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Ely (2019) created this lovely infographic expounding on the motivations and barriers towards engagement with the arts. While referring to music, these findings are applicable to visual and performing arts as well. Of most value is how the attitude of the individual aligns to their perception of their social status when choosing to integrate into artistic communities. This infographic, and the creator's comments on it, allude to an element of critical geography that play into perceptions and participation in art communities. This could be used as a conversation point for students to discuss how those in at-risk areas with less resources are less inclined to partake in artistic endeavors or communities versus those in more affluent areas. This may potentially spark a debate on how to make art more accessible to all. This would be a useful resource for helping students design art curricula, public artwork, art outreach programs, and much more!

Entire article found here: https://go.marybaldwin.edu/education/2019/03/26/infographics-artful-display-information/

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Terranova (2020) offers personal insights and observations on why artists fail in their blog post. This brief read allows artists of all age and ability levels to understand what limiting beliefs discourage artists into surrendering their creative efforts. An intriguing and relatable read, students will come to understand the excuses and lies artists often tell themselves, and how those become self-fulfilling prophecies. This could serve as an outstanding topic for debate, and students can easily add on to this list! They could even potentially make their own blog posts or interview professional artists to create their own podcast, Tik Tok, or writing based on their findings

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5 Toxic Mindsets That Will Hinder Your Artistic Career - The Part-Time Artist

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As artists, we often think that our talent is all that counts when it comes to success. But there is something that is much more important to your success: mindset. A productive and good mindset will allow you to attempt more things, take on new challenges and sell more art, while a toxic mindset will prevent you from making crucial decision, starting new ventures or promoting yourself.

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On the goals and outcomes of arts education: An interview with Lois Hetland

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On the goals and outcomes of arts education: An interview with Lois Hetland

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Hetland & Heller (2017) champion art as a mode of communication rather than producing effects that are secondary or tertiary benefits to core academics. Hetland specifically addresses false assumptions, dismissed findings, and incomplete findings that art education mislead administrators for years. This included the Mozart effect, raising SAT scores, or even the inclusion of art and its benefit to student academics. Hetland asserts that these findings were shaky at best, and were not strong groundings for why art education should exist (Hetland & Heller, 2017, p. 16-17). Rather, the authors imply that higher forms of thinking exist within studio spaces, forming more concrete defenses for art education.

In their conversation, Hetland alludes to her research with her colleague, Ellen Winner, defining the studio habits of mind. These four habits of mind (creating, performing/presenting/producing, responding, and connecting) were the result of a grounded theory research project which identified unique ways that artists are taught to think (Hetland & Heller, 2017, p. 18). This cements the true benefits of art education, and elicits the reality that being a successful artist requires the cultivation of unique approaches and attitudes. The authors' conversation in this article are helpful for artists, art educators, and non-artists to learn how special art is and why it should exist in educational spaces.

In order to fully understand the full scope and impact of this conversation, it's most helpful for someone to have read Hetland et. al's book she references, Studio Habits of Mind. It's an excellent read and should be a staple for preservice art teachers, in my opinion. Without it, the article feels a bit ambiguous; however, having a prior understanding of the author's work and her contributions to that book gives this conversation more depth and meaning. Even at a glance to the layman, this article defends art as a labor of the mind and not of special gifts or talents. Perhaps in future scholarship, this could be the precursor for establishing a framework for artistic mindsets?

Hetland, L., & Heller, R. (2017). On the goals and outcomes of arts education: An interview with Lois Hetland. The Phi Delta Kappan, 15-20.

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Art Education, Therapeutic Art, and Art Therapy: Some Connections

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Art Education, Therapeutic Art, and Art Therapy: Some Connections

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St. John (1986) champions the inclusion of art therapy training for preservice art teachers. The primary reason for this is that many students placed within studio classrooms are not emotionally or cognitively prepared for the experience of mainstreamed art education. This alludes to the need for specific skills and attitudes that are necessary for students to experience art education at its highest level, yet many are not prepared for it. In their research, they observed that art classes are often "dumping grounds for every sort of problem from emotional and neurological disorders to social maladjustment" (St. John, 1986, 14). The author acknowledges that these students are not ready to fit into mainstreamed art education practices due to deficits in social, emotional, and cognitive abilities.

To alleviate this stress on art teachers, St. John suggests the establishment of a pre-art or art therapy course for students who are not prepared to enter the traditional art classroom. In order to prepare students for that experience, the author emphasizes the importance for art teachers to become certified art teachers first, then further educated in special education or art therapy in order to recognize the unique needs of students in the proposed preliminary art courses (St. John, 1986, p. 16). This practice would better equip teachers to handle these diverse students, instill essential habits and mindsets necessary for success in traditional studio courses, and better prepare students for mainstream art curricula. St. John also suggests some limiting criteria for such courses, recommending curricula less focused on aesthetic outcomes and more on process and creativity. This article outlines some relevant issues within contemporary art education practices that stress teachers, offering some potential fixes while cementing the reality that art inhabits a unique and complex cognitive space is worth visiting.

While well-intentioned, St. John's recommendations are highly unrealistic. With art departments making up a severely small, and often shrinking or non-existent part of a school's faculty, this would force preservice art teachers into an even more vulnerable position. Following St. John's advice, preservice teachers would sacrifice their graduate endeavors to become better art teachers to become more specialized in special education practices; this is ill-advised for preservice teachers who do not have ambitions of working specifically with that student population. Furthermore, this path is often not recognized with state licensure boards, resulting in graduate education that does not promote art educators to higher pay rates, yet requiring them to be twice as certified as many of their colleagues without the economic incentive. Nonetheless, St. John's framework does provide insight into the special space which studio classrooms provide; this facet of this article should be paid most attention to, as further scholarship can help reveal what strategies and pedagogies can be employed to engage art students of all social, emotional, and cognitive levels.

St. John, P. A. (1986). Art Education, Theraputic Art, and Art Therapy: Some Relationships. Art Education, 14-16.

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Frameworks for Educating the Artist of the Future: Teaching Habits of Mind for Arts Entrepreneurship

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Frameworks for Educating the Artist of the Future: Teaching Habits of Mind for Arts Entrepreneurship

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Essig (2012) Provides a thought-provoking framework for artists-in-training that bridges artistic mindsets and entrepreneurial mindsets in their article. Drawing from the scholarship of Howard Gardner and Tom Duening, Essig draws interesting parallels between how artistic and business pursuit achieve success. Both of these sources add authenticity to the author's theory, as the intended use of this research is to help artists become self-sustaining in the contemporary market place. Essig conveys how combining Gardner and Duening's frameworks  culminate in unique pedagogies that can be utilized in various educational settings to support art entrepreneurship and elevating conceptualization processes (Essig, 2012, P. 66). These findings establish a strong premise for the importance of cultivating habits and mindsets in art education.

Of particular importance in this article is the promotion of specific modes of thinking that allow artists to achieve success. These include resiliency, managing unsuccessful attempts, presumptions and perceptions surrounding failure, mentorship, and self-reflection. These mindsets allow artists to operate at the highest levels. Essig's merging of scholarship expounds upon the importance of grit which enables artists to pursue their passions with minimal friction. One meaningful inclusion is the topic of effectuation, which Essig recognizes as an essential component of developing artistic entrepreneurship; effectuation, as they describe it, is the ability to recognize opportunities through the creative efforts rather than only seeing the end itself as an opportunity (Essig, 2012, p. 68). The entirety of this research encourages further exploration of how artists should cultivate habits and mindsets that support their ambitions.

The most obvious criticism of Essig's article is the economic bias of it. Recognizing art as a tool for capitalism may have unforeseen consequences on the hobbyist and art enthusiast that does not crave entrepreneurial efforts. This also disregards the humanitarian and holistic  components of artmaking that make it a worthwhile endeavor for humans. While it will certainly assist artists who have professional ambitions, Essig's framework for art entrepreneurship may also turn off those without desires for economic conquest.

Essig, L. (2012). Frameworks for Educating the Artist of the Future: Teaching Havits of Mind for Arts Entrepreneurship. Artivate, 65-77.

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Brunet (2022) combines practical experience with neuroscience while explaining the process of learning art. This resource is highly aesthetic, complete with compelling arguments supporting student learning in art and attractive visuals, to stimulate curiosity and encourage positive mindsets towards learning art. This video expounds upon perspectives that supports cognitive development and positive outlooks on artmaking. Students struggling with art, or just learning art at later points in adolescence or early adulthood, will benefit greatly from this resource. The narrative and visual elements of this video provide powerful insights into how art is a learned skill and promotes a positive growth mindset

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🧠 SCIENCE OF LEARNING (art) FASTER (my most important video yet)

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The Art Mentor (2023) provides powerful insights on many common barriers that artists encounter. These relatable circumstances give perspectives on what obstacles artists face including professional, familial, and economic hardships that are inevitable on the road to developing better mindsets and habits that enable artistic success. This resource is helpful for art courses of all levels, especially secondary and post-secondary level classes where students will have been exposed to most if not all stimuli mentioned in this video

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Why ALL of your art will die in 1-2 years

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Brunner (2021) elicits the important practices of artists to implement growth mindset habits. These are essential to developing a healthy relationship with art and denying preconceived limitations and barriers to better artmaking. Her brief article also provides 5 simple activities students can do in order to combat fixed mindsets and empower students to learn art, regardless of their current ability levels. This is a quick read with fantastic resources to embolden students to stretch outside their comfort zones through art!

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It doesn't matter how experienced you are, creating art and staying with it can feel like riding a rollercoaster. Many artists wonder if they should give up. A growth mindset makes the difference and empowers artists to handle the highs and lows of the journey.

Fixed Mindset Vs Growth Mindset

Fixed Mindset

Have you ever heard of a fixed mindset? As an educator, I hear this term a lot. If you have a fixed mindset, you put a limit on yourself. People with fixed mindsets believe they cannot succeed in certain areas. They believe they don't have the talent or skill to succeed, and they never will. Sounds pretty depressing right? You would be surprised how many times I encounter this as a high school art teacher. Many students approach art from a fixed mindset. It locks them in place and keeps them from improving.

Growth Mindset

Growth mindset is the belief that you can get better and learn new things. Failure is temporary and part of growing. Instead of placing limits on your potential, you PRACTICE to learn and get better at something. Growth mindset is viewing the process as a journey where you will eventually get to the goal. Failure is part of the beauty.

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Creating Art: Why Growth Mindset is Essential - Michelle Brunner

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It doesn't matter how experienced you are, creating art and staying with it can feel like riding a rollercoaster. Many artists wonder if they should give up. A growth mindset makes the difference and empowers artists to handle the highs and lows of the journey. Have you ever heard of a fixed mindset?

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When you're not as "talented" as other artists

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When you're not as "talented" as other artists

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Kaniuga (2022) shares a wealth of examples and wisdom from his industry experience on the topic of talent. This resource enables students to hear how an incredibly successful artist in the comic and videogame industry overcame the obstacle of feeling ungifted in art, compensating with passion and work ethic. Kaniuga shares his experiences during multiple points in his life where he was able to surpass other artists through cultivating healthy habits and mindsets. He conveys how developing a positive approach reinforced through positive actions that align to specific personal goals. This resource could be played in the background while students work, could be presented for discussions and debate, and overall allows students to see how professional artists have the same struggles as professionals

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When you're not as "talented" as other artists.

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Kaniuga (2022) illuminates on the challenges of working as a professional artist in such a way that artists of any skill level can relate. He advises on strategies that allow artists to combat depression, loneliness, and anxiety. Artmaking is inherently a lonely endeavor, forging very personal works in private. Kaniuga speaks encouragingly on how to combat self-doubt artists feel when sharing their artwork with the world and getting a lack-luster reception, if any. He also provides insights as a working professional artist in the comic and videogame industry for how he finds joy and channels his foci into his projects so that any artist listening will develop the grit necessary to sustain their artistic pursuits. This type of content can be played while students work, as content served prior to discussion or writing assignments, and is overall a fantastic resource for students experiencing sub-optimal periods in their art journeys.

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Chiu (2023) elaborates on the familiar struggles of working artists and what their efforts result in. He encourages artists to deny their anxieties regarding the end product and instead of channeling their energy into what efforts artists need to exert currently. This motivational video is very relatable to art students of any level, and will be especially reassuring for young artists who aren't satisfied with their current productions. This video can be a quick jolt of inspiration for students at the middle or towards the end of a project, when stress levels are rising. This content can open up deep discussions about the innate stressors within the artmaking processes. Chiu's videos as well as his YouTube shorts (https://www.youtube.com/@BobbyChiu/shorts) provide opportunities for artists to be vulnerable and have necessary discussions about the lows of artmaking.

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This Pinterest board shares an impressive assortment of quotes and phrases designed to invigorate any sterile classroom environment. These can be shared at the beginning of a class, as a bell ringer or exit ticket, as conversation points throughout a slideshow, or as writing or acting prompts for students to engage with. Art educators may print these out to decorate their spaces, play the images on loop whiles students work, or even prepped into emojis when giving students feedback. These could also be used to inspire redirection when students are observed feeling defeated or exhausted in their artistic endeavors, or to inspire higher level courses to excel beyond their current abilities. Sometimes concise and powerful quotes such as these will inspire students to fight on and experiment in their artistic endeavors

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140 Motivation for Artists ideas | quotes, inspirational quotes, me quotes

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Apr 2, 2021 - Quotes and tips for every artist. If you want to read more quotes and tips, visit our blog:
www.unifiedmanufacturing.com/blog. See more ideas about quotes, inspirational quotes, me quotes.

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Cohen (2023) provides a concise set of examples and definitions for growth mindsets versus fixed mindsets, and how they are prevalent amongst musicians. The author provides some brief explanations on why talent isn't a large factor in achieving artistic brilliance, that struggles are innate in artistic processes, and how the science of neuroplasticity allows anyone to learn anything with enough time and effort. To test students' current attitudes on artmaking, this link provides a brief questionnaire that determines their current mindset. These analyses can be utilized for large and small group discussions, brainstorming questions, serve as prompts for critical writing activities, or even inspire skits where students act out what growth versus fixed mindsets look like in the arts. This resource may help students challenge their preconceived perceptions of their abilities and future in artmaking, potentially opening up the door to wonderful opportunities in the arts

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Written by Dr. Levana Cohen

"I'll never be as good at the clarinet as they are...", "I just don't have a good sense of rhythm...", "This is too hard I'll never get it...", "When people give me feedback, it feels like criticism...", "I'm not talented enough...", "It's embarrassing when I make a mistake..."

If you are a musician, chances are these thoughts have creeped into your head at one time or another. Musicians are constantly being evaluated and are often denied opportunities more than they are offered them. "Successful" musicians have the right mindset to withstand the constant barrage of judgment.

Which Mindset Do You Have?

Fixed Mindset

Less successful musicians go through life using the fixed mindset believing intelligence, talent, and other qualities are innate and unchangeable. If you're not good at something, you typically think you will never be good at it.

Growth Mindset

Most successful musicians go through life using the growth mindset believing intelligence and talent can be developed with practice and effort.

Not surprisingly, your mindset plays a major role in your motivation, resilience, and achievement. This is neuroplasticity at work!

Neuroplasticity

Neuroplasticity is the science behind the growth mindset. Neuroplasticity explains that the neural pathways in the brain are constantly changing in response to our experiences. The brain is like a muscle, the more you practice, the stronger the brain becomes, and the more automatic the process.

Take the quiz below to find out if you maintain a fixed mindset or a growth mindset. Then use the following tips to replace a fixed mindset belief with a healthier growth mindset belief.

Do you Strongly Disagree (0 points), Disagree (1 points), Agree (2 points) or Strongly Agree (3 points) with the following statements:

Fixed Mindset vs. Growth Mindset Quiz Scores

32-45=Growth Mindset

25-31=Growth Mindset with some fixed ideas

16-24=Fixed Mindset with some growth ideas

0-15=Fixed Mindset

"Most successful musicians go through life using the growth mindset believing intelligence and talent can be developed with practice and effort." - Dr. Levana Cohen

Tips to Replace a Fixed Mindset Belief with a Healthier Growth Mindset Belief

Practice identifying fixed mindset thoughts and then take a look at the relationship between hard work and success. Restating your thoughts to involve enthusiastic effort/work will help you improve and achieve your goals.

Fixed Mindset: I feel bad about myself when I make a mistake and my confidence suffers.

Growth Mindset: I learn from my mistakes and my failures help me become a more developed and skilled musician.

Fixed Mindset: I just don't have a good sense of rhythm.

Growth Mindset: Every time I subdivide in my head while I play my rhythm improves.

Fixed Mindset: I'm afraid of performing because I feel like everyone is judging me. And I'm afraid to make a mistake. My performance has to be perfect!

Growth Mindset: When I perform I feel like everyone is cheering me on. The people in the audience are my allies. I cannot control the future, but I can control what I do right now. If I keep practicing, I will be more skilled, and my musical performance will be more thoughtful. The goal of my performance/art is not perfection (perfection is unattainable), it is to convey a message to my audience by giving a thoughtful performance.

Fixed Mindset: I am making so many mistakes in this performance! I will never win this audition!!

Growth Mindset: Mistakes are a part of what makes art beautiful and spontaneous in a live performance. I will focus on my recovery in the moment if I make a mistake, not on my past mistakes. I will stay in the moment when I am performing!

Fixed Mindset: This is too hard, and I'll never be able to accomplish my goals as a musician.

Growth Mindset: Look how far I've come! I have practiced every day for the past 2 weeks and now I can play all the right rhythms in my piece. If I continue to practice and focus on my achievements, I can accomplish my goals. I'm excited to see how far I can improve this week!

About Dr. Levana Cohen
Seattle born clarinetist, Levana Cohen is an avid performer and music educator. Her performances have taken her to some of the most prestigious concert halls including, Carnegie Hall, Jazz at Lincoln Center's Rose hall, the Koussevitzky Music Shed and Ozawa hall of Tanglewood, Benaroya Hall, Symphony Space, The DiMenna Center, Flushing Town Hall and the 92ndY sharing the stage and performing with such artists as Frank Morelli, William Purvis, Steven Taylor, Shlomo Mintz and the Emerson String Quartet to name a few. Levana's life as a NY based freelance musician has made her into an extremely versatile musician performing and teaching in a multitude of different genres. In performance, these genres include the ballet, pit orchestra, opera, chamber music (both in the concert hall and for house parties), studio musician (recording for TV and radio), and the occasional concerto. Currently, Levana perform as the Principal Clarinetist for the Astoria Symphony Orchestra and appears at universities nation-wide leading masterclasses, clinics and performing recitals and concertos.

As a committed and devoted music educator, Dr. Cohen enjoys teaching students of all ages. She is the clarinet professor and teaches the Woodwind Method class at Long Island University, C.W. Post campus. She also serves as the Clarinet Instructor at Suffolk County Community College, and operates her own private teaching studio in Port Washington NY. Apart from helping her students find their true, unique voice on their instrument, one of her highest priorities at the college level is to prepare her students for successful careers in music. Dr. Cohen is a Vandoren Artist-Clinician and through this program gives free clinics to music programs across Long Island. Additionally, Levana is a Woodwind Specialist and coach with the Metropolitan Youth Orchestras of New York, a chamber music coach for Stony Brook University, and is the director of the Port Washington Clarinet Choir.

Levana holds both a Master of Music degree and a Doctorate of Musical Arts degree from Stony Brook University under the tutelage of Daniel Gilbert. She performs on Buffet Tosca clarinets and uses Vandoren mouthpiece, ligature and reed products.

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Fueling the Motivation that Lies Within: Using the Growth Mindset to Empower and Grow Your Art by Dr. Levana Cohen

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Written by Dr. Levana Cohen "I'll never be as good at the clarinet as they are...", "I just don't have a good sense of rhythm...", "This is too hard I'll never get it...", "When people give me feedback, it feels like criticism...", "I'm not talented enough...", "It's embarrassing when I make a mistake..."

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While developing a healthy relationship with art, it's helpful for students to identify their current relationship with the subject. This insightful and aesthetically pleasing resource allows students to take a short quiz that will identify what their current role is as an artist of any ability level, what their strengths and weaknesses are, and what they need to do to succeed. This short quiz is an engaging activity designed to help students understand their art personality type in a fun and exploratory way!

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Everyone has a creative “type”—knowing yours helps you maximize your potential. Take our quiz to discover your type!