January/February 2008

Learning to Look and Looking to Learn

Visual Thinking Strategies at the Eric Carle Museum

Rosemary Agoglia

With the art and design of the picture book at the center of its program development, The Eric Carle Museum (The Carle) has forged strong connections between visual and verbal literacy. Programs which explore and expand on the traditional uses of the picture book at home, in libraries, and classrooms are featured in the Museum's Galleries, Reading Library, and Art Studio. Developing the ability to compose, consume, communicate, and think critically in our visually saturated world begins at an early age. The Museum strives to support and enhance the visual literacy of visitors of all ages. Learning to Look is a slow, deliberate process that incorporates visual thinking strategies. What better place to begin than with the art and design of the picture book.

Over the last half century, picture books have become an integral part of our educational system.

• They are a key factor in the development of early literacy: being read to from a very early age is one of the best predictors of later academic success
• They are used extensively in the literature-based whole language approach to verbal literacy

• They are seen as resources for social studies and science curricula for students of all ages

Copyright 2003 The Carle Museum of Picture Book Art/Paul Shoul

In November of 2002 The Eric Carle Museum of Picture Book Art opened its doors to the public. Conceived of and built with the aim of celebrating the art we are first exposed to as children, the Museum has greatly contributed to the understanding and appreciation of the fine art of the picture book. Thirty thousand visitors and over forty exhibitions later, it has become noted not only for its fine exhibitions and programming, but as a place to hone one's visual literacy skills.

THE GALLERIES

Young and old alike spend time browsing the Museum's three galleries which feature changing exhibitions of the original art created for outstanding picture books from around the world. With wall text that encourages viewers to observe carefully while thinking about what they see, the Museum's commitment to providing an enriching, dynamic, and supportive context for the development of literacy becomes apparent. Guided by the Visual Thinking Strategies (VTS) developed by cognitive psychologist Abigail Housen and museum educator Philip Yenawine, the emphasis is on actively engaging the viewer in careful looking and in developing a connection to what s/he sees. VTS is a discovery process.

Copyright 2003 The Eric Carle Museum of Picture Book Art/Paul Shoul

• What do you see going on in this picture? 
• What do you see that makes you say that?
• What more can you find?

By asking questions carefully designed to provoke a critical, thoughtful response the VTS facilitator, a member of the Education Staff trained in the Visual Thinking Strategies, leads participants in discussions demanding slow, careful looking and reflection.

On any given day, school groups can be found talking about what they notice in the art on display. After a careful comparison of the book illustration with the original art on the wall, one young boy was excited to discover how much more "crayonish" and how much more colorful the original art appeared. In another activity, students were asked to compare Eric Carle's initial series of collages for Slowly, Slowly, Slowly said the Slothwith the ones that were ultimately reproduced in the book. As the group reflected on Carle's decisions to simplify these images by removing some of the animals, making the leaves larger and rearranging some of the components of the picture, they were asked how they might describe Eric Carle's art. Without hesitation, a young boy replied, "he's spacey; he likes lots space in his pictures."

Since the VTS process asks the viewer to talk about what they see, often more than one perspective is shared. The idea that what we observe is colored by who we are and what we bring to a situation is clearly demonstrated in this process.  

From Pancakes, Pancakes! by Eric Carle © 1990 by Eric Carle Corp.

The image from Eric Carle's Pancakes, Pancakes of the young boy and his mother at the table elicited a variety of responses. The younger the audience the more the focus was on the boy and the cat under the table.  

• Was the cat about to scratch the boy?
• Why might the cat do that?
• Had the boy kicked the cat?

Whereas, with a group of librarians, the focus was on what had transpired between the boy and his mother.

• Was she upset with him? 
• Was she scolding him?
• Was she asking him what he wanted for breakfast?

These multiple perspectives acknowledge the ambiguity of art and the variety of meaning that can be found. Probing these possibilities requires viewers to think about what they see, make inferences, form opinions, and provide evidence for their ideas—the basis for critical thinking. In facilitating such discussion, each person's response is validated through careful paraphrasing in an open, accepting manner. The reassurance afforded by this approach (there are no wrong answers) makes examining and talking about art non-intimidating and enjoyable.

THE READING LIBRARY  

Copyright 2007 The Eric Carle Museum of Picture Book Art/Damia Stewart

In an effort to build upon the more traditional text-focused use of the picture books found in many classrooms in support of a student's journey toward independent reading, The Carle's Whole Book Approach (WBA) was developed. Drawing inspiration from:

• Dialogic Reading techniques, sometimes called "Hear and Say Reading" ( the Whole Book Approach might be called "See, Hear, and Say Reading." )
• Visual Thinking Strategies' inquiry-based approach to viewing art
• Emergent curriculum characteristic of the Reggio Emilia model of education

Copyright 2007 The Eric Carle Museum of Picture Book Art/Damia Stewart

The WBA is designed to expand engagement with the picture book as an art form. The emphasis is on creating reading experiences that includes opportunities to discuss how the pictures, design, and production elements of the picture book interact with the text to create an artistic whole. By inviting participants to ask questions and share reactions while the story is being read, the WBA fosters reading with children as an alternative to reading to children.

By attending to all of the parts of the book and fostering visual and verbal engagement with the picture book as an art form, the Whole Book Approach establishes and uses the picture book as a learning object, not as the packaging or decoration of a verbal story. It suggests that there is a difference between reading a picture book and finishing a picture book. Reading a picture book means reading the whole book—its words, pictures, and overall design—allowing the group many opportunities to make connections between visual and verbal literacy. When the emphasis is on moving through the book from start to finish it is the joy and potential found in enjoying the sustained narrative that is the focus.

During one session a child's confused visual perception opened the door for others to make sense of artistic techniques or devices. "Why does she have so many arms?" one child asked upon seeing a picture of Trixie having a fit in Mo Willems's Knuffle Bunny. Instead of answering this myself, I turned this child's question over to the group to puzzle out. "She doesn't have lots of arms, she's just waving one around because she's upset," explained another child. And then we all waved our hands in front of our faces to see how the movement created the visual illusion of many hands on one wrist.

WBA storytimes are truly conversation-times in which the picture book serves as the provocation which engages children in careful observation, listening, and critical and creative thinking.  

 THE ART STUDIO

Copyright 2007 The Eric Carle Museum of Picture Book Art/Damia Stewart

Based on the ateliers of Reggio Emilia, programs in the Art Studio emphasize the process of "thinking" with one's hands, eyes, and sensibilities, as well as the brain. By using visual language as a means of inquiry and investigation of the world, the cognitive and expressive processes are joined in the development of knowledge. Guided by the belief that encounters with materials teach us about ourselves, heighten our awareness of the world around us, and promote a deeper understanding and appreciation of the visual arts, the focus is on process, problem solving, and reflection. In the same way that written self expression is seen as an integral component of verbal literacy, the opportunity to graphically express one's self goes hand-in-hand with the development of visual literacy.

The Art Studio can be a springboard for imagination and visual expression. Committed to providing high quality programming in the arts, the Studio encourages visitors of all ages to make, appreciate, and think about art. A variety of programs ranging from the Public Art Program to specific classes, and workshops - often inspired by the Museum's exhibitions - offer first-hand encounters with what it means to create. From the very first marks made by our youngest visitors to those who are practicing artists, the goal is to provide opportunities for all to show their aesthetic sensibilities and thought processes as they explore materials and design, construct relationships, and visually represent their ideas, strategies, and techniques. Visitors are engaged in discussions about art and art making while provided information on tools and techniques wherever appropriate. When asked to comment on what she had done, Emily, a first-grade visitor, responded:

I'm good at coloring and drawing. I just put my hand on the paper and my mind bosses my hand around…it tells me what to do. Then my eyes tell me if I've done a good job."

Many visitors, unlike Emily, would not describe themselves as "artistically inclined." Therefore, in addition to encouraging play and experimentation, the Studio environment recognizes the import role peers can play in our learning. To that end staff in the Art Studio:

• Take on the dual roles of facilitator and co- learner 
• Refine and improve upon the program based on visitor observations
• Feature the work of our visitors to provide a source of inspiration and pay homage to the many levels of artistic expression

CONCLUSION

Through outreach and in-house professional development the Museum strives to spread the word about the power and potential of the picture book. Librarians in particular, both school and youth, have embraced the Museum's WBA as an engaging and dynamic "new approach" to storytimes. In addition to fueling their already well established passion for books, they have embraced a commitment to using the art and design of the picture book as a source of critical and creative thinking. In a time when the arts struggle for a "a place at the table" in the education of our nation's youth, the Museum has been hailed by children, parents, and educators as a positive force in contributing to the development of visual literacy in our predominately visually culture.

 Through the collection, presentation, and celebration of the art of the picture book, the Museum has dedicated itself to shaping the lives of our youngest generation by providing engaging and educational experiences in the visual arts. Today's world calls for creative thinkers with effective problem-solving skills. It is our hope that The Carle will be seen as a catalyst in developing these abilities.

REFERENCES

Visual Thinking Strategies: www.visualthinkingstrategies.org   

www.gardnermuseum.org/education/gardner.html#

Visual Understanding in Education
http://www.vue.org/

The Whole Book Approach

Lambert, Megan. (2006). "InFORMed Reading:  Evaluating and Using Picture Books, Beginning Reader Books, and Illustrated Books". Children and Libraries, Vol. 4(3).

Robinson, Lolly. (2003) "What do You See" The Horn Book Magazine. May/June 2003. Available at: <http://www.hbook.com/publications/magazine/articles/may03_robinson.asp>

The Reggio Emilia Approach to the Education of Young Children
<www.reggioalliance.org> 

Rosemary Agoglia has taught students of all ages, designed curriculum, and presented professional development workshops.Trained in Visual Thinking Strategies, she works with visitors of all ages providing links between visual and verbal literacy and fostering the confidence to appreciate and enjoy art of every kind.