Just as students should leave their Foundational year of art with a beginning sense of composition, color, value, and materials, so should they be cultivating their creative capacities. With the equipment exercised and the waters tested, students will be prepared to continue their journey; for it is the interplay of personal experience, social…

In this Instructional Resource, Denmead and Brown consider how "Ruffneck Constructivists," an exhibition curated by Kara Walker at the Institute for Contemporary Art (ICA), University of Pennsylvania, can disturb and provoke young creatives and art education more broadly. For this exhibition, Walker draws on the figure that MC Lyte…

Art and creativity are closely linked in the minds of most people. When asked to explain why art should be part of the school curriculum, respondents commonly answer that art provides an opportunity for students to be creative and express themselves. As professionals who have worked with art education for years, the authors suggest a different…

Through a brief review of studies correlating the Torrance Tests of Creative Thinking and standard intelligence measures, the author seeks to demonstrate that creativity and intelligence are not synonymous. He espouses Viktor Lowenfeld's concept of "Creative Intelligence" and describes the Future Problem Solving Program as a way to…

Contradictions in the literature abound concerning Franz Cizek's role in fostering creative art. Researchers should turn to student recollections to determine what Franz Cizek's contribution to art education really was. A former Cizek student who today is prominent in design work is interviewed. (RM)

Reviews the place of creativity in the two major orientations of art education: (1) creative self-expression; and (2) discipline-based art education (DBAE). Asserts that critics of DBAE argue that it is dry and does not allow for creative expression. Rejects this notion and claims that properly implemented DBAE produces intellectual and emotional…