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…

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…

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)

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)

Finger painting is often regarded as the epitome of free expression for children. However, a careful review of the history of Ruth Shaw's finger-painting system reveals that it was dominated by specific techniques and stylistic conventions taught without a critical understanding of art history or appreciation. (IS)

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)

Argues that student creative writing is stimulated by painting and other visual art. Describes a seven-step process in which students view painting and other visual arts and then write poetry. Includes suggested artworks and excerpts of poetry written by students. (CFR)