Generalists as primary educators are in the position to integrate art frequently into classroom instruction (Seidel, Tishman, Winner, Hetland, & Palmer, 2009). Since their perceptions determine the quality and frequency of visual art experiences for young children, teacher education curriculum for this population is vital to the outcome of art…

Art educators are concerned with exposing their students to contemporary art making practices. They aim to create fresh lessons that expand their understandings of art in today's world while highlighting the importance of imagination. With a personal interest in performance and street art (art forms that have gained popularity in recent years),…

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…

Discussed individualized instruction for the artistically gifted child and identified factors which distinguish the gifted child from the average child. (Author/RK)

Author stresses the need to communicate the values that gave meaning to our forbearers in order to understand more precisely the way we should go, in order to name who we will become. (Author)

The author critically examines nine assumptions about creativity commonly held by preservice elementary art teachers, such as "all children have creativity,""creativity can be taught and learned,""art skills hinder creativity," and "creativity is good." (SJL)

Suggests through historical examination that memory, primarily linked with the imagination as a constructive and creative factor, is an important element in art training. (Author/RK)

Attempts to identify many stigmatized groups of people in our society, who have been classified, judged, and dealt with, through institutionalization. These groups have not been able to articulate their rights and art educators should move toward alternate and perhaps broader conceptual bases for art education in relating to stigmatized persons.…

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…

Asserts that the copying of artworks does not stunt a child's creative development; rather it can serve children, as it did many great artists, as a useful tool for the development of the technical and aesthetic skills necessary for creative expression. (SJL)

The individual uniqueness of every student forms the foundation for expressive activities. Our number one priority as art teachers is to assist our students in identifying their creative expressive potential. (Author/SJL)

This article attempts to outline five major areas of components, selected by virtue of the attention paid them in recent writings, which could provide the content for various combinations of art activities. (Author)