspectives on life
experiences, expand abilities to communicate, develop imagination, and evaluate and
make judgments. Not all classrooms serve this function and perhaps many other
classrooms can learn about the context in enabling students in making in the broader
sense of literacy. In the meantime, the visual art studio classrooms is considered to be a
place that provides valuable opportunities that other classrooms cannot.



10
Literacy Acquisition for Students
Arts, Literacy, and Language
Two interrelated perspectives are brought to bear in discussions of the arts and
literacy. One holds that “literacy” as a generic term describes the process used to
acquire and express meaning in symbolic form, and so is appropriately applied to visual
and performing art forms (Boyer, 1995; Eisner, 2002). In this sense, the generic term
“language” describes modes of communicating. A second perspective holds that
mastering the visual arts can advance students’ use of oral and written verbal forms
(Deasy, 2002). Studies and commentaries demonstrate that research is accumulating to
support this perspective: that the arts and oral and written language share interrelated
physical and symbolic processes (Deasy, 2002).
The visual arts offer opportunities to explore imagery and visualization as
modes of thought and expression. Deasy (2002) suggests that while visual arts are an
underrepresented area, he suggests that research could explore relationships among
visual arts and oral and written language. Critical Links also presents indications that
the arts, as intense forms of self- and group expression and realization, engage and
motivate students to learn and to master the forms of oral and written communication.
Visual Literacy Acquisition
Visual literacy acquisition can oftentimes contribute to students’ ability to make
meaning of life. Art educators and researchers such as Burton (1981, 2000); Eisner
(1997); Kindler (2000); Pariser (1997); Rahn (2002); and Wilson (1994), argue for a
wider discussion of students that include the influence of cultural and sociological
experiences of school and life outside-of-school as a lens through which to discuss the



11
students’ ability to acquire visual literacy through the numerous images that bombard
them. Others conducting research in art education (Gude, 2004; Hafeli, 2002; Marshall,
1999) highlight the unique capacities students possess as they enhance their visual
literacy through their art practices. Freedman (2003) offers a look at the pervasive
influence of visual images in the lives of adolescents and suggests that they need the
ability to examine in a critical manner the visuals with which they are bombarded. She
encourages us to look at visual culture and the visual world around us as a foundation
for fostering inquiry. These art educators and researchers are influential in helping to
identify the issues surrounding students and visual literacy.
A socio-cultural perspective that is contingent upon students’ lives, schooling,
and art making can also be framed with reference to theorists such as Bruner (1996);
Lesko (2001); and Moje (2000); (Gutierrez, 2002). The work of the researchers shows
how adolescents operate within varying contexts and how negotiations with family,
peers, and school influence their identity formation. Art educators and researchers
(Gude, 2004; Hafeli, 2002; Marshall, 1999) express how the process of making art
creates meaning of these varying contexts and highlights the unique capacities that
adolescents acquire or strengthen as they make meaning of the world through their art
practices.
Through the combination and appropriation of text and images, artists’ work can
also be a topic of visual literacy nurtured within the social context of the art studio
classroom. By looking closely at how artists’ make meaning in their work by delicately
appropriating images and texts from previously published material through multiple
layers of deconstruction, the construct of the third space art studio model offers a social



12
context for students to scrutinize and interpret how the images and text they see
construct meaning.
Arts and Academic Performance and Engagement
Catterall (1999) shows that studies have found a connection between the role of
arts in adolescents’ visual literacy and academic performance. Likewise, adolescents
also use art as one of the means through which to reengage with their own prior
experiences. By tapping into students’ prior knowledge with visual literacy, students
can enhance their academic performance. Burton (2000) states that youth who exist in a
larger cultural environment draw upon it in the formation of their own cultural beliefs,
value systems, and developing artistic engagement and creative output. Burton (2000)
claims that arts allow young people the chance to make sense of their feelings, thoughts,
experiences, and environment and states:
Youngsters’ minds consist of inextricable mixtures of personal and cultural
dimensions, and engagement in the arts offers them the means to construct the
narratives they need to make a complex world meaningful to them (p. 344).

In addition to contributing to adolescents’ identity formation, Catterall (1999), in
the analysis conducted by the Imagination Project at UCLA, found that involvement in
the arts is linked to academic success. The notion of third space, which provides the
meditational context and tools necessary for future social and cognitive development
enables adolescents to make meaning of their world through acquiring visual literacy.
The third space theory reconceptualizes the first and second spaces of
human interaction (Moje et al., 2004). First and second spaces are binary, often
competing, categories where people interact physically and socially. Binaries in literacy




13
are the first and second spaces of everyday versus academic knowledge. While the order
of it is not of importance for this study, the first space will be everyday knowledge and
the second space will be academic knowledge. Third spaces are the in-between, hybrid,
spaces where the seemingly oppositional first and second spaces work together to
generate new third space knowledge, discourses, and literacy forms. Also important is
how this third space model allows for students to engage in artistic activities on the
development of students’ identities as creators and contributors to society. With artistic
productions, students, even the young, can draw upon a source of knowledge, and
within a third space, various funds of knowledge, that can provide richer and more
personal meaning than the knowledge required. This means that within a third space
model, reported to be found in an art studio classroom, students’ visual literacy and
their authentic products are valued as contributions to society rather than simply as
completed assignments in schools.
Statement of the Problem
As a result of heightened immigration and some efforts toward desegregation
following the Brown court case, classrooms are often made up of students from diverse
cultural, ethnic, and economic backgrounds. This diversity has the potential for
enriching students’ perspectives and their ability to construct knowledge. However, the
culture of the traditional classroom often does not allow students to share these
backgrounds with one another or the teacher as an important means for constructing
meaning and acquiring skills. The traditional classroom typically does not create
mediated space where the different kinds of knowledge students bring are viewed as
assets and bases for constructing new knowledge and skills. Classrooms need to be



14
places where participation in a diverse community of learners engages students in the
cognitive processes needed to make meaning and read the world, as well as be a
conscious contributor to the world.
The arts studio classroom provides a possible model for this kind of learning
community; however, the value of the arts continues to be hotly contested, especially in
an era of reduced budgets and resources. Few see the arts, and the studio arts classroom
in particular, as a powerful source for students’ social and cognitive development; their
value is constantly being questioned. Little research exists on the various funds of
knowledge within an art studio classroom setting that are connected to the enhancement
of student’s cognitive and social development that can result in heightened visual
literacy (Guiterrez, Baquedano-Lopez, Tejeda, et al., 1999). There is little attention
being paid to the impact that reading and interpreting images and other representational
modes beyond traditional print are having on youth and society at large (Alvermann,
2008).
Purpose of the Study
The purpose of this study is to identify the different funds of knowledge and
institutional knowledge that shape the student’s visual literacy in the art studio
classrooms when the culture of the third space is present. Research into the areas of
student artistic development, interpersonal relationships, collaborative work,
contextualized considerations, and communication through non-traditional and
traditional practices and media can bring about new thinking about the importance of a
mediated third space within the classroom to promote the kind of higher order thinking
that is nurtured when students and teachers share one another’s past experiences and



15
cultural funds of knowledge as they focus on a common endeavor. This study is
intended to explore these possibilities within the visual arts studio classroom and the
implications of this kind of learning environment for other classrooms as well. In the
midst of much controversy about the importance of the arts that tends to become more
intense in times of economic crisis, this study can help educators and the public to adopt
a larger view of the role of the arts in students’ education.
Research Questions
1. In what ways does the studio art classroom display attributes of a mediated third
space?
2. In what ways does the work produced by the students in the visual art studio
classroom display evidence of visual literacy?
Significance of the Study
This study can help clarify the ways in which the arts can be an integral part of
the school’s curriculum and the learning experiences of students through creating the
third-space model that can be found in the art studio classroom. A range of educational
stakeholders, not only art educators, will benefit from the findings of this study. The
study can also help educators make stronger connections between learning experiences
in the school setting and preparing students for the changing world of work that requires
the ability of employees to work with others and learn from others in diverse settings.
In so doing educators can contribute to a more creative and thoughtful work force or the
21st century.
The world is calling for analytical and creative skills that go beyond mere
technical ability. The next generation of workers will need the ability to embrace



16
diversity as a basis for unity. The new world of work is also calling for creative
thinkers who are able to envision new creations for a highly competitive international
marketplace. The visual arts studio classroom in which students are constantly called
upon to represent a coordinated and unified theme in new creations born from multiple
images and multiple perspectives interacting with one another in a common space is a
cause for re-thinking the role of the arts in education. The study can assist students who
do not connect with the traditional classroom setting in finding identities as thinkers and
scholars in the socio-cultural contexts similar to the visual arts studio classroom where
the multiple funds of knowledge that students construct outside and inside of school are
accepted and respected.
Limitations

This study will be conducted during a limited time frame. It will be confined to
schools in Los Angeles, an independent parochial high school. The study will focus on
the students who have taken courses or are taking courses in the visual arts within the
school. The demographics of the school population, especially the types of students
involved may be factors in the capacity of extrapolation of the qualitative data gathered
in this study.
Definition of Terms
Art Studio Classroom: an organization in which everyone is actively engaged in the
process of learning and in which the products are natural and individual outcomes of the
process.
Atelier: Gandini, Hill, Cadwell & Schwall (2005) state, “it is a symphony of individual
parts balanced to create a whole that is diverse and stimulating but also amiable and



17
harmonious, a multi-sensorial place that invites interactions by engaging the minds,
hands, imagination, and senses…an environment which offers [students] high-quality
materials, tools and techniques that translate into numerous possibilities for experiences
(p.20).
Funds of knowledge: homes, peer groups, and other networks of relationships that shape
the oral and written (understood and created) texts from which young people make
meaning of and produce as they move from classroom to classroom, from home to peer
group, to school, or into community. (Moll, Velez-Ibanez, & Greenberg, 1989)
Imagery: the product of image-makers; the art of making images; pictures produced by
an imaging system; mental images; especially: the products of imagination (Merriam-
Webster Dictionary, 2009). Please note these are a few common definitions of imagery.
Studio: “The working place of a painter, sculptor, or photographer” (Merriam- Webster
Dictionary, 2009). Please note this is the common definition of studio.
Studio as Classroom: This learning space can be defined in many ways. For the purpose
of this study a definition of study as classroom has been constructed from the concept of
atelier.
Third Space: A meditational context and tools necessary for future social and cognitive
development of in-between, or hybrid, spaces where the seemingly oppositional first
and second spaces work together to generate new third space knowledges, discourses,
and literacy forms
Visual literacy: the ability to recognize and understand ideas conveyed through visible
actions or images (as pictures). (Merriam-Webster Dictionary, 2009). Please note this is
the common definition of visual literacy. A second definition of visual literacy is the



18
ability to interpret, negotiate, and make meaning from information presented in the form
of an image. Visual literacy is based on the idea that pictures can be “read” and that
meaning can be communicated through a process of reading.

Organization of the Study

This dissertation is divided into five chapters. Chapter I introduced the
problem of artistic student development and outlined the theoretical frameworks for
the study. Through a review of the literature, Chapter II, will present various
perspectives on the context of arts in contemporary America, the art studio classroom
models and the contribution of the art studio classroom to general student’s visual
literacy acquisition, followed by literature of the research and theory on learning and
visual literacy, and formation of adolescents’ creative identity. Chapter III will describe
the Methodology and the case study approach used to investigate the various spaces of
the students using videotaped and in-depth interviews. This chapter will give the
detailed information about the context of the study and the participants. The data
collection strategies and the methods will also be discussed and used to analyze the
data. Chapter IV will outline the findings, information gathered, and the analyses
conducted, as guided by the conceptual framework of the third space model of the
study. This chapter will also include a discussion on the questions and issues raised in
the literature review, which is reexamined in the light of the findings in the chapter.
Chapter V, Conclusions and Implications, discusses the outcomes of the study,
summarizes recommendations and educational implications, and gives directions for
further research.




19
CHAPTER TWO

REVIEW OF THE LITERATURE

This chapter reviews the research literature on visual art studio classrooms, on
the use of third-space characteristics in the classroom, and on visual literacy acquisition.
It focuses on how the visual art studio classroom, which is different in many ways from
the traditional classroom, can provide a diverse social and cognitive environment. This
environment called the third space holds possibilities as a place where students can
acquire visual literacy Guitierrez (2008).
In the context of this chapter, the role of arts in education in contemporary
America will also be discussed. First, the nature of visual art studio classrooms will be
explained to clarify what makes art studio classrooms different from traditional
classrooms. Second, the literature review will point out how a visual art studio
classroom provides a social and cognitive environment will be presented. Part III will
focus on the features of the learners’ visual literacy acquisition fostered by the mediated
visual art studio classroom.
Market Implications for a Weakened Arts Role in Education
Corporate America has proclaimed the need for a creative workforce, yet arts
education is not connected to this goal. The value of the arts continues to be hotly
contested, especially in an era of reduced budgets and resources. America has
developed tunnel vision when it comes to the economical effectiveness of the arts.
America’s competitors, Japan and Germany do not place similar limits on the role of the
arts education. In a student’s secondary school education, Japan requires five credit
hours of arts education and Germany seven to nine, while on average nationwide in the



20
United States requires zero to two hours (Fowler, 1996, p. 19).
While U.S. workers face intense competition from other countries, in order for
the U.S. institutions to support competition in the global economy, the skill sets they
offer must exceed basic technical knowledge and include proficiency in relation to other
skill sets like flexibility, and problem solving (Kennedy, 2006), as well as creativity.
Although the market implications offer a practical view of the arts, at the enriching
potential of the arts must be considered. Therefore, major focus of this literature review
will be an exploration of the enriching potential of the arts to enhance the cognitive
development of students within the context of an art studio classroom. Including the
acquisition of visual literacy.
Visual Literacy
The arts in the appropriate environment can encourage people to work together
and solve problems while enhancing their creativity and cognitive development, these
are key elements of visual literacy. A common definition of visual literacy is the ability
to interpret, negotiate, and make meaning from information presented in the form of an
image.
Eisner (2009) highlights eight detailed ideas found in artistic practice that are
relevant to creativity and cognitive development leading to visual literacy. These ideas
include the notion that art brings awareness to the interconnectedness of form and
content. Eisner stresses the importance of taking the time to closely examine visual
material and points out that the limits of language are not the limits of cognition. He
gives importance to the somatic experience, and emphasizes that open-ended tasks
permit the exercise of imagination, which then leads to invention. Deasy’s (2002)



21
research also identifies a range of cognitive capacities nurtured by learning in the arts,
including focused perception, elaboration, problem solving, and elements of creative
thinking including fluency, originality, and abstract thought. These encounters provide
students with expressive and intellectual skills that have an effect on the development of
a creative brain. In addition, these experiences, which are requisites for visual literacy,
lead to the formation of enduring attitudes, values, and satisfaction in school and in
work (California State Department of Education, 1990).
The Social Context for Cognitive Development and Visual Literacy
While Eisner (2009) and Deasy (2002) show how the arts can contribute to
students’ cognitive development, Burton (2000) describes how a mediated art studio
classroom has the potential for enriching students’ perspectives and their ability to
construct knowledge. Gutierrez (2009) makes a similar point about mediated
classrooms in general.
The current research in art education acknowledges the premise that learners
benefit from opportunities to experience enriched contexts, which may include a variety
of cultural beliefs, value systems, ensuing artistic engagement, and creative outputs,
when forming their own visual literacy (Burton, 2000). In parallel to Burton’s (2000)
attention to enriched contexts, Gutierrez’s (2009) also places emphasis on the role of the
sociocultural nature of learning. She recommends a “rich interactional matrix,
constituted by a range of language [that] embodies practices, including particular
grammar practices that promote third spaces and mediate the achievement of
coordinated action around deep forms of learning” (p. 149). Eisner (2009) suggests that
learning experiences in social contexts akin to those provided in the studio arts setting



22
provide opportunities for students to practice and further develop cognitive skills
including abstract thinking, critical thinking, and reflection. In addition, the research
shows that learning in the arts often demands and provides vehicles for alternative ways
of examining and communicating important ideas, information, feelings, and
understanding (Deasy, 2002).
School as Factory

Many educational policy makers do not see the arts, and the studio art classroom
in particular, as a powerful source for students’ social and cognitive development; the
value of the arts is constantly being questioned. Among the models that stand in
contrast to the art studio classroom is a more traditional classroom that follows the
model of the School as Factory.
As there are alternative models to the art studio classroom, it will be useful to
discuss the conceptual metaphor of School as Factory. The metaphor of school as
factory is based on a reduced emphasis on the quality of human relationships. The
factory model tends to characterize human relationships by “dominance/submission,
superordination/ subordination, and passivity” (Lieberman & Miller, 1990). The school
as factory takes on a one-size-fits-all format (Borko, 2004; Randi & Zeichner, 2004).
There are little accommodations for any individual differences.
Traditional classrooms are dominated by authority talk and depend heavily on
textbooks for the structure of the class. The basis for this model was the notion of a
fixed world of knowledge in which students were expected to regurgitate the accepted
explanation or methodology given by the teachers (Borko, 2004).
Society’s needs for a different kind of worker changed with the shift from



23
production to service accompanied by the change in the face of the nation’s work force.
Seeking to adapt to the changing world may have helped in the transitional stages for
those schools moving away from the School as Factory model.
Traditional Art Classrooms

Typically, a traditional art classroom follows a general model intended to meet
the needs of a district, state or federal mandate, and is not designed to address the
unique needs of students (Hetland, Winner, Veenema, & Sheridan, 2007). The
traditional art classroom works to shape students who then create predictable
regimented artwork. In these classrooms, teachers determine what makes “good”
artwork. Art classes are driven by teacher-talk adherence to antiquated textbooks, and
rigid descriptions of what makes good art.
In these traditional art classrooms, the individual needs of each student are often
dismissed and quickly and methodically traded for a one-size-fits-all format (Zeichner,
2004) that at best skims the surface of deep learning. To find a model that is more
adaptive to individual creative needs it is helpful to go back in time to revisit an older
model of an art study classroom of an atelier.
Atelier

Gandini, Hill, Cadwell, and Schwall (2005) state that the atelier, “is a symphony
of individual parts balanced to create a whole that is diverse and stimulating but also
amiable and harmonious, a multi-sensorial place that invites interactions by engaging
the minds, hands, imagination, and senses…an environment which offers [students]
high-quality materials, tools and techniques that translate into numerous possibilities for
experiences (p.20). Closely aligned with the atelier, the art studio classroom is



24
fundamentally different from the traditional art classroom that matches the description
of the School as Factory model.
The Visual Arts Studio Classroom

The art studio classroom for this study will be defined as an organization in
which everyone is actively engaged in the process of learning and in which the products
are natural and individual outcomes of the process. Hetland, Winner, Veenema, and
Sheridan (2007 provide the notion of studio in a school, which similarly addresses
creating, composing, and building understanding of the world and the place of the artist
in that world.
While the physical setting, materials, and even some lessons of the visual arts
studio classroom may appear similar to a traditional art classroom, the art studio
classroom is marked by shared experiences and extended opportunities to make
meaning and read the world. The social factor, in many ways, governs the pace of
learning, providing a context that extends beyond the experience of a single classroom.
Elements of Art Studio Classrooms

Hetland, Winner, Veenema, and Sheridan (2007) have documented three
functions of studio classrooms that may distinguish it from more traditional art
classrooms: 1. creating a studio culture; 2. focusing thinking with studio assignments; 3.
teaching through artworks. First, Hetland, Winner, Veenema, and Sheridan (2007)
describe creating a studio culture as having a different “feel” from classrooms in many
other disciplines. In these researchers’ observations, the art studio classroom space is set
up to promote workflow. There is sometimes music playing to create a mood and to
sustain and/or modulate students’ energy, and students are usually absorbed by handling



25
(often messy, complex, and even dangerous materials and tools.
Hetland, Winner, Veenema, and Sheridan (2007) state the teachers observed in
studio art classrooms were attentive to the range of variables (i.e. space, time, language,
music, and routines) that contributed to creating a studio culture to support the learning
they intended. Second, Hetland, Winner, Veenema, and Sheridan (2007) show that
focused thinking with studio assignments is at the core of developing students’ “habits
of mind” which include cognitive and social skills. Third, teaching through artworks
encompasses the voices of students, samples of various art projects to show findings,
and ways to incorporate critique sessions to promote public, shared reflection and
ongoing formative assessment. Hetland, Winner, Veenema, and Sheridan (2007) also
note that the benefits of these three features of an art studio classroom are imparted to
students when the arts are taught well. Even though some research does not provide
such explicit elements of an art studio classroom, there are studies examining the
difference between the role of the young person in arts learning environments and those
in non-arts learning environment. The main difference between the two is that the arts
learning environments are naturally student centered (Heath and Smyth, 1999;
Stevenson, 2004; Wootton, 2004). In addition, Stevenson (2004) speaks to the studio
arts classroom in a manner that differs from three clear elements provided by Hetland,
Winner, Veenema, and Sheridan (2007). He states that an arts learning experience is
nuanced. While individual students can be taught the same artistic skills, different
works of art will be created, due not only to varying levels of mastery of skill, but rather
because of the unique sets of experiences and ideas students bring to bear in the artistic
process. In traditional classrooms, little opportunity exists for the students’ range of



26
experiences to be shared and discussed as ways to mediate the space shared by the
participants.
The notion of the zone of proximal development (Vygotsky, 1978) is useful for
understanding the elements of the art studio classroom, as well as the third space, which
will be discussed in more detail. The cognitive level at which the learner, participates in
an activity, without the assistance of a more competent other, falls within the zone of
proximal development (ZPD), which signifies the range between the level of difficulty
at which the learner can perform alone and at which the learner can perform with
assistance (Vygotsky, 1978). The more competent other pushes development forward
through “guided participation” in socioculturally designed activity (Rogoff, 2003).
Vygotsky (1987) states that learning always occurs on two planes: first, the social plane
(interpsychological) and second, the individual plane (intrapsychological).
As mental functions pass from the social to the individual planes, the learner
appropriates the practices of multiple experts. The sociocultural theory also has element
of behaviorist theories of learning. However, the behavioral theory is used differently
in the school as factory and traditional art classroom in contrast to the art studio
classroom. In the school as factory and traditional art classroom models, students are to
be shaped, molded, and modified behaviorally into useful products, while in the art
studio classroom the social context and the various funds of knowledge are shaped
toward the social and cognitive development of the student in ways that contribute to
the student’s visual literacy and other cognitive growth. Similar to Vygotsky’s notion of
ZPD, Wooton (2004) further emphasizes this notion of how a mediated learning space
can promote student empowerment through visual literacy.



27
Wootton (2004) further emphasizes the idea of art studio classroom as being a
shared space with the students purposefully engaged at the center of learning, with the
ability to create something new, which even the teacher cannot create alone. In this
setting the teacher takes on the role as a facilitator. The concepts found in the mediated
classroom, will allow for these three elements with multiple components to become
better understood. The mediated classroom, which will be discussed in detail in the
following section, provides a model of a more enhanced student-centered community
which provides a context for learning about and making art and constructing meaning
from images and symbols brought to the classroom from the multiple experiences and
backgrounds of the students.
The Multicultural Aspects of the Mediated Classroom
Encouraging and incorporating all students’ backgrounds and knowledge to be
accepted and shared is similar to the notions of multicultural pedagogy. As defined by
Christine Bennett, multicultural education is teaching and learning based on democratic
values that foster cultural pluralism and educational equity which serve to mediate the
learning environment in the classroom (retrieved from http://www.teachernet.com,
April 15, 2010). Another definition describes multicultural education as “a
transformative movement that produces critical thinking and socially active members of
society. It is not simply a change of curriculum or the addition of an activity. It is a
movement that calls for new attitudes, new approaches, and a new dedication to laying
the foundation for the transformation of society and the transformation of education
(retrieved from http://boe.linc.k12.wv.us/education/dept).
Elements of multicultural education found in the studio art classroom, enable



28
students to experience, the richness and diversity of one another’s experiences and
thereby deepen their appreciation for the world’s art. For instance, the attribute of
equity pedagogy that Bennett includes in her construct of multicultural education
emphasizes cultural socialization as an enhancement to the processes of teaching and
learning. The attributes of the art studio classroom provide a context for this kind of
socialization that can result in a mediated third space.
The Mediated Classroom
The research has examined the art studio classroom as a social space that is
composed of myriad components that parallel the concept of the mediated classroom
described by John Dewey (1943). Dewey (1943) states that, from their earliest days,
children are curious, questioning, exploring organisms. When they start school, they are
not mindless, unorganized characters without awe, but wonder about themselves, others,
and the world. They are already budding scientists and artists. Similar to Wootton’s
(2004) assertions of the student as an active and meaningful creator, Dewey (1943)
makes an acknowledgement of the student as an immediate, valuable, and participating
contributor to society, including the small society of the classroom.
Dewey (1943) further states that the classroom should be a place where learners’
constructive characteristics are recognized and respected. Dewey’s view of the
mediated third space art studio classroom provides the space where multicultural and
equity pedagogy can be practiced to enhance students’ social and cognitive
development, which in the context of producing art, can foster in visual literacy. The
concept of the mediated classroom can be better explained through Dewey’s (1943)
notion of experiential education, which is the process that occurs between a teacher and



29
student that infuses direct experience with the learning environment and content. This
visual art studio classroom meets this description of a mediated space. Likewise, a
mediated classroom is where coordinated action and multiple levels and layers of
knowledge from stakeholders contribute to deep forms of learning. Hirsch (1992)
provides a centrist perspective that aligns with Dewey’s idea of the learner as a
contributor to society and a multicultural world. From a centrist perspective, one does
not start with a predetermined curriculum that ignores student’s individuality and home
culture that requires the student to set aside what is in his or her mind in order to
conform or, to learn what grown-ups think he or she needs. If the instructor does not
start with where students are, the instructor is beginning the process of extinguishing
motivation for and interest in what society needs its youth and students to learn.
Vygotsky provides another similar concept of the mediated third space. The
Vygotskian perspective states that the self is constructed from experiences within the
cultural context. Through students’ interaction in a mediated classroom, students
contribute to one another’s knowledge and skills. The mediated classroom allows for all
stakeholders in the classroom to be leaders likely to encourage the contributions of the
collective human capital available and enhance the growth of students’ improvement
efforts.
The Visual Arts Studio as a Mediated Classroom
Hetland, Winner, Veenema, and Sherdian’s (2007) three elements of the visual
arts studio classroom align with Dewey’s (1943) notion of the mediated classroom as a
place where constructive characteristics are recognized and respected: 1.creating a
studio culture; 2. focusing thinking with studio assignments; 3. teaching through



30
artworks that are practiced and activated in an art environment through the classroom
culture, curriculum, and teaching practice. Dewey (1943) asserts that children have
assets for productive learning. They have strengths and the instructor can build on them.
Catterall (2002) describes effects of arts learning in a mediated classroom that
strongly correlates with Gutman’s (1987) list and Dewey’s analyses of the fundamentals
in democracy. Catterall’s (2002) studies suggest that the intellectual and social
processes engaged in arts learning promote empathy, tolerance, and the inclination to
seek solutions to problems by invoking multiple perspectives. In connection with
Catterall’s findings of what a mediated classroom can promote, Eisner shows that
participation within a mediated art classroom is produced with a tension between
several elements.
Eisner (1998) and other researchers make the assertion that participation in the
arts involves a productive tension between an imaginative and bold openness to new
possibilities and a commitment to the discipline and rigor of the form’s technical
demands. This tension that Eisner speaks about will be explored in the concept of the
third space. In the next section, the mediated art studio classroom will be discussed in
the context of a third space model that can provide a context to promote students’ visual
literacy and creative identity formation.

Third Space
The concept of the third space had its beginnings in “closely observing the



31
differences in involvement, participation, and learning of students in classroom
instructional activity and noting multiple social spaces with distinctive participation
structures and power relations” (Guiterrez, 1993, 1994, 1995, 2008, p. 152). In the
earlier notions of the third space, Guitierrez proposed the idea where teacher and
student scripts— the formal and informal, the official and unofficial spaces of the
learning environment—intersect, creating the potential for authentic interaction and a
shift in the social organization of learning and what counts as knowledge (Guitierrez et
al., 1995). The third space was analyzed through a “diachronic view of talk and
interaction in classroom activity— to a view of classrooms as having multiple, layered
and conflicting activity systems with various interconnections.” Guitierrez (1993) states
that third space emerged form the borderlines of those activities, referred to as the
“underlife” of classrooms, and the remarkable sense-making character of those
seemingly unrelated processes, called the “script” and “counterscript. By looking at the
multiple social spaces in the classroom, Guitierrez (2008) argues for the “importance of
accounting for the interacting activity systems of people’s everyday lives.”
Previously, Guiterrez, Baquedano-Lopez, Tejeda, et al. (1999) offered an
educationally and linguistically explicit perspective of the third space (p. 5). The
authors make the distinction that the hybrid nature of the different funds of knowledge
that are provided through different backgrounds of the students and teacher can help
students develop stronger understandings of the natural world, both in classrooms and
in their everyday lives. Guitierrez, Baquedano-Lopez, Alvarez, et al. (1999) state that
the third space provides the “meditational context and tools necessary for future social
and cognitive development” (p. 5).



32
While the spaces can be viewed as interchangeable, the first spaces are the
informal and unofficial spaces of the learning environment, and the second space is the
formal and official spaces, with the third space being the collective space of both social
spaces. Moje et al. (2004) implies that in the third space, “new forms of participation
and activity change both the individual and the practice as well as their mutual relation”
(p. 152).
The Third Space and Literacy
In an alternative view Moje et al. (2004) views the third space construct of

first and second spaces as binary, often competing, categories where people interact
physically and socially. Binaries in literacy are the first and second spaces of everyday
versus academic knowledge. Third spaces are the in-between, or hybrid, spaces where
the seemingly oppositional first and second spaces work together to generate new third
space knowledges, discourses, and literacy forms. Moje et al (2004) views of the third
space as a “celebration of local literacies of students from nondominant groups; more
than what students can do with assistance or scaffolding; more than historical accounts
of individual discrete events, literacy practices, and social interaction within” (p. 152).
In contrast, Guitierrez (2008) most currently defines the third space as a
“transformative space where the potential for an expanded form of learning and
development of new knowledge are heightened” (p. 152). Likewise, the mediated art
studio classroom in a multicultural environment constructed in a concept of equity
pedagogy that can create a transformative third space where students learn to make
meaning from multiple narratives and art forms representing what can otherwise be
perceived as fragmented and dissonant world. This ability to make whole and coherent



33
meaning from fragments or diversity is a building block for the development of visual
literacy. The third space is related to Dewey’s notion of the mediated classroom in that
schools are social contexts where students can be viewed as immediate participants and
producers of their own identities in a democracy. These are the experiences that can
lead to enhanced visual literacy and creative identity.
Visual Literacy

A common definition of visual literacy is the ability to interpret, negotiate, and
make meaning from information presented in the form of an image. Visual literacy is
based on the idea that pictures can be “read” and that meaning can be constructed
through a process of reading. More specifically, Freedman (2003) offers a definition of
visual literacy as the pervasive influence of visual images in the lives of society, and
specifically learners, and suggests that these constituents need to examine in a critical
manner the visuals that bombard them daily.
Visual literacy includes elements of text literacy. Both text and visual literacy
must be read, understood, and then applied to the real world. Visual literacy includes
elements of text literacy in various forms, whether it is learning to read symbols when
images and text are combined, when text become artistic symbols, or when artwork
includes dialogue, to name a few examples (Taylor, 2008).
Images and text are becoming more similar in the new digital world. For the
purposes of this study, students’ visual literacy development will be viewed through the
mediated third space of an art studio classroom. Freire’s concept of literacy and social
dreaming is instructive in that he sees literacy as socially constructed and socially
defined.



34
Freire’s (1998) notion is as follows: “Literacy means learning to read the word,
and to read the world” (p. 245). This notion of literacy reflects the importance of
achievement that goes beyond the formalized notions of literacy of reading and writing
found within traditional classroom settings. In other words, the student is seen as
“actively participating in the world, as critic and as creator” (Freire, 1970). Social
dreaming, a concept articulated by Freire’s (1970), serves as a conceptual metaphor for
visual literacy acquisition in a mediated third space classroom. Freire (1970) defined
social dreaming as a shared vision of a more just world now and in the future. Espinoza
(2004) uses this metaphor in a classroom setting in three parts: to facilitate
understanding in discussions, to facilitate organization of everyday concepts, and to
help students redefine both the “world as it is today” and the “world as it could be”
(Freire, 1970, p. 245).
The connection between the studio art classroom as a mediated classroom with
the attributes of a third space is found in the building of a collective focus and
generating new forms of joint activity. In the common focus of making art) within a
mediated space, students are aided in making meaning of the past and present images
that bombard students everyday as well as the images that present themselves in the
classroom. These all extend students’ visual literacy and help cultivate students’
identities as creators.
Images, Symbols, and Text
Knight (2004) gives examples of the fluctuating definitions of imagery and
states that while imagery could be narrowly determined in more anticipated or
traditional sources as in the pictures one might see in art galleries, on billboards, in



35
picture books etc, imagery, in contemporary culture, imagery can be represented by
about absolutely everything.
Contemporary culture “now identifies imagery as ranging from anything static,
as mentioned, to the multimedia images found in television, internet, and DVD
products, computer games, mobile phone interfaces, drama productions, street art, etc”
(Knight, 2004, p. 2). Knight (2004) highlights that rather than existing in separation
these images cross into each other’s domains. They provide powerful insights into the
cultural messages, aesthetic power, and contemporary relevance of visual images to
life’s experiences (Duncum, 2001; Freedman, 2000; Smith-Shank, 2004). Text can also
be viewed as an extended definition of imagery.
Text has become an inclusive term whose meanings and associations include
varied objects, actions, scenarios and marks/ words/ symbols that are subject to reading
and interpretation (Taylor, 2008). The theories of interpreting as an act of reading and
the idea of a work of art (among other things) as text are attributed to French
theorist/philosopher/semiotician Roland Barthes. In Barthes’ words, “No doubt that is
what reading is: rewriting the text of the work within the text of our lives” (Barthes,
1977, P. 101). This quote captures insight into the path of knowing—thinking
reflectively and connectively while engaging (reading and interpreting) with something
(a text). The reading and interpreting of texts (or in this case parallel to images) is
particularly important to understand visual literacy acquisition. The above mentioned
components of visual literacy with regards to making meaning of images and texts is the
kind of knowledge that can be co-constructed among the teacher and students within the
mediated third space of the art studio classroom where each participant’s contribution



36
expands the collective knowledge in the classroom for making meaning of the images
produced in the classroom as representative of the diverse world in which students live.
In this environment students, as well as the teacher, are supporting one another in both
creating and interpreting images. This is the basis for the development of visual literacy
that enables students to make meaning of multiple images, signs, and symbols of life
and discover their identities as both creators and intelligent consumers of powerful
images.
Sociocultural and Constructivist Theory at Work in the Art Studio Classroom

An art studio classroom that seeks to enhance students’ visual literacy and shape
creative identity formation will find better results and sustainability within a deep
understanding of sociocultural and constructivist learning theories. The literature states
that art studio classrooms provide students with opportunities to be “producers” as well
as educated “consumers” of art and culture (Catterall, 2002, p. 20).
Piaget (1967) states that identity can be formed through art lessons that provide
opportunities to develop creativity, team building, flexibility, and problem solving. The
art studio classroom also promotes opportunities for creative identity formation within a
social context of cognitive activity. The constructivist and sociocultural theories were
chosen as the framework for the present study, because both theories are aligned with
models of the art studio classrooms, building student’s visual literacies, and creative
identities.
Similar to the constructivist theory, which promotes students to create
something new, Ralph Tyler extends the dialogue of constructivism by his description
of learning as taking place through the action of the student. “It is what he (the student)



37
does that he (the student) learns, not what the teacher does” (Tyler, 1949, p. 63).

Constructivist theory
The Constructivist theory, proposes that students learn more when they actively
engage in their own learning, students develop the ability to build their own knowledge
structures and think critically to solve problems by investigating, discovering, creating,
and re-creating, and interacting with the environment. Learning actively leads to an
ability to think critically and to solve problems, and through active learning, students
learn content and process at the same time (Marlow & Page, 2005).
This theory is aligned with the mediated classroom and third space models as it
is based on the potential for students to enhance their visual literacy and creative
identity grounded in the belief that learners construct their own meanings and
understanding from their own unique experiences. Students express these
understandings and meanings in the art that they produce. Marlow and Page (2005)
state, that “the main tenet of constructivism is that learning means constructing,
creating, inventing, and developing an individuals’ own knowledge” (p. 7). Marlow and
Page (2005) identify three characteristics found in learning using constructivist terms:
• the process and the result of questioning, interpreting, and analyzing
information;
• using information and thinking processes to develop, build, and alter an
individual’s meaning and understanding of concepts and ideas;
• integrating current experiences with an individual’s past experiences and
with what an individual already knows about a given subject.



38
The act of creating artwork, developing a creative identity, and gaining visual art
literacy can be supported by an art studio learning environment that is grounded in the
constructivist learning theory that allows for students to construct their own
knowledge, especially within an environment where the students are mentally active in
or on their environment (Marlow & Page, 2005). In act the act of mediating space is a
constructivist act. While constructivist theories state that students act in or on their
environment, a complementary view provided by Vygotsky’s (1987) sociocultural
theory of development adds that students learn and are enriched in their capacity to
construct meanings through social interactions and their culture.
Sociocultural theory
Vygotsky posited that the influence upon an individual’s life by the context of
significant others: family, community, and culture contributes the most to an
individual’s cognitive development. Vygotsky’s (1987) constructivist notions include
the concept of scaffolding, which is defined as building a support system for learners to
learn better in a social context, and the notion of Zone of Proximal Development.
Critical pedagogy and more specifically critical constructivism will be discussed to
extend the discussion of the learning theories.
Summary
In examining the mediated art studio classroom it is possible to draw inferences
to the importance the third space has on students’ development in visual literacy and
creative identity formation. Seemingly, also of importance are adolescents’ various
funds of knowledge that play a role in the students’ lives. J.S. Bach’s fugue serves as a
metaphor elaborated on a mediated classroom and the third space. A fugue is a



39
composition structure in which a theme or themes are stated successively in all of the
voices of the contrapuntal structure. Likewise, in a mediated art studio classroom
working towards the third space through the various funds of knowledge from all of the
multiple voices, especially the disadvantaged ones that can be accounted for to enhance
visual literacy acquisition of all students.
The interconnected matrix as provided by the third space model works toward
bringing equal opportunity for all students and encouraging them to develop their visual
literacy and creative identity in and out of the classroom. Learning from the mediated
art studio classroom, a minority subject which is often cut from academic curricula and
dismissed as unimportant is a good place to start.




40

CHAPTER THREE

METHODOLOGY

This chapter will describe the methodology for collecting and analyzing data for
the study. The purpose of this study is to explore the ways in which the art studio
classroom creates a third space model and in the process enhances visual literacy
acquisition among students. This chapter will outline the basic design for this study.
The study examines visual studio art classes at the Heart High School (pseudonym).
This is a basic applied research study of qualitative design in the form of a case study.
Research Questions
This study of a third space art studio classroom asked the following research
questions:
3. In what ways does the studio art classroom display attributes of a mediated third
space?
4. In what ways does the work produced by the students in the visual art studio
classroom display evidence of visual literacy?
Statement of the Problem

Diversity has the potential for enriching students’ perspectives and their ability
to construct knowledge. However, the culture of the traditional classroom does not
allow students to share these backgrounds with one another or the teacher as an
important means for constructing meaning and acquiring knowledge. Many traditional
classrooms do not create a mediated space where the different kinds of knowledge



41
students bring are viewed as assets for interpreting and making meaning from the many
images that bombard students’ in their daily lives.
Unit of Analysis
The unit of analysis for this study is the visual art studio classroom. The study
examined the visual art studio classroom for elements of the mediated space and for
evidence of the development of students’ visual literacy in the visual art studio
classroom.
Table: Theoretical Framework
Research Questions: Theory that informs the question:
1. In what ways does the studio art
classroom display attributes of a
mediated third space?

Dewey’s (1943) Theory of the
Mediated Classroom
Guitierrez’s (1993) Theory of the
Third Space

2. In what ways does the work
produced by
the students in the visual art studio
classroom display evidence of visual
literacy?

Concept of Visual Literacy
(Freeman, 2003; Taylor, 2008)




42

Qualitative Methodology
The methodology was based on principles of qualitative research required of as
a researcher and a participating member within the community of researchers (Merriam
& Associates, 2002). A case study is an in-depth look at something in its natural setting.
The case study method was chosen to gather data from students and teacher
participating in an art studio classroom within a selected educational institution. This
method conforms to Patton’s (2002) concept of gathering data from groups who work in
various ways within a particular setting. Patton (2002) states that qualitative research is
known for the purposeful sampling of small cohorts looked at in great depth.
Research Design
Setting and Participants
The study focused on an AP Studio Art course, which included students taking
AP Drawing, 2D Design, or 3D Design within one independent parochial high school.
Method for Selecting Subjects
The participants were selected through a stratified random sampling technique
(Patton, 2002) because the subjects were unknown; however the researcher wanted to
ensure a spectrum of subjects in relation to gender, grade levels, and ethnicity. All of
the participants in this research study have been or are currently enrolled in an art studio
classroom. This process was appropriate as it allowed the researcher to examine the
attributes of the art studio classroom through participants’ artwork and writing samples
to complement the findings from observations within art studio classrooms.
Data Collection



43
This study includes multiple strands of data collection. Patton (2002) states that
in qualitative research, validity and reliability require the researchers to see the world as
it truly is rather than how the researcher imagines it to be, and highlights the
“importance of such qualitative approaches as participant observation, in-depth
interviewing, detailed description, and case studies” (p. 53). The collection and
documentation from a myriad of sources allowed for triangulation of the data.
Patton (2002) further describes qualitative methods as promoting great depth
with keen attention to detail, context, and nuance. The researcher sought to answer the
research questions by looking at artifacts (students’ writing about the experiences in
producing art) and making observations in the art studio classrooms (Dewey, 1943;
Gutierrez, 1993). The researcher looked at artwork and students’ writing samples to
identify elements of visual literacy. In essence, these research questions have the
potential to allow the researcher to gain a holistic view of the interactions and
productions that stem from participation within a visual art studio classroom.
Artifacts/Documents. Patton (2002) states that records, documents, artifacts, and
archives—what has traditionally been called ‘material culture’ in anthropology—
constitute a particularly rich source of information about many organizations and
programs. Patton (2002) points out that “these documents provide the evaluator with
information about many things that cannot be observed” (p. 293). According to Patton
(2002), documents can reveal things that have taken place before the evaluation began.
Documents are an effective way to gather information about the art studio curriculum
and the individual activities within an art studio classroom.
Fifteen artifacts were examined from each classroom. Ten artworks and five



44
writing samples were examined from fifteen students. The identity of the students
whose artifacts were selected was undisclosed to the researcher. Students who
volunteered to have their artifacts examined submitted them to the teacher who then
ensured that the pool included mixed age levels and ethnicity to the greatest degree
possible. Finally the teacher coded the artifacts by age and grade level. From a coded
list, the researcher, in turn, selected fifteen samples. The researcher developed a rubric,
based on the theoretical framework developed from the literature review for analyzing
artifacts. The artwork and writing were used to determine whether evidence of visual
literacy was present.
Observations. The purpose for observing the art studio classrooms was to see
ways in which the studio art classroom displays attributes of a mediated third space
marked by sociocultural and constructivist ways of constructing knowledge.
Garfinkel’s (1967) seminal text on ethnomethodology draws attention to the informal
ways in which people navigate and participate in the world. Ethnomethodology captures
the informal ways that individuals and groups act and interact. Observation is part of
this research design and is useful in the gathering of data about how groups function
and interact in the art studio. Gubrium and Holstein (1997) also state that
ethnomethodology is useful in developing an understanding of people in their social
environments. This research focused on how students engage with one another and the
teacher within the art studio setting. The observations occurred during the art studio
classroom. The observations did not require any change from the daily routines of the
art studio.




45
Access to Classrooms. Three observations of studio classrooms were made in
one course, which included three different concentrations within the class. There were
fifteen students the classroom. The consent for the observation and the collection of
artifacts was obtained through email and in person. The researcher first spoke with the
visual arts instructors to choose the art studio classrooms for the study. The researcher
first contacted the teacher through email and then initiated face-to-face contact to ask
permission to observe their class. The researcher asked if the participating teachers
would make an announcement prior to the researcher’s arrival to see if any students
objected. The researcher also let the teachers and students know that if they had
concerns or if they did not want to participate to please let the researcher know. Student
participation was strictly voluntary; there were not any negative consequences if they
declined. The researcher developed an observation rubric that enabled the researcher to
look at the criteria from the literature for the mediated third space.
The researcher established a schedule for visiting the art studio classrooms to
observe the kinds of interaction, dialogue, and production that take place among the key
participants to create a mediated third space, as well as the various kinds of knowledge
constructed in the work associated with visual art literacy.
Instrumentation
The researcher established instrumentation for the observations and artifacts
based on the literature.
Instrument A: Rubric for Mediated Third Space Art Studio Classrooms

Instrument B: Rubric for Artifacts: Artwork

Instrument C: Rubric for Artifacts: Writing




46
Rubrics. The researcher created rubrics based on the theories discussed in
Chapter Two and represented in Figure 3.1 to help analyze the artifacts and
observations. The rubrics were modified from Grossman, Wineburg, & Woolworth
(2001) to apply to students. For the observations, the researcher followed a rubric
(Appendix A). The focus of the observations was to look for evidence of the third
space. The focus of artwork artifacts (Appendix B) was to look for evidence of visual
literacy. The writing artifacts (Appendix C) were examined for evidence of visual
literacy and the reflections of the students on role the culture of the classroom played in
their own perceptions of their development as artists.
Data Analysis
The data were analyzed through coding of all documented observations and
collected artifacts, artwork and writing. The data were checked for overarching themes
as well as any contradictory evidence. They were analyzed according to the research
questions, contrasting one set of data against another to determine whether patterns,
themes, and major coding categories could be found through inductive analysis. Patton
(2002) states that an inductive analysis allows for the categorization of data to emerge
after data collection and analysis, rather than imposing or projecting the themes before
this process.
The data were then grouped by research questions and summarized to identify
the patterns and themes that emerged around each research question. The data were
organized into visual tables to assist in the process of data analysis. Throughout the
course of the study, including data collection and analysis, the researcher adhered to
ethical guidelines.



47
After reviewing the document data, poignant details and moments from the
observations, students’ artifacts, products, and writings were isolated and highlighted to
concentrate on the observations, products, reflections that evoked the most prominent
comments related to the research questions. Participant’s observations and artifacts both
artwork and writings were examined in order to search for indicators and themes that
might emerge. The researcher then completed a comparative analysis of the findings
from the artifacts and writings from participants set against the conceptual framework.
The collection framework helped organize the collection methods and also doubled as a
compilation checklist. The various types of data collected through observation and
artifact analysis allowed for triangulation of the data, which increased the validity of the
findings. Patton (2002) also states that “triangulation is ideal” and leads to “cross-data
validity checks” (p. 247).
Delimitations
The findings stated in this research are only representative of students who are
or have attended one independent high school in the greater Los Angeles area and
cannot be generalized to all populations. The data was not intended to be applied to all
students who participate or have participated in art studio classrooms, but rather the
insight, voices, and images of the students will offer a look into the world of students
within an art studio classroom who use their different funds of knowledge from a rich
visual culture to see how and if this enhances students’ visual literacy
Limitations
This case study was conducted during a limited length of time. The research
was conducted during a ten-week period April through June. It only included research



48
of a select independent high school. The study was limited to an accessible art studio
classroom with respect to teacher cooperation.
Researcher’s Subjectivity
As the researcher progressed in the final stages of the dissertation, it was
important to remember the possibilities for researcher’s personal bias and subjectivity.
The researcher worked and currently worked as a teacher within the school. The
researcher has also been a member of the learning community and has been a student at
the institution. In choosing this project, the researcher hoped to use her personal history
and experiences to aid in understanding of the issues surrounding the mediated art
studio classrooms working towards a third space and students’ visual literacy. In the
end, the researcher’s personal experiences and background allowed for better insight
into the research and remained aware of her own subjectivity to the data.
Summary
This chapter outlined the research design and analysis procedures for this
qualitative case study of the third space art studio classroom. Ethical considerations,
limitations, and researcher’s subjectivity were also addressed. The next chapter
provides the findings from the data collected and analysis from the case study.




49
CHAPTER FOUR

FINDINGS

The purpose of this study is to identify the shared knowledge that helps shape
students’ visual literacy in the visual art studio classrooms. An examination was made
of the a visual art studio classroom that creates a mediated third space model. This
chapter reviews the findings on visual literacy acquisition that happened in a mediated
classroom. Research questions were used as evaluative criteria for the findings from the
visual art studio classroom and the work produced. Patterns and themes were gleaned
from the observations and the artifacts, which included the instructional methods used
in the class and samples of students’ artwork and writing.
In a ten-week period, the researcher collected research from observations and
artifacts from the unit of analysis, the visual art studio classroom. Three observations
and fourteen artifacts were analyzed from an AP Studio Art course, which included
students taking AP Drawing, 2D Design, or 3D Design. Data were viewed through the
lens of the theoretical framework outlined in chapter two, in particular through Dewey’s
(1943) theory of the mediated classroom, Gutierrez’s (1993) theory of the third space,
and Freeman (2003) and Taylor’s (2008) concept of visual literacy.
Research Questions
The data were coded and analyzed to answer the following research questions:
5. In what ways does the studio art classroom display attributes of a mediated third
space?
6. In what ways does the work produced by the students in the visual art studio
classroom display evidence of visual literacy?



50
Setting
Involved in this study was Heart High School (pseudonym), an all-girls school
located in Southern California, which serves approximately 370 students in grades 9-12.
The school is predominately Caucasian and most of the students are from middle to
upper socioeconomic class as the tuition required is expensive. This small independent
school is highly academic with multiple, college preparatory classes, and visual art
studio course offerings. The school offers art labs where students can work on their
projects outside of the formal class time.
Art Studio Classrooms Context
Heart High School offers art studio classes that are set within a larger school
curriculum. It begins with fundamental classes, which may consist of a more diverse
group of students and interests, while the advanced art courses may consist of students
who have chosen to focus in the arts. Students may select art courses to meet an
academic requirement and/or for their personal development. The degree to which each
of these classes implements a mediated third space varies. The art studio classroom
highlighted in this study is AP Studio Art, which consists of students who chose to
focus on AP Studio Drawing, 2D Design, or 3D Design within the course:
Advanced Placement (AP) Studio Art: Drawing, 2D Design, 3D Design
AP Studio Art is a two-semester, advanced placement course that offers the
independent serious art student the opportunity to compile an outstanding college level
portfolio of artwork. The concentrations offered are AP Drawing, AP 2D Design, and
AP 3D Design, all part of one AP Studio Art course. Since, Heart High School was
small, it had only one section of an AP Studio Art course, which allowed for a mixture



51
of students to concentrate on the various APs in the same course.
Selection for AP Studio Art is largely based on the students’ course sequence
that lead to AP Studio Art, which may include Visual Art I (beginning painting and
drawing, Visual Art II (2D design, digital design, printmaking), Advanced Visual Art I
and II (advanced drawing, painting, design), 3D design (ceramics and sculpture),
Photography, and Art History. Students are also selected by teacher recommendations
and portfolio review. Most students are in 12
th
grade when they take AP Studio Art,
with some students in 11
th
grade. Students who take AP Studio Art in their 11
th
grade
have the opportunity to take another subject AP Art Studio course their 12
th
grade year.
Throughout the year, through ongoing two or three dimensional art problems
and projects, students continue a process of investigation, discovery and growth
fostering a further development and a personal direction in art making and the student’s
philosophy of art. Students develop practice and vision in their own work through the
study of historical and contemporary artists and experiences using a variety of media.
The course followed the requirements of the Advanced Placement Studio Art Program
in preparation for submitting the Advanced Placement portfolio to the College Board in
May. College credit could be earned for the successful completion of the portfolio. This
portfolio consisted of both a broad scope of artworks and a concentration of artworks, in
the 2-D/ Drawing/ 3-D design area and with a passing mark of 3 or above based on a 6-
point scale. The focus of all projects was on concept, composition and execution of 2-D
design, Drawing, or 3-D design.
Through various media, the students in AP Studio Art are expected to develop
an advanced visual vocabulary and an ability to utilize the language of art in



52
discussions, writing, and through analysis and critique. Artistic achievements of
individuals, both historical and contemporary, were explored as sources of inspiration
for studio projects.
A section of the AP Studio Art portfolio is the concentration area. A
concentration project is one section that enabled the student to pursue a subject in depth
while establishing one or more objectives that are important to the proposed study. Such
a project might be compared to the thesis statement in a writing assignment. Once the
thesis is determined, the write adds color or content to the essay to make it a coherent,
meaningful statement. Similarly, the concentration topic might be considered the thesis
statement: what remains are to add content to make a consistent and significant
statement. Repetition of a subject such as a landscape does not in and of itself constitute
a concentration. What might constitute a concentration, however, would be an
investigation of the importance of color and expression to the establishment of mood in
landscape. The results of these two sets of activity would be vastly different. In the first
approach, landscape after landscape might be painted to look much like the preceding or
following image. In the second approach, the landscape might still be the subject, but
the student would examine the effect of color on the communication of mood or feeling.
This concentration would reveal a deeper insight gained by the student, and most likely
a stronger body of images. In addition to the concentration artworks, students were
required to compose a narrative essay regarding their art submissions. There were 15
students in the class, all students were female, six students were Caucasian, five were of
mixed ethnicity, two were African American, and two were Asian American.




53
Observation Findings
The research questions guided the data collection. Analysis of the data took
place around the research questions as well. The researcher organized the data around
their ability to answer the research questions.
Research Question 1: In what ways does the studio art classroom display attributes of a
mediated third space?
Findings Summary Heart High School
After three observations at Heart High School, the visual art studio classroom
demonstrated how a mediated third space might work. First, the AP Studio Art
classroom showed physical, social, and cognitive aspects of a classroom that added to
an overall assessment of a mature mediated third space. Second, the AP Studio Art
differed significantly from the traditional classroom as factory, and the teacher provided
space for communal sharing, learning, and individualistic and collaborative practice.
Third, the classroom effectively functioned as a mediated third space: as members
incorporated knowledge from the whole group which promoted a dialogic culture of
understanding and productive use of difference, recognized that the group was enriched
by multiple perspectives, and accepted the rights and obligations of an art studio
classroom member.
Observations
AP Studio Art: First Visit
Physical: First Visit
In the first visit, using the observation protocol as a tool, the researcher found
the AP Art Studio Class to show evolving levels of multicultural and active physical



54
environment conducive to a mediated third space. On the classroom walls, there were
artwork and posters of westernized artists. Even though this was an all-girls school,
none of the art posters were from female or multicultural artists, on contrary all of the
art posters were from Old Master male artists such as Picasso, Matisse, Escher, and
Michelangelo. The researcher took note that while this was an all-girls school, there was
no representation of female artists’ art present. Before class started, students were
already working on their projects. The students worked at various locations on drawing
horses, tables, and easels. Students engaged with various art materials and technology
including the light table, laptops, smartboard, and projectors. Students congregated with
their own ethnicity: small groups of two African American students, two Asian
American students, several mixed ethnicity students, and Caucasian students sat
together creating and critiquing artwork.
Social: First Visit
The researcher found the AP Studio Art classroom to show evolving levels of
social environment needed for a mediated third space. In the observation, the classroom
atmosphere was relaxed and open. Near the beginning of the class, the teacher asked for
the whole group to come to a table that was dedicated for abundant books, images, and
examples. While most students came to the table, some students stayed at their desks to
continue to work on individual projects. The teacher repeatedly asked the remaining
students to come to the table. The students came to the table, but stood behind other
students away from the view of the instructor. The instructor asked, “Is Sherry and
Jessica here? Could you come closer so I could see you?” The students came closer, and
the instructor made a clear effort to include all of the students.



55
The instructor shared the different resources at the table and opened up the
dialogue to students. She allowed for the students to share their own knowledge about
the artists from the books, gave quick demonstrations to students, and invited student to
practice the demonstrations with her in front of the class, and for all students to practice
in their sketchbooks using the materials on the table. When the whole group of students
came together around the table, there was evidence of mutual respect in the interactions
between the teacher and students, especially seen in respectful listening and speaking.
This was seen in when the teacher and student participated together in a
demonstration. The instructor asked, “Since I just did a demonstration of a blind
contour drawing, would anyone like to try making a blind contour drawing with me?”
Yoji volunteered, “Now we are going to draw each other, Yoji you will draw me, and I
will draw you. Do you remember the rule for blind contour drawing?” A student in the
audience, Jessica responded, “You have to look at the subject, you can’t look down on
your paper, you have to keep your drawing tool on the paper, and you can’t lift off your
pen.” The instructor agreed with Jessica and added, “Yes, that is right, this is about
practicing your observation skills, and I want you to keep those pens on that paper, even
if it bleeds through the other side. You will also be surprised at the likeness of these
blind contour drawings!” The students watched, looked engage, and some giggled as the
instructor and Yoji drew each other. After a few minutes, the instructor and Yoji
stopped and looked at each other drawings. Yoji laughed, and the instructor said,
“Yeah, I can see that kind of looks like me, two eyes, a nose.” She thanked Yoji for
volunteering and asked, “What was the experience like drawing blind contour?” Yoji
said, “It was really tempting to look down at the page, and had to just keep staring at



56
you.” The teacher asked the rest of the students, “What did the rest of you observe? I
think Yoji did a good job at not looking down on her paper, did you see her look
down?” One student said, “No, Yoji kept her eyes on you, and her pen on the paper, I
was really nervous, that both of you were going to go off the page with the sharpie.”
The instructional process lasted about 15 minutes. After the demonstration,
some students went back to their work while others continued to look and discuss the
materials and other examples of line drawings on the table. The teacher put on
instrumental music in the background. There was evidence of dialogic/diachronic talk
seen in the inclusive decision making patterns that took place during and between
activities in the demonstration.
Dialogic/diachronic talk was specifically shown, when the two students who
were first hesitant to come to the table naturally paired up and looked through the Egon
Schiele books together, discussed their thoughts, and started to develop a shared
knowledge on the specific artist. A shortcoming was that at first some students were
hesitant to participate in the class activities as introduced by the teacher, however this
was alleviated when the instructor made an effort to include these students and created a
setting of instructional materials and tools where all students could become engaged:
through discussion and contributing their knowledge to whole class as well as in smaller
groups of students.
Cognitive: First Visit
The researcher found the AP Studio Art classroom to show evolving level of
cognitive actions that recognized that the group was enriched by multiple perspectives.
The researcher noticed that two students, who were AP Art Studio 3D students, were



57
the only ones working on a collaborative project. Lea of Filipino descent, and Bela of
biracial French and half Spanish descent, both females appeared to be of similar
socioeconomic classes However the students came from different ethnic backgrounds
and grade groups: Lea was in 11
th
grade and Bela 12
th
. The students showed evidence of
co-construction process, shared responsibility, and collaborative work in their
interaction of work and ideas. Lea and Bela were to build a large-scale project
sponsored by the library’s, Trash to Art, art contest theme and sculptor Nancy Rubins’
idea.
The project required students to use recyclable materials that weighed a
combined total of one-third of both students’ weight. By the time the researcher
observed the students, Lea and Bela had already collected mass quantities of unusual
materials, and had created the beginnings of a horse. The students were unable to fully
control the situation. Bela lifted the heavy piece up while Lea looked at it from different
angles. Lea said, “I think that the horse needs to be bigger on the sides, here let me hold
it so you can see.” Lea held the piece while Bela looked and pointed to the side of the
horse, “Yeah, I think it needs to be bigger here.” Bela took some plastic pieces and held
them against the horse, she tried different pieces, and asked, “What about this one?”
The teacher stated, “What about if we made the horse into a rocking horse, so
that there would be movement?” Another student stated, “Yeah, that would be really
cool. I have a rocking horse that you can use as a model.” Lea and Bela looked at each
other and stated, “No, we want to make it into a horse on a carousel.” Instead, these two
students remained steadfast in their own original design and vision. Not listening to
other stakeholders could be a sign that the two collaborators were confident about their



58
vision, or it could be a sign that they were not open to other students’ input. They did
not appear to be willing to engage other students in the discussion. In the first visit, the
researcher’s overall assessment of the AP Studio Art classroom was at an evolving level
of physical, social, and cognitive aspects of a mediated third space.
AP Studio Art: Second Visit
Physical: Second Visit
Four weeks later, the researcher visited the AP Studio Art classroom again to
observe any differences from the first visit and to see if any attributes of a mediated
third space had changed. Using the observation protocol as a tool, the researcher found
the AP Art Studio Class to have shifted from an evolving to a mature level of
multicultural and active physical environment conducive to a mediated third space.
While there were still posters of the western modern artists, other artists were added.
The instructional boards displayed artworks and images of multicultural artists, African
American artist Nick Cave, Japanese artist Takashi Murakami, and other images of
diverse artists that students had printed and posted.
Furthermore, the previously bare walls now displayed students’ diverse
artworks. The artworks depicted an exploration of students’ own personal multicultural
background as shown in Bridget Bardot an icon of French cinema made with wood, tile,
and ink; portraits of a girl wearing a traditional Japanese kimono and origami
background; and a self portrait of a biracial African and Caucasian girl with pumped in
colors as seen in bright blue eyes: all images that explored students’ own identity.
In addition to the previous materials and supplies, there were more materials
present such as an airbrush machine, screen printing press, and linoleum blocks.



59
Approximately half of the students in the classroom physically ventured beyond their
own working space and often rotated around the room to interact with other members in
the classroom. While some students preferred to work in their own spaces, when the
other members came by, the seated student invited dialogue. There was evidence that
both types of students were active participants within a community focused on creating
and critiquing art.
One shortcoming appeared, when two students sat in the corner of the classroom
watching movies on their laptops and did not contribute to creating and critiquing art
within the community. During this second visit, the teacher asked the two students to
contribute to the discussion of an artwork. The two students did not respond as they
were watching a movie on their laptop and discussing the movie. A third student
mentioned in a soft voice that she could not concentrate, and turned around to the two
students watching the movie and said, “Jess, shhh…we are trying to talk about Kelsey’s
piece.” The teacher turned this situation around, asked the two students to participate in
the discussion, and then suggested for the two students to create their own independent
workspace in the art studio classroom.
The instructor turned this situation around from a potentially embarrassing
moment where the students who could have been publicly scolded for not participating
to an opportunity where all members of the class could help each other focus and
become re-engaged in class. The researcher marked this class at a mature level because,
although a few students showed an exception to a multicultural and active physical
environment conducive to a mediated third space by watching a movie on their laptop.
The way the teacher handled the situation and the way the students responded to her



60
still indicated a third space approach to solving potential conflict that might have
disrupted the physical environment. These students were accepted for their own
shortcomings by the teacher and classmates and all stakeholders helped these two
students focus on the goals (talking about another student’s artwork and making their
own artwork) at hand.
Social: Second Visit
The researcher found the AP Studio Art classroom to show a mature level of
social environment conducive to a mediated third space. In one example, the researcher
observed mutual respect, dialogic/diachronic talk and interaction, and non-traditional
exchangeable teacher and student roles with a student in AP Studio Art.
Cathy, an AP Studio Art student with much ability became stuck with her art.
She stared at her art and did not approach it and her artwork stayed the same for about
20 minutes. In her self-portrait, her face was drawn, but the background, neck, and
shoulders were unfinished. Cathy went to the instructor with her dilemma, and instead
of giving an answer or solution to Cathy’s dilemma, the instructor asked Cathy to pair
up with another student, allowing for the other student to take a role that is usually
reserved for the teacher.
From the beginning of their exchange, there was evidence of mutual respect
and a dialogic/ diachronic view of talk and interaction when the students paired up. It
was clear this kind of dialogue was familiar to the students. The other student started to
talk about Cathy’s piece. Other students in the classroom also got involved. Cathy
stated, “I don’t know what to do with the background.” Meggie, a student who did not
have as much representational skill suggested, “I have an idea, what about using a color



61
that’s different from your face for the background? Right now, you have orange back
there, but you also use orange for your face.” Anna, another student confirmed this idea.
Cathy whispered and nodded her head, “That’s a good idea.” During the diachronic talk
and interaction, the students were on the stage of multiple-ability, which allowed a
“wider range of students to make important contributions;” in this situation, the students
challenged the assumption that there was only one way to be smart (Cohen, 1997, p.20).
While, Cathy was viewed as “an amazing artist” who could “draw so well,” she came
across a problem that stopped her art making process. Cathy’s dilemma was solved
from the social process of mutual respect and diachronic talk and interaction, which
tapped into the multiple perspectives of her peers. Her classmates shared their strengths,
which included a keen eye, boldness, and new ideas—aspects Cathy was not
immediately able to provide herself. In this observation, the social attributes served as a
bridge between all stakeholders. In addition, this social process was prompted by the
teacher who allowed for the students to become their own teachers and surrender
themselves to the possibilities provided by others. A shortcoming may be that Cathy
was stuck on her artwork for half the class and did not actively seek help from the
teacher sooner. Also, Cathy did not consider sharing her artwork or dilemma with her
colleagues, and the teacher had to make an effort to create a social atmosphere or
surrounding students. In spite of this shortcoming, it was evident that the students had
become accustomed to engaging in the kind of dialogue that demonstrates shared
concern for one another’s work. It was also evident that the teacher had built rapport
with her students, and they trusted the process when she recommended that they assist
one another. This was evidence of a third space shared by the teacher and the students.



62
Cognitive: Second Visit
The researcher found the AP Studio Art classroom to be at mature levels of
cognitive actions that recognized that the group was enriched by multiple perspectives.
In an observation of an art critique, most members showed evidence of co-construction
process, shared responsibility, and collaborative work. The teacher took the students
outside and had them put up their art projects in a random order. The teacher then
stated, “Let’s now rearrange the artwork, and curate the work in the way you want it to
be present in an art exhibition.” Catherine, a biracial African American and Caucasian
student said, “ Let’s arrange the artwork by similar theme. My work and Georgia’s
work both have people in it, so we can put ours together.” Hailey stated, “Jess, Liz, and
I have robots in ours, anyone else?” Ali stated, “I have robot features in mine.” Kristin
stated, “I don’t think mine will fit anywhere, my work does not have a person or robot.”
Lea asked, “What do you have in yours?” Kristen showed the work and pointed out a
flower, filmstrip, and horse imagery. Lea said, “I have an animal in mine too. We can
start another section because both of ours has animals.”
Not all students took on leadership exhibited by Catherine. Laurie and a few
students waited to see where their artworks would fit. The students who were finished
pinning their artworks helped look for similarities. Catherine noticed, “Well these three
all have elements of water, so we can put them together, and the others we can group in
another section of unique artworks.” The teacher noticed that Catherine dominated the
curatorial process so asked, “Lea, what do you think?” Lea stated, “I think that instead
of just looking for the obvious images, maybe we can group the rest of the artworks by
the different moods such as calm, crazy, etc.” The teacher and Jess agreed that they



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liked that idea, and the students helped organize the rest of the pieces according to the
mood that the artworks displayed.
By allowing students to curate their own artworks for a critique, the teacher
created an opportunity for students to engage in the co-construction process, share the
responsibility, and collaborate on work. In this observation, the students’ inquiry guided
learning. The critique process showed that the group was enriched by multiple
perspectives and allowed for conversations between students and teacher to take place.
When students grouped their artworks by similar images and themes, there was
evidence of the co-construction process. Both the teacher and students facilitated the
curatorial process and conversations. The researcher saw a shortcoming when Catherine
was the first one to dominate the curatorial process. However, this was alleviated when
the teacher facilitated the conversation and allowed each student to contribute to the
curatorial process. Again, this was an example of a mediated third space that neither
belonged exclusively to the teacher, students, or any one student.
Since three out of the three categories of physical, social, and cognitive aspects
of a mediated third space were ranked at a mature level, the researcher concluded that
the overall assessment of the AP Studio Art classroom was that it displayed a mature
level in creating a mediated third space. In so far, visual literacy is defined by the ability
to interpret, negotiate, and make meaning from information presented in the form of an
image, the students were engaged in the process of visual literacy when they had to
make meaning and arrange each others works based on images of people, scenery,
symbols, and/ or theme. Through the dialogue, students exhibited knowledge of the
importance of cultural meaning through the imagery in developing a theme. Drawing



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on different voices, the students collectively curated an art presentation.
AP Studio Art: Third Visit
Physical: Third Visit
Five weeks from the second observations, the researcher visited the AP Studio
Art classroom again to observe any changes and to see if any aspects were overlooked.
Using the observation protocol as a tool, the researcher found that the AP Art Studio
Class continued to be at a mature level of multicultural and active physical environment
conducive to a mediated third space. While the work of western artists were still on
display, in addition, there was visible work that represented students’ diversity as seen
in handmade boxes and written paper. The instructor gave the researcher copies of the
project assignment and some student writings. The description of the box project was:
“Herstory” in a Box, the theme was the student’s family heritage, the artist mentor was
Joseph Cornell, and the goal was to design a box that visually defined one significant
person from the student’s personal family history in an innovative way. For preparation,
the students’ were to research their own heritage, interview parents and grandparents,
and honor a family member of inspiration.
One student described in her writing of her box as:
For my Herstory project, I made a TV. To start, I took an empty tennis
ball box cut an oval on one side, then spray painted it brown, Next, I drilled a
hole on top and put an antenna in it. To make the knobs on the TV, I glued two
Connect-Four pieces and made tick marks with permanent marker. Finally, I
drew a picture and put a subtitle and glued that along with a piece of Saran-
Wrap to the inside of my box to give the effect of a screen.
I made a TV for my project because when my dad and his family moved
from Syria to the United Stated when he was eleven, my dad didn’t speak a
word of English. But still, he was sent to school not understanding what the
teacher was teaching him or what the other students would say to him. So, since
no one else in his family spoke English, he learned the language by watching
TV and learned to read by putting on the subtitles and connecting words to



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letters. This had a major influence to my background because it showed the
struggle my family went through when they moved to America.

During this visit, the researcher noted instructional boards that displayed
artworks and images of urban artists, African American artist Basquiat, London artist
Banksy, and American artist Keith Haring.
All members were active participants within a community focused on creating
and critiquing art. In this observation, the students made their own large scale paintings
based on one line from the poetry book of Maya Angelou’s poem “Life Doesn’t
Frighten Me” that was illustrated by Basquiat. In preparation for the painting, the
students watched the movie “Basquiat,” and answered questions on a handout. During
this observation students and teacher were discussing the questions from the handout
which asked about themes in the film such as: stereotypes, racism, identity, fame, the art
world in the 80s, etc. The students reflected on the questions being asked from the
instructor and contributed their own questions to the discussion. At the end of the
discussion, the students arranged their large paintings in order of the poem and turned in
their written work. At first glance, a shortcoming might appear to be that some of the
artwork mimicked Basquiat’s style as seen in bold colors, symbols, and writing style;
however this might be viewed as a way students develop their own style. By using
Basquiat’s style, these few students might be acknowledging an urban art influence and
exploring a way of making art that they might not considered before.
One characteristic of visual literacy is the intentional interpretation of the
visuals, so when the students “read” Basquiat’s symbols, words, styles, and themes, and
analyzed them, to appropriate his techniques to decide upon own imagery to create their



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own work, they were engaged in visual literacy. In addition, the student artists
demonstrated evidence of visual literacy by giving a new voice to the illustrated poem
and collaborative work of Basquiat and Angelou when they employed and fused
Basquiat style, Angelou’s text, and their own imagery and text to create their own
artwork.
While the materials and supplies provided were similar to the prior visit, a few
additional materials included large scaled canvases, paper, house painting brushes,
rollers, brooms that were used for painting, and buckets of house paint. The main
difference was in the scale of the student artwork.
Social: Third Visit
The researcher found the AP Studio Art classroom to show a mature level of
social environment needed for a mediated third space. In the observation, there was
evidence of mutual respect in the interactions between the teacher and students,
especially seen in respectful listening and speaking. After the whole classroom
discussed the Basquiat movie, the student’s continued to work on their large-scale urban
art projects. This was an example of Vygotsky’s (1987) socio-cultural theory of
learning at work. In this situation the teacher was allowing the expert to apprentice the
novice into a more mature level of practice.
While all of the students worked in the main classroom, three students worked
together in a studio next door to the main classroom, which had space. The other
students were seated in the main classroom and worked independently. While the three
students were limited in crossing language, age, gender and ethnic diversity, as they
appeared to be from a similar background, the three students who worked together in



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collaboration exhibited inclusive decision-making patterns that took place during and
between activities.
Elle, a prolific student who painted large-scale abstract paintings, became stuck
with her large abstract painting and could not decide which way to view her painting.
She took her painting to the front of the room and looked at and rotated it on different
sides. When she put her painting up, the students in the classrooms started to focus in on
her work. Two classmates, Jen and Karen walked over to Elle’s painting. Elle said to
them, “I don’t know which way to put my painting, the landscape or portrait view.”
Karen said, “Elle, I can turn the painting for you, and you stand back there and look at
it.” Jen agreed with Karen. Elle stood back and looked at her rotating artwork as she and
Jen discussed how the artwork was affected as it changed. Elle and Jen decided to keep
the painting in a panoramic landscape view. Both Elle and the other students appeared
comfortable with spontaneous engagement with one another’s work, without the teacher
having to prompt them to start the engagement.
During this observation, there were multiple examples of dialogic/diachronic
talk involving numerous students at various times. Jen said to Elle, “Have you ever seen
Barnaby Furnace’s work? He paints in an abstract expressionistic way, but he adds
figures in his paintings that change the meaning of the abstract paint marks on the
canvas. I really would like to see figures in your paintings Elle. For example, in this red
area, I would like to see a person splashing paint.” Elle listened, “Yeah, I could see
that.” Karen agreed with Jen as well, she said, “Adding a figure wouldn’t take away
from your painting, it would just add another layer of meaning.” Elle asked, “What kind
of people do you see being added?” Jen looked through Elle’s books and found one on



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Western American Art, what about these as she pointed to cowboys. Elle agreed to
incorporating figures into her painting, and asked Jen and Karen to collaborate with her
and draw their cowboy figures before she did.
In this example, students and teacher exchanged roles with students teaching and
learning from one another. The teacher seemed to make a conscious decision as she
looked from a distance and allowed Elle to reflect on her painting and other classmates
take on a teacher role. After Jen and Karen were finished drawing their cowboys, Elle
stated, “I haven’t drawn realistically in a long time” and expressed that she was not that
confidant in her drawing skills. Jen stood by Elle’s side and supported Elle and listened
to Elle as she reflected on which cowboy would complement the other two, where to
place the cowboy, how large it would be, what color to use, and what style to draw it in.
While a shortcoming might be seen as these three students worked more independently
away from the main classroom, the instructor allowed for these students to have their
own independence and use the class time as a lab studio time, rather than requiring
students to be in the main classroom.
There was evidence of visual literacy through student artists’ dialogue. When
Jen talked about a contemporary artist and stated, “he adds figures in his paintings that
change the meaning of the abstract paint marks on the canvas. I really would like to see
figures in your paintings” she was interpreting Elle’s piece, and applying another
artist’s concept, to change Elle’s piece. When Karen stated, “Adding a figure wouldn’t
take away from your painting, it would just add another layer of meaning,” she
confirmed wanting to see the change. When Elle stated, “What kind of people do you
see being added?” she was open to Jen and Karen’s interpretation of her painting, and



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wanted to see how she could change her work to make meaning out of the random
marks of splatter paint. Through “reading” the painting, and dialogue, the student artists
took one more step beyond the first “read” of the painting of random paint splatter, and
added an image of a figure in front of the splatter paint to help viewers make sense of
their painting.
Cognitive: Third Visit
The researcher found the AP Studio Art classroom to be at a mature level of
cognitive actions that recognized that the group was enriched by multiple perspectives.
During the Basquiat movie discussion, the movie handout bridged conversations
between both teacher and students. For example, some students did not know the
answer to questions on the handout and other students’ handed out questions that were
not asked in the handout. By allowing students to move away from the question
handout, and holding a discussion, the teacher allowed for students’ inquiry to guide
learning that extended beyond the teacher created handout. By discussing the movie as a
whole class, the students and teacher co-constructed the content that would later be used
to assess student work (the questions on the handout).
After the discussion, the instructor gave the researcher the student reflections.
One reflection from an African American student stood out. While this student did not
vocalize all of her thoughts during the class discussion, this student showed evidence of
mature cognitive processing in writing. The student wrote how the small gesture of
showing the film, having students answer questions, and making a project based on
African American artists, made the student feel validated. She stated that while she did
well in school and got along with everyone, she still experienced inner feelings that



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were individual and others did not understand. She wrote in her paper on her awareness
of being the “only black person in the class.” She also expressed how much she
enjoyed learning about and making a project inspired by her ethnicity. The other
students responded to learning about Basquiat in a positive way and his urban art, which
was influenced by, high art, low art, street culture, music- especially Bach and jazz.
This influenced their own artwork as they also lived in the city and were attracted to
urban art. The students also stated that they responded to Basquiat’s painting process,
which was spontaneous, fluid, and free. From the focused conversations, students also
wrote while, traditional, Western culture, showed pre-planned art pieces, Basquiat
showed students an impromptu way to creating art that relates to life.
Research Question 2. In what ways does the work produced by the students in the visual
art studio classroom display evidence of visual literacy?
Summary of Findings for AP Art Studio Artwork at Heart High School
After ten artifact analyses at Heart High School, the artwork produced by
students in the AP Studio Art course that clearly demonstrated evidence of a mediated
third space showed what a mature level of visual literacy might look like. First, the
work conformed to the literature’s definition of visual literacy in various ways, second,
the curriculum integrated students’ interests where students could demonstrate visual
literacy as shown in the project guidelines, third, within the instructor’s assignment, the
student artists were given the opportunity to approach the project in a various ways and
were encouraged to use different funds of knowledge to create their own unique project.
The following are artworks students volunteered or were proud to share with the
researcher. The researcher noticed that while a student might not be skilled in



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representational drawing, the student did reach complex visual literacy in another
medium such as digital photography, and this media was chosen for concentration
section of the AP Art portfolio, and also the images students shared with the researcher.

Visual Literacy and Artwork AP Studio Art
Fig. 4.1: Cross Contour Drawing of Fabric/Figure with Mosaic Accents

The assignment for figure 4.1 was to create a cross contour fabric/ figure with
mosaic accents. The students were to study cross contour drawings from the internet
and the works of master artists such as Chuck Close and Gustav Klimt. After studying
the works, the students were to employ the styles of the master artists to visually
construct their own image using the styles from the master artist: convincing form with



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line and line-value, pressure, location, and orientation in a composition. Students were
to work with three elements: silhouette, cross contour drawing, and mosaic accents.
Students needed to demonstrate strong skill in natural observation, composition and
color and design choices.
In this assignment, the student artist demonstrated evidence of complex visual
literacy as the she went beyond the assignment criteria. She exhibited knowledge of the
importance of cultural meaning through people imagery in developing a theme. The
student showed that her person imagery is essential to the theme and enriches the art
piece through her choice of a ballerina, an image that referenced the tradition of the
impressionist artist, Edgar Degas. Drawing on the different artists and mediated
between the student’s own influences, the student came up with an original artwork.
This ballerina shows a recognized theme and techniques with an original frame of
reference.
The artist shows a development of consciously coherent forms and relationship
between people and scene imagery in the composition in the continuous cross-contour
line drawing technique that is extended beyond the soft figure and dress and into the
hard-edged object in the mirror and ground. The juxtaposition of the ballerina with the
repeated mirror and tiled floor creates a coherent theme. The scene and symbolic
imagery also convey cultural and historical context in support of the theme. The interior
building shows room furnishings of a large mirror that is repeated into space and that
does not reflect the ballerina and black and white tiled floors that reference another era.
The repeated mirror references many artworks that also use mirrors as a motif, that
often reflect other information that is only seen in the reflection of a mirror; however, in



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this mirror, the artist does not show the back of the ballerina or other information, but
rather emphasizes the continuity of the mirror motif as it recedes into a never ending
space. Intentionally, the student also referenced the black and white marble floors of the
school (which was built in 1919). This piece shows evidence of complex visual literacy:
making meaning through referencing various artistic traditions, demonstrating expertise
in the cross-contour technique, and incorporating the student artist’s own images as an
endless mirror and the tiled floors. Drawing on different voices, the student created one
voice in her artwork.
Fig. 4.2: Positive Negative Multiple Figures

The assignment for figure 4.2 was to create a portfolio design. The criteria were
to keep the design bold, simple, and incorporate the student’s name into the design. In
figure 4.2, the student artist demonstrated evidence of evolving visual literacy as this
portfolio design was an extension of a previous project looking at positive/



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negative forms in black and white. The student went beyond the first assignment and
the criteria through her selection of people imagery, scenery, symbols, and theme. The
image of silhouetted young people jumping in the warm coral colored sand at a beach
during sunset is set against a blue sky with a few dark gray clouds. The image
demonstrates visual literacy by telling a story of the relationship of the people.
The line design on the left corner is also open to interpretation. This
demonstrates evidence of evolving visual literacy as she went beyond the assignment
criteria by extending the name design aspect of the piece. At first glance, the name
design is not apparent, yet with a closer look the sprawling lines mimic cursive letters of
the student artist’s initials, “S” and “C”. The work shows evidence of evolving visual
literacy through the thoughtfully chosen symbols as depicted in the imagery of jumping
silhouetted figures, the sprawling line design, and the summertime theme.




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Fig. 4.3: “Truism” typography project

Combining Text and Image
The assignment for figure 4.3 was to create a typography project that combined
elements of established text artists, Barbara Kruger and Jenny Holzer. The students
employed the work of these established artists and fused the artists’ styles to create their
own artwork. The student artist demonstrated evidence of evolving visual literacy by
giving a new voice to the work of the selected artists. The student appropriated
techniques used by Barbara Kruger, closely cropping images from magazines and
newspapers that are xeroxed in black and white with bold red font. The truism
statement: “Illness is state of mind” from artist Jenny Holzer. The student demonstrated
visual literacy through references to various artists and art movements; these various
references were presented through a focused and edited selection of people images,



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symbols, and text. Drawing on the different artists together mediated between the
student’s own influences, the student came up with an original artwork. This “Truism”
artwork shows recognized techniques, yet an original frame of reference.
The elements of people images were essential elements conveying the theme
and delivered a mostly coherent theme, as seen in play between comic book people
imagery and mimicked in the animated photo booth-like photograph of a person
wearing goofy sunglasses with a nonchalant expression and a graphic printed sweater
with a graphic print design. The student artist also demonstrated intentionality in the
symbols and text selected to deliver a coherent theme in the composition. This is seen in
the symbols and text, which is integral to the theme of the art piece and an essential
element in conveying the theme. The composition is created with an informal grid
pattern that is not aligned, but used as an organizer for all of the images to be placed in
boxes. The font is created in a large scale typewriting font, which gives the image a
formal and important look. This formal font is juxtaposed against the bubbly pop art
font in the background from the comic strip. Drawing on the different artists together,
the student created an original piece that intentionally evokes a direct and immediate
response. The artist’s work also shows how she used different voices to create one voice
in her artwork.




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Fig. 4.4: Sgraffito ceramic vase

The assignment for figure 4.4 was to create a ceramic vase using the sgaffitto
technique, and an ancient technique of scratching into the clay’s surfaces as a way to
make marks. The artist fulfilled the assignment and went beyond the assignment
through her selection of theme and concept. The student used an ancient technique to
depict elements of nature imagery such as vines and butterfly and flower motifs. The
student also shows a play between three-dimensional art and two-dimensional art, as
seen in line motifs, which is shown on a flat surface, and slowly wraps around the vase
as if it was a three-dimensional vine. This piece shows complex visual literacy through
referencing ancient technique to depict nature imagery, the selection of essential
symbols and design that enriches the piece, and intentional concept and impressions in
form that shows a play between 2D/3D art.




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Figure 4.5: Altered Book

The assignment for Figure 4.5 was to interpret a book that the student had read.
Inspiration and preparation came from artist Brian Dettmer, who is known for his
altered books and media pieces that are transformed into new artworks. Figure 4.6
demonstrates evidence of visual literacy by making meaning out of the diverse symbols,
text, and concepts. The off-centered yet balanced composition, placement of figure and
mobile on the book, and minimal design that reflects a mood of solitude demonstrates
the artist’s conscious decision making.
The student went beyond the examples from Dettmer’s books through her
intentional choice in materials. The student used techniques such as construction



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and reconstruction as seen in the clay figurine, the topographical mound of paper, and
the wire mobile structure. The orange color of the book cover parallels the terracotta
orange tone of the figure. The wash of blue color is again seen in the turquoise bead
hanging on the mobile, and the off white color of the island-like mound of paper is
echoed in the off white colors hanging on the mobile structure. The juxtaposition of the
gaunt figure that bends forward with a motion that conveys a lack of energy is also
reflected in the wire structure that is bent downwards similar to a willow tree. There is
evidence of visual literacy as evidenced by consciously coherent forms of interaction
between the person imagery and other imagery in the composition. There is also
evidence of a productive use of diverse materials and styles as seen in simplified
composition, complementary colors, island-like imagery, and eclectic use of materials.




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Figure 4.6: Literary Masks in Plaster “The Tin Man”

Figure 4.6 demonstrated evidence of visual literacy by creating meaning out of
imagery, symbols, and themes. The student incorporated the iconic depiction of the tin
man, elements from fashion magazines, and artist Robert Rauschenberg. The techniques
of casting and modeling were joined to go with the plaster face and the found objects.
The eclectic media was then unified through silver spray paint. The goal of the project
was make a literary mask and the process of creation was construction and
reconstruction. There is evidence of intentional interaction between the person’s face
and the other objects in the artwork to create a coherent concept. The face appears to be
flesh-like, yet is combined with mechanical objects. Evidence of visual literacy is seen



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as the work is enriched by thoughtfully chosen symbols of forks that stand in for hair,
bolts for eyes, screws and nails for the texture of the skin, and productive use of a
various techniques and materials to create a coherent concept. The silver spray-painted
mask also reflects a shield, and hardware: the forks that point above and the tools that
stick out appear ready to take on the world, and seems to protect the human face from
the hard reality that one might face.
Figure 4.7: AP Concentration 1 from “Childhood Innocence and Reality”




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Figure 4.8: AP Concentration 2 from “Childhood Innocence and Reality”

Figures 4.7 and 4.8 demonstrates complex evidence of visual literacy through
the concentration section of Advanced Placement Studio Art which required students to
create 12 artworks based on one theme in the same medium. The concentration of the
AP provided students with little to no guidance in coming up with a theme for the
artwork it did provide students with an opportunity creatively develop their own visual
literacy within 12 artworks.
The theme for figures 4.7 and 4.8 was “Childhood Innocence and Reality” and
the medium was acrylics on wood. The artist demonstrated knowledge of the
importance of cultural, historical, and social meaning through people imagery and
theme. The artist consciously developed a high level of visual literacy as seen in the
correlation between the activity of the people imagery and other imagery (in these cases
technology) in the compositions.



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In Figure 4.7 and 4.8, the artist explicitly illustrates the contrast and relation
between human and technology. In 4.7, the artist depicts a mother and child. The artist
extends the familiar art historical imagery of mother and child into a more
contemporary version that incorporates technology into the relationship. The image of a
full-figured mother who swaddles her child in soft fabric, sits in a plush chair, and holds
a child that rests in the comfort of her embrace. At first glance, the imagery of mother
and child appears to be from a different era portrayed in the hairstyle, clothing, and
furniture all of which appear to reference the 19
th
century. In contrast, the imagery is
surrounded by hard lines and geometric forms of gears and links and pixilated patterns
found in digital imagery, which spell the words “Raised on Technology.” In Figure 4.8,
the artist demonstrates visual literacy in the scenes with intentional use of road and
ocean landscape juxtaposed with the image of a child somersaulting, fading into a
Volkswagen bug.
Figure 4.9: Surrealism Painting




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Figures 4.9 demonstrated evidence of visual literacy through a realistic/
surrealistic project. The inspiration and preparation came from looking surrealist artists,
Rene Magritte, Salvador Dali, and Frida Kahlo. The representational rendering and
thick impasto painting techniques were used with oil paint on canvas. The artist shows
an evidence of complex visual literacy seen in the intentional depiction of a human face
created by the iconic white mackintosh charger cord that surrounds the brain, which
makes a commentary on how technology creates a brain. The brightly colored puzzle
pieces that is set against a landscape that also reflects the bright colors seems to convey
the symbiotic relationship between the organic and mechanical.
Figure 4.10 AP Concentration from “Youth in Disguise” Altered Photography




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Figure 4.10 demonstrated evidence of visual literacy through the concentration
section of Advanced Placement 2-D design course, which required students to create 12
artworks based on one theme in the same medium. The theme as seen in figure 4.10 was
“Youth in Disguise” and the medium was altered photography. The artist demonstrated
the use of different types of images, different angles of the same figure, and the
landscape, that are layered to create the artist’s own merged image. In a series of 12
works, the artist created other images of the same model, the artist’s sister. The artistic
interest in a photo within a photo or a picture within a picture was the seed that initiated
the project. The artist consciously demonstrated a high level of visual literacy as seen in
the relationship between the activity of the person and landscape imagery. In this photo,
a young woman is seen going and coming down road at the same time; this photo
creates a complex image to depict the theme “Youth in Disguise.”
Written Work in AP Studio Art: Bridging the Mediated Third Space with Visual Literacy
The artifact (writing) protocol was created to examine reflections of the students
on the role of social context and if it was important to the development of visual
literacy. Using this as a tool, the researcher found the AP Studio Art class to show an
evolving third space level of students demonstrating an air of acceptance with diverse
cultures of the classroom; this was important to developing visual literacy. In the
writing samples, there was a sense that this culture of the classroom was essential and
enriched the art learning process.
This kind of evidence is shown in the following written artifacts. The instructor
collected these from some of the students that reflected a variety of answers. The
assignment was for students to respond to the question “What is art?” near the



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beginning and completion of the course. These writing samples were taken near the
completion of the course. There was evidence of evolving visual literacy when the
question, “What is art?” was posed. The first response, included general answers for
example, art is everything. In the second response, students demonstrated an air of
acceptance with varied cultures, which was important to developing visual literacy;
Bell responded,
I used to think that art was only beautiful picturesque paintings and sculptures
because these things were really the only type of art that I had been exposed to,
but after visiting art galleries for an assignment, and from just being in the class
I have changed my opinion about art. Art makes you think. It exercises your
mind, and helps you to see the world in a different light. A beautiful painting of
a single rosebud might make you think about how thankful you are for all the
beautiful things in the world. But a painting of a homeless man might have the
opposite effect, making you think about all the sad things in the world, and what
you could do to remedy them. An abstract and cryptic piece of art will simply
make you try to figure out what it could possibly be. Art can be quaint,
depressing, happy-go-lucky, plain, or ornate, but it will always make you think.

Lena wrote, “from before, I have a different view of art….now I believe that art
expresses emotion and deeper meaning. People can express any emotion they want
through art.”
Ashley wrote:
At the beginning of school art to me was the way we expressed our feelings and
thoughts. I learned how much patience is involved with art and that it takes time.
At first I went too fast and now I take my time. I think all kinds of art is
beautiful and unique, not only paintings, but also sculptures and other mediums.
I have learned that art is part of everyday life, no matter if you notice it or not.

A clear example of how the social context was important to developing students’
visual literacy was in the responses of Lena, Ashley, and Bell. While Lena stated
subsequent to being in a mediated space she now believed that art expresses emotion
and deep meaning, Ashley stated that Lena’s foundation of knowledge was already part



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of her definition of art. However, in addition to expressing feelings and thoughts, Lena
stated that she learned that art is about developing patience, seeing beauty in various
forms, and that art is part of everyday life. Bell specifically mentioned that by being in
an art class, she realized that art is more than beautiful paintings and sculpture, and
stated the art class and events such as gallery and museum visits that were part of the art
class helped her recognize that art is enriched by multiple perspectives. The answers to
the question “What is art?” show that being in a social context of the visual art studio
classroom helps develop visual literacy. The samples also show that the mediated
classroom helps develop students’ visual literacy while they demonstrate knowledge of
the importance of cultural, historical, political, and social meanings regarding art.
Student writings conveyed that concepts and themes are essential and enriched the art
piece.
More evidence of evolving levels of visual literacy as created in a social context
is shown in the following written artifacts. The assignment was for students to write a
“Self-Critique” after completing the project. Students demonstrated an air of acceptance
with diverse cultures, which was important to developing visual literacy; Alves
responded,
I am extremely proud of my self-portrait. Although it is not a Van Gogh by any
means, it is a large step for me. I came into this class feeling that I had literally
no artistic ability drawing wise. My first portrait was not very good. The
features were not in proportion and the shading was less than admirable. The
teacher told me not to worry—she’d teach me how to draw a portrait. I honestly
didn’t believe her at the time. I do now. This drawing is a major improvement
from my last one. One of the things this art class and the teacher taught me is
never say never. I keep surprising myself by doing so. I have grown as a person
and as an artist this semester.

Alves manifested evidence of acquiring visual literacy through mentioning an



88
artist that was taught during the class in addition to skills acquired within a third space.
In addition, Alves emphasized the social interaction between the instructor and student
to have contributed to a positive artistic identity.
Bell wrote a self-critique on her portrait, she wrote,

I loved this exercise because I could actually do well in it. My self- portrait
looks like me, however, I think my eyes do not look like myself. The teacher
instructed me to add dark streaks to my hair, but it did not make it look
blonder—it just made my hair look greasy!!! I think it shows what I am like:
what I was thinking at the time.

Discussing her own observations and findings, Bell expressed evidence how the
social context (the teacher’s advice) also influenced her artwork. In the end, Bell does
show evidence of visual literacy as she reads beyond the image of the self-portrait and
looks/reads the expression on the face.
In the written self-critiques, students’ spoke about their own artwork with
transparency. There was recognition that teacher and student learning are intertwined as
students discussed how the teacher was engaged with and attentive to their needs. The
self-critiques also reveal inclusive decision-making patterns that took place during the
activity of creating a self-portrait. The researcher categorized their awareness of the
social context as part of their visual literacy as emerging because the students refer to
the teacher, but don’t seem to mention the role of other students.
Summary
This visual art studio classroom testifies to how mediated third spaces might
work. First, the classrooms showed physical, social, and cognitive aspects of a mediated
space. Second, the classroom altered the image of the traditional classroom as factory,
and the teacher provided space for communal sharing, learning as well as individualistic



89
and collaborative practice. Third, the students effectively functioned as a mediated third
space: as members incorporated knowledge from the whole group, promoted a dialogic
culture of understanding and productive use of difference, recognized that the group
was enriched by multiple perspectives, and accepted the rights and obligations of an art
studio classroom member.
The sample in the Heart High School study contained a mixture of students who
collaborated when making artwork and contributed to each other’s funds of knowledge.
The students also demonstrated how they use different voices to create one voice in
their artwork. Drawing on the different artists, sharing knowledge, and mediating
between students’ own influences, the students came up with an original artwork.
While the term “visual literacy” was never mentioned in specific terms,
interpretations can be drawn from the data presented with reference to the literature:
what the findings show clearly is that participation within a mediated third space plays
an important part in students’ lives and helps develop students’ visual literacy.
It was apparent that these students were all interested in the arts, especially when
the students were allowed to create their own meaning in their artwork and/or use in
peers as facilitators to help develop their visual literacy. What the researcher found
telling was that all of the students were making a conscious decision to participate in
making and/or critiquing art. The next chapter will discuss conclusions and the
implications of this evidence for the visual art classroom that works towards a mediated
third space with the goal of visual literacy acquisition. The third space showed evidence
of how it made visual literacy possible through a safe and collaborative setting that
encouraged the convergence of different forms of shared knowledge.



90
CHAPTER FIVE
ANALYSIS AND DISCUSSION
This study looked at visual art studio classrooms to identify if attributes of
mediated third space marked by sociocultural ways of learning were present and if the
work being produced showed evidence of visual literacy. Its intent was to explore the
mediated third space model within the visual arts studio classroom as well as the
implications of this kind of learning environment for other classrooms. In the midst of
controversy about the importance of the arts, a controversy that tends to become more
intense in times of economic crisis, this study can help educators and the public to adopt
a larger view of the role of the arts in the education of students.
Research Questions
The data were coded and analyzed to answer the following research questions:
1. In what ways does the studio art classroom display attributes of a mediated third
space?
2. In what ways does the work produced by the students in the visual art
studio classroom display evidence of visual literacy?
Summary of Findings
The researcher used observation as well as artifact research, and evaluated these
in relation to the literature. The researcher highlighted the most relevant comparisons
for the current study. The following is an outline of the summary of findings, based on
the observation and artifact rubrics.
Mediated Third Space
The overall findings were consistent with the literature, which describes the oldest to



91
more contemporary models of mediated third space classrooms:
a. the atelier (Gandini, Hill, Cadwell, and Schwall, 2005);
b. the mediated classroom (Dewey, 1943);
c. third space (Gutierrez, 1993); and
d. recent art studio models (Hetland, Veenema, and Sheridan, 2007).
From the observations, the AP Studio Art classroom selected for the study
(which included students concentrating on AP Drawing, Design, and 3D Design)
showed attributes of a mediated third space:
1. The AP Studio Art classroom reflected a multicultural and active physical
environment. Using the observation rubric, the researcher determined from the
series of visits that the classroom demonstrated a mature level of a physical
environment consistent with a sociocultural environment of a mediated third
space that reflects respect for all cultures represented in the classroom. The
sources of evidence were from classroom observations and students’ writings.
While at first, there were non-multicultural art posters were on display in
subsequent visits the artworks added to the class addressed the importance of a
multicultural and active physical environment.
2. The AP Studio Art classroom reflected a social environment of teacher with
students and students with students. Using the observation rubric, the researcher
found that the classroom demonstrated:
a. mutual respect;
b. dialogic/diachronic talk; and
c. non-traditional exchangeable teacher and student roles in a mediated 3
rd




92
space classroom environment at the mature level.
3. The AP Studio Art classroom reflected a cognitive environment in which
knowledge was constructed as well as contested in a social context, and was a
shared responsibility. Based on the observation rubric, the classroom
demonstrated a mature level of constructing knowledge consistent with a
mediated third space as described in the literature. The sources of evidence were
from students’ writings, as well as the observations.
Although the researcher rated the classroom at a mature level of constituting a
mediated third space, the AP Studio Art classroom also functioned in ways that varied
at times from the way the literature defined a mediated third space. They varied when
members of the class identified themselves more strongly with small groups before
identifying themselves as members of a whole group. Also shifts in social organization
of learning happened mostly with teacher facilitation, which changed from students
problem-solving, working independently, and on some occasions relying upon the
teacher. Observations also included teacher-facilitated peer critiques and dialogue
amongst students. The researcher concluded that these actions showed mature levels of
a mediated third space because these variations were viewed as transitions to reaching
mature levels of the third space. The mediated third space is a process, rather than a
product, and the process was at a mature level. In this third space, the dialogue taking
place among the students and the processes by which they were creating art
demonstrated their emerging visual literacy.




93
Visual Literacy
The findings were consistent with the literature, in that the artwork and writing
artifacts produced by all fifteen out of fifteen students in AP Studio Art classroom
showed evidence of visual literacy:
1. The artwork reflects the importance of cultural, historical, political, and
social meaning through the imagery of people in developing themes. Based
on the artifact rubric, the artwork shows a complex level of visual literacy
that is consistent with the literature of Freedman (2003) and Taylor (2008).
The sources of evidence are from artworks that show that images of people
were essential to the theme and enriched the art piece.
2. The artwork reflects intentionality in the interaction between people imagery
and other images in the composition to create a coherent theme. Using the
artifact rubric, the researcher determined that the artwork showed a complex
level of a visual literacy that was consistent with the literature of Freedman
(2003) and Taylor (2008). The sources of evidence were from artworks that
showed an intentional relationship between people and other imagery in the
composition.
3. The artwork reflects scene images that conveyed cultural, historical,
political, or social context in support of the theme. Based on the artifact
rubric, the artwork showed a complex level of visual literacy that was
consistent with the literature of Freedman (2003) and Taylor (2008).
4. The artwork reflects intentionality in the scene imagery selected to deliver a
coherent theme in the composition. Using the artifact rubric, the artwork



94
showed a complex level of a visual literacy that was consistent with the
literature of Freedman (2003) and Taylor (2008). The artworks showed
coherence in the fabric of the composition and interconnected relations
between scene imagery.
5. The artwork reflects intentionality in the symbols and text selected to deliver
a coherent theme in the composition. Using the artifact rubric, the researcher
found that artwork showed a complex level of visual literacy that was
consistent with the literature of Freedman (2003) and Taylor (2008). The
artworks showed symbols and texts as essential to the theme and enriched
the art piece.
6. The artwork reflects that students’ demonstrated the knowledge of the
importance of cultural, historical, political, and social meaning through
concept impressions and apparent themes in varying degrees. Based on the
artifact rubric, the artwork showed a complex level of visual literacy that was
consistent with the literature of Freedman (2003) and Taylor (2008). The
artworks exhibited concept impression, and apparent themes were essential
and enriched the art pieces.
7. The artwork reflects intentionality in the concept impressions and apparent
themes and other images in the composition to create a coherent artwork.
Based on the artifact rubric, the artwork showed a complex level of visual
literacy that was consistent with the literature of Freedman (2003) and
Taylor (2008). The sources of evidence were from artworks that showed
development of consciously coherent forms of participation and activity



95
between people imagery and other imagery in the composition.
8. The writings reflect that the student artist had developed an air of acceptance
with the diverse culture of the classroom. The writings confirmed the
researcher’s observations that the classroom demonstrated a mature level of
the mediated third space consistent with the literature of Freedman (2003)
and Taylor (2008). The sources of evidence conveyed the sense that the
diverse culture of the classroom is essential and enriches the art learning
process.
Also, the third space creates an environment in which students’ development
of visual literacy is evident, both in the products they are creating and in the
kind of dialogue that takes place. Finally, this is confirmed in their writing.
9. The writings, in addition to the artwork reflect the students’ awareness of
cultural, historical, political, and social meanings. Based on the artifact
rubric, the artwork showed a complex level of visual literacy that was
consistent with the literature of Freedman (2003) and Taylor (2008).
Recommendations
Implementation of the Mediated Third Space Model
There is great potential for the mediated third space model’s goal of enhancing
students’ visual literacy acquisition, as well as other forms of literacy.
Recommendations include implementing the mediated third space model in other art
classroom models.
This is justified from the close match between the literature and the findings. What was
telling was that the mediated space allowed for the teacher and students to redefine the



96
space anywhere they saw fit; the third space was expanded, redefined, and/or mutually
constructed based on the persons involved. The model allowed for all members to draw
upon different sources of knowledge and communicate this as a thinker and maker.
Consideration of the concept and merits of the mediated third space that are
intrinsic to the studio art is also recommended to other classrooms. Schools may want to
consider implementing the mediated third space classroom model beyond the AP Art
Studio classroom and into other disciplines. Studio art teachers can take a lead in
helping other teachers develop classrooms that implement the mediated third space.
Other teachers can also observe studio art classrooms to identify key aspects and the
benefits of this kind of classroom. In addition, teachers from other disciplines will need
to collaborate, engage in team teaching, and create interdisciplinary project-based
teaching (Wootton, 2004).
To implement the mediated third space classroom model, teachers will need
support. Teachers will need time for planning, professional development, and collegial
time to observe one another. It is also essential that teachers and administrators read
some of the research literature that provides a theoretical basis for the model. Teachers’
will need to create a curriculum that supports interdisciplinary project-based learning
and a master schedule that will allow for team teaching. In addition to the preparation of
teachers for implementing this model, schools may want to engage students in
intentional orientation to the model.
In making these recommendations it is important to note that one explanation for
the mature levels of the mediated space and of visual literacy in this classroom is that
the class consisted of a selected group of students. Further research would be needed to



97
determine the degree to which this model of classrooms would be effective with a more
heterogeneous group of students.
Consistent Student-Centered Communication
The mediated third space should first and foremost be student-centered because
this classroom model is co-constructed space where students incorporate knowledge
from the whole group, promote a dialogic culture of understanding and productive use
of difference; students also will need to recognize that the group is enriched by multiple
perspectives and accept the rights and obligations of an art studio classroom member.
A student-centered mediated third space visual art classroom can create a
context for students to own their presence in the classroom environment, create their
own assignments and productions, and have an active voice. As the students in the
studio art class continued to have a strong voice in the visual art classroom and the
culture of the whole school, they developed their own voice in a community in which
they could grow and pick up an awareness of how they could contribute their voice to
the world. Their artwork demonstrates visual literacy as evidence that it was not only
developing the technical skills for making art, but also the meaning they were making
of the world around them. Their work demonstrates a level of visual literacy that can be
useful in their making meaning through engaging print literacy. The writing exhibits
how a mediated space also facilitates literacy, by providing a wealth of options to
explore different directions and ideas.
Continued Research
The mediated third space model and the work being produced are worthy of
continued study.



98
Further points of research could be:
• The impact of the mediated third space on student identity formation.
• Common behaviors employed by instructors and students of a mediated third
space.
• The impact of the mediated third space on the student and teacher relationship.
• The impact of the third space on the student-to-student relationship.
• The impact of the mediated third space on multiple expressions of literacy.
• The impact of mediated third space and visual literacy acquisition on the
students’ higher order thinking skills.
• The impact the third space on multicultural and non-multicultural art examples.
• The effectiveness among heterogeneous students who have not been pre-
selected for certain criteria.
Additionally, continued research into the overall state of the mediated third
space and the goal of enhancing students’ visual literacy are justified.
Conclusions
Corporate America has proclaimed the need for a creative workforce, yet arts
education is not connected to this goal. America has developed tunnel vision when it
comes to the economical effectiveness of the arts. In response to the needs of the market
implications, Kennedy (2006) states that students need to be learners with skill sets like
flexibility, problem solving, as well as creativity. Art is necessary [in science and other
fields] as it fills the need for a creative thinker and problem solver (C. Siprajim, public
presentation, October 7, 2010.) Therefore, a major focus needs to be on the exploration
of the enriching potential of the arts—to enhance the cognitive development of students



99
within an art studio classroom and acquire visual literacy.
A visual representation of a mediated third space from a visual art studio
classroom is depicted below:
Figure 5.1: The Unity Through Diversity Quilt

The “Unity Through Diversity” quilt was a school wide project from Heart High
School: the project first started with students in the art studio classroom and opened up
to the larger community. Students used a variety of media including paint, collaged
materials, etc. The art students, club members, as well as the larger community of artists
were given a square canvas to depict their relationship with the theme. Each square is
different and embedded within the context of other members’ artworks. The images are
diverse, and each person brought something unique to contribute to the larger piece.
This project continues to grow and be revisited at the school.
Summary
The mediated third space has the potential to be a conduit of empowerment,
allowing students, teachers, and community members to contribute to transformation of



100
their own learning and classroom culture within the school. This empowerment can lead
to a new cultural model, transforming classrooms and schools beyond the art studio
classroom.
Through the mediated third space, all stakeholders learned to slowly straddle
diversity and become more flexible to live, work, and create effectively in a
multifaceted world. However, as the mediated third space parallels the complex
structure of a Bach fugue, in that a student artist is able to draw on different voices to
create one voice, one can see why the majority of classes adhere to more traditional
models. These one-size-fits-all classes where there is one dominant voice may be the
easier for teachers to control.
The mediated third space can take on different forms: in other classes it can be
expressed in print literature, drama, problem-based project. The third space experience
enables learners to investigate their worlds, and mediate between community, school,
and group knowledge, to construct meaning out of their experiences. In the case of a
studio art class, this is expressed through visual literacy and the products that students
create. Visual literacy and artwork is different from other forms of literacy, as it
provides access to different materials, can be more personal, and taps into different
parts of the brain.
While these classes may leave students with a box of skills, the mediated space
advances skills sets to emphasize students’ ideas, which distinguishes them as an artist:
a communicator, thinker, and maker who draws upon different sources of knowledge. In
addition, the third space allows students to have their own voice and obtain elements of
visual thinking in a community in which they can grow in.



101
The literature shows how art studio classrooms have changed through time.
While at one time, it was appropriate to use the one-size-fits-all school as factory
model, this pedagogy does not match the current needs of students who come from
diverse backgrounds that must all be recognized. According to multicultural research,
the reality is that students’ multiple voices, especially the disadvantaged ones, must all
be accounted for. As much dedication and patience as it takes an organist to play a
prelude and fugue, likewise even educators must embrace the challenge to work
towards the mediated third space.




102
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APPENDIX A

RUBRIC FOR MEDIATED THIRD SPACE ART
STUDIO CLASSROOMS
School Name___________________________________________
Class Title _____________________________________________
Participants: (Circle) • Faculty • Students
Gender_____
Age_________________
Ethnicity/Race______________________________________
Primary language/s__________________________________

Beginning (Low) Evolving (Moderate) Mature (High) Evidence/
Comments
Physical
! Few students are active
creating and critiquing art
! No art work on display
! Little artwork in the
portfolios

! Most students, mainly of same ethnicity or gender
focused on creating and critiquing art
! Few pieces of artwork visible coming from a few
students – not fully representing gender, ethnicity, etc.
! Art work shows limited diversity
! Little artwork in portfolios

! All members were active
participants within a community
focused on creating and critiquing art
! Visible artwork representing
students diversity
! Artwork in portfolios indicating
productivity of all students
! Teacher mingling among students
or pulling them together at intervals
to discuss the work

Multicultural and active physical
environment

Social
! Undercurrent of incivility –
little or no evidence of
awareness or use of respectful
listening and speaking
interactional norms
! Awareness of mutually respectful listening and
speaking interactional norms displayed among students
and between students and teacher
! Routine and comfortable use of
mutually respectful listening and
speaking interactional norms among
students and between students and
teacher
! Observable protocols for
discussing student work

Mutual respect – mediated 3
rd

space
! Little or no evidence of
inclusive decision making
patterns during and between art
producing activities

! Decision making patterns involve only a few
students, mainly within similar gender, language, age,
and ethnic groups taking place during and between art
producing activities
! Inclusive decision making
patterns taking place during and
between activities, crossing
language, age, gender and ethnicity
Dialogic – mediated 3
rd
space




109

! Traditional roles of teacher
and student – little opportunity
for students to teach one
another or teacher
! Some occasions with students teaching one another;
not occasions with students instructing or informing
teacher
! Students and teacher exchanging
roles with students teaching and
learning from one another and
teacher learning from students

Non-traditional exchangeable
teacher and student roles -
mediated 3
rd
space
! Students working in
isolation; little dialogue among
students or between teacher
and students

! Some talk among students, but a few dominate the
conversations or teacher dominates
! Multiple examples of
dialogic/diachronic talk involving
numerous students at various times
Dialogic/ diachronic talk –
mediated 3
rd
space

Cognitive
! Little or no
acknowledgement of
differences within the group

! Little or no attempts to
interact across gender, age,
language, or ethnic differences
in discussing students’ artwork
! Casual conversations that incidentally involve
differences in the group, but not regarding the artwork
! No evidence of dialogic and dialectic exchanges about
students’ cultural, ethnic, linguistic or gender differences

! Focused conversations about
students ‘work between students
! Focused conversations about
students work from instructor
! Dialogic and dialectic exchanges
about students’ cultural, ethnic,
linguistic, or gender differences
! Artwork in portfolios or on
display reflects multiple perspectives
about life
! Students’ inquiry guides learning

Recognition that group is enriched
by multiple perspectives
(knowledge is constructed and
contested in a social context)

! Sense that some individuals
are interchangeable and
expendable exclusion of some
students from the discussions
of creating artwork
! Contributions to group are
acts of individual volition
! Most students included in discussions about creating
artwork, but some still not included
! Mainly teacher facilitating the discussions about
creating artwork
! Demonstrate awareness that participation is expected
from all members

! Students and teacher co-
constructing knowledge to include
multiple perspectives
! Teacher and students as facilitator
and sources of knowledge
! Student and teacher co-
constructed rubrics for assessing
student work
! Students demonstrate
responsibility for including students’
differences in conversations about
creating artwork:

Co-construction Process
(construction of knowledge is a
shared responsibility)




110
APPENDIX B

RUBRIC FOR ARTIFACTS: ARTWORK

School Name___________________________________________
Class Title _____________________________________________
Participants: (Circle) • Faculty • Students
Gender_____
Age______
Ethnicity/Race______________________________________
Primary language/s_________________________________
Title of Work_______________________________________

Artist demonstrates
intentionality in the
selection and portrayal of
people imagery

! No essential attributes to
the imagery of people
contextualize them
culturally, historically,
politically and/or socially
within the art piece
! The people in the art
piece are non-essential;
conveys sense that they are
interchangeable and/or
expendable

! The imagery of people
make a unique quality to the
art piece
! The imagery of people is essential to the
composition of the art piece

Attribute

Little Distinct Evidence of
Visual Literacy

Evidence of Evolving
Visual Literacy

Evidence of Complex Visual Literacy

People
Scenery

Artist demonstrates
intentionality in the
selection and portrayal of
the scene imagery
! A sense that scenery is
interchangeable and
expendable without a clear
purpose
! Scenery contributes
unique quality to the
artwork
! Work is enriched by the intentional use
of scenery to contribute to the theme.




111

Artist demonstrates
intentionality in the selection
and portrayal of the scene
imagery

! Scene imagery contributes to
an incoherent and dissonant
depiction of a central theme in
the composition.

! Some coherence and
consistency in themes in the
composition.

! Conveys coherence in the fabric of the
composition.
! Development of new interactional norms
and distinctive interconnected structures and
relations between within the scene imagery
Symbols and Text
Artist demonstrates
intentionality in the use of
symbols and text selected to
deliver a coherent theme in the
composition.
! Conveys the sense the
symbols in text are not integral
to the theme of the art piece and
could be interchanged with other
images and not change the art or
overall theme
! Symbols and text are
integral to the theme of the art
piece and an essential element
in conveying the theme

! Symbols and text are essential to conveying
the theme and enriches the art piece
Concept Impression-Apparent Themes
Artist demonstrates
knowledge of the
importance of cultural,
historical, political and
social meaning through
concept impressions and
apparent themes
! Art piece demonstrates
random use of cultural,
historical, political and
social meaning in
constructing concept
impressions and apparent
themes.

! Concept impressions and apparent
themes are integral to and an essential
element conveying the theme.
! Concept impression and apparent themes
are essential and enriches the art piece
Artist demonstrates
intentionality in the
concept impressions and
apparent themes and other
images in the composition
to create a coherent
artwork
! Incoherent and dissonant
themes in the composition

! Elements and images deliver a
mostly coherent theme and consistency
in themes in the composition.

! Development of consciously coherent
forms of participation and activity between
people imagery and other imagery in the
composition.

Total from columns:




112
APPENDIX C

RUBRIC FOR ARTIFACTS: WRITING

School Name_____________________________________
Class Title _______________________________________
Participants: (Circle) • Faculty • Students
Gender_____
Age__________________________
Ethnicity/Race____________________________________
Primary language/s_________________________________
Title of Work_____________________________________

Artist demonstrates
an air of
acceptance with
diverse culture of
the classroom

! Sense that the culture of
the classroom is not
integral to the art learning
process

! Sense that the culture
of the classroom is
integral to the art
learning process

! Sense that the
diverse culture of
the classroom is
essential and
enriches the art
learning process

! Recognition
that group is enriched
by multiple perspectives
! Recognition that
teacher and student
learning are
fundamentally
intertwined
! Interchangeable
“teacher as student “and
“student as
teacher” roles
! Other:

Attribute

Little Distinct Evidence of
Mediated
Third Space (M3S)

Evidence of Evolving
M3S

Evidence of Mature
M3S

Evidence/
Comments




113

*Modified to apply to students from Grossman, Wineburg & Woolworth (2001),
Toward a Theory of Teacher Community, Model of the Formation of Teacher Professional Community,
pg. 988.

Attribute Little Distinct Evidence
of Visual Literacy

Evidence of Evolving
Visual Literacy

Evidence of
Complex Visual
Literacy
Evidence/
Comments

Artist demonstrates
knowledge of the
importance of
cultural, historical,
political and social
meaning artwork in
the writing
! Writing conveys the
sense that concepts and
themes are not integral
to the art piece

! Writing
conveys that concept and
themes are integral to
and an essential element
conveying the theme.
! Writing conveys
that concepts and
themes are essential
and enriches the art
piece
!
!
! Other:

Total from columns:
Majority will determine
evidence of mediated
third space and visual
literacy

Abstract (if available)

Abstract The visual art classroom can provide an important social and cognitive space for expression that fosters the development of students’ visual literacy. Using Gutierrez’s (1993) theoretical framework of the third space, Dewey’s (1943) theory of the mediated classroom, and Freeman (2003) and Taylor’s (2008) concept of visual literacy, the researcher analyzed the attributes of the mediated third space in the visual art studio classroom and the work being produced. The analysis of the third space model has the potential to transform other classroom models. Further, the art studio space in the presence of an art teacher serves to develop students’ visual literacy that can foster multicultural awareness.

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University of Southern California Dissertations and Theses

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Asset Metadata

Creator Lee, Michelle Mary (author)

Core Title Working toward third space: visual literacy acquisition in art studio classrooms

School Rossier School of Education

Degree Doctor of Education

Degree Program Education (Leadership)

Publication Date 12/01/2010

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag art education,multicultural awareness,OAI-PMH Harvest,sociocultural theory,visual literacy

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Rousseau, Sylvia G. (committee chair), Gokalp, Gokce (committee member), Gothold, Stuart (committee member), Tiffany, Daniel (committee member)

Creator Email lee8@usc.edu,michellemarylee@yahoo.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m3571

Unique identifier UC1129463

Identifier etd-Lee-4127 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-414569 (legacy record id),usctheses-m3571 (legacy record id)

Legacy Identifier etd-Lee-4127.pdf

Dmrecord 414569

Document Type Dissertation

Rights Lee, Michelle Mary

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email cisadmin@lib.usc.edu