Annotated Bibliography
Jason Robert LeClair
4/12/14
1. Murray, J. (1983). Art, Creativity, and the Quality of Education. The Arts and Humanities in America’s Schools, Daedalus, 112(3), 129-147
Jon J. Murray at the time of this article was teaching at the Mamaroneck High School in Mamaroneck, NY. His article written for the MIT publication, Daedelus, takes an in-depth look at the use and practice of developing creativity in the high school art classroom. Though dated, Murray’s ideas and philosophy of teaching reflect contemporary sentiments concerning the fostering of child-centered creative curriculum. He also adopts pedagogy that emphasizes this point – the student need only compete with him/her self, not the mass media or fellow students.
2. Zimmerman, E. (2010). Creativity and Art Education: A Personal Journey in Four Acts. Art Education, 63(5), 84-92.
Dr. Enid Zimmerman is a professor Emerita at the Indiana University School of Education. An international consultant for educational institutions developing art programs, she also is an editor of educational publications including guest editing Art Education. Guiding us through the decades of modern art education history, Zimmerman gives a brief, yet frank overview of the ebb and flow that is art education. We are guided through her experiences as an educator and scholar through the experiences of many lectures, conferences, and studies in the art and science of our educators’ medium. Quoting from several sources such as Blandy and Lowenfeld, she gives us a perspective on creativity’s role in art education. Her opinions are shared by many; we’ve a long way to go to reach the goal.
3. Zimmerman, E. (2010). Reconsidering the Role of Creativity in Art Education. Art Education, 63(2), 4-5.
Dr. Enid Zimmerman is a professor Emerita at the Indiana University School of Education. An international consultant for educational institutions developing art programs, she also is an editor of educational publications including guest editing Art Education, from where this article is taken. This brief selection from the issue has points that reflect what many of us in the art education field find important and timely. Most particularly, the need for art classes to be used as a training ground for independent creative thought, not standardized rubrics ticking forward in the same fashion as years past generating the same work time and again.
4. Raleigh, H, P. (1966). Creativity, Intelligence, and Art Education. Art Education, 19(8), 14-17.
Henry P. Raleigh was the chairman of the department of art education at the Pratt institute. He was a frequent contributor to many art education journals. Although this entry is dated material, the concepts and psychology are eerily familiar to multiple contemporary authors. The emphasis on divergent thinking and creative problem solving as well as an investigation that standardized testing works on primarily convergent thinking and is therefore not viable for creative, imaginative thinkers. This discussion about change in the curriculum has been going on for this long. This generation of educators can make even more progress in accomplishing change to arts education.
5. Jarrett, J. (1988). Personality and Artistic Creativity, Journal of Aesthetic Education, 22(4), 21-29.
James L. Jarrett was a professor emeritus at the graduate school of education at the University of California. His work in philosophy and psychology is well regarded as he was asked to participate in extensive lecture tours nationally and internationally. Although the essay focuses on the art of writing, the dissections of Jungian theory in the realm of creativity (whether it is introverted or extroverted) can be applied to more than just the art of the word. Jarrett speaks of the fictional and the inspiration as if it is external to the creator, much like Gilbert in her TED talk of finding the elusive genius. Using this understanding of creative psychology, approaching students individual needs becomes more clear.
6. Delacruz, E. (2011). Entrepreneurial Strategies for Advancing Arts-Based Public Engagement as a Form of University-Sanctioned Professional Activity in the New Creative Economy, International Journal of Education the Arts, 12(1), 1-26
Elizabeth Delacruz, Ph.D. has been a professor of art education at the University of Illinois at Urbana-Champaign and currently a faculty member in the University of Florida online art education program. She is also the editor of Visual Arts Research journal. Dr. Delacruz in this journal entry investigates through her personal experiences as an educator. She focuses on education in institutions of higher education and “cultural creatives,” or the changers of societal norms. Her perception that educators, college educators should use entrepreneurial behavior to aid in social and community outreach manifest in her program ArtSpeak are similar in track to programs like Gude’s Spiral Workshop but more focused on a wider community outside of the university. Spreading creativity beyond the classroom in both high school and college are the goals herein.
7. Gude, O. (2013). New School Art Styles: The Project of Art Education. Art Education, 66(1), 6-15.
Olivia Gude is an associate professor at the University of Illinois at Chicago and the founding director of The Spiral Workshop. Her work in new pedagogy for art educators has earned her acclaim and respect from the art education community. In this article for Art Education Magazine Gude expresses her opinion of modern curriculum practices. She finds the shortfall in tried and true projects that have no basis in the actual practice of professional art making. Her methods call for more broad spectrum teaching to gather the intrinsic meanings behind the art of making. Like the revolution in teaching talked of by Sir Ken Robinson, Gude calls for a complete overhaul of art education. It may be time for this to manifest.
8. Kelley, D. (2011). How to build your creative confidence, TED Talks. Retrieved from http://www.ted.com/talks/david_kelley_how_to_build_your_creative_confidence
David Kelley heads one of the most renowned design firms, IDEO. Speaker on the topics of creativity and design, Mr. Kelley also teaches at Stanford and has recently begun the d.school. His talk illustrates the power of divergent thinking in business and in school. That divergent thinking process he calls, “creative confidence.” In other words, it is the ability to look in another direction to solve a problem. This relates fully to the common core concept of creative problem solving. This is a center of work as educators; to reignite the creative response to challenges students have in the classroom.
9. Gilbert, E. (2009). Your elusive creative genius. TED Talks. Retrieved from http://www.ted.com/talks/elizabeth_gilbert_on_genius
Elizabeth Gilbert is a best-selling author. Her degree is in political science from New York University but her passion has been fiction writing. Many life experiences and extensive travel have been the fodder for her novels. In personal reflection, Ms. Gilbert contemplates the existence of creative muses in an artistic mind, which happens to be the subject of this talk. Throughout her piece, she speaks of the history behind the perception of creativity. Her investigations have led her to conclusions about the elusive nature of the muse and of the make up of the artistic mind. Her speech reignites the vigor to work on projects trying her method of finding the elusive genius.
10. Robinson, K. (2010). Bring on the learning revolution! TED Talks. Retrieved from http://www.ted.com/talks/sir_ken_robinson_bring_on_the_revolution
Sir Ken Robinson is an international leading authority on Creativity and Education. He has gained notoriety through his books and frequent talks on the subject to both educators and business leaders. He has earned several honorary degrees to accompany his Ph.D. in drama and theatre education from the University of London. In this TED Talk, Sir Ken proposes a “revolution in education.” The basis for the revolution lies in the concept that humans inherently have different talents and that those talents should be cultivated. His claim is that instead, education concentrates on a more “mechanical” and “industrial” model working in a linear pattern. His views on creativity are echoed by several authors such as Olivia Gude and other scholars calling for change in the confining linear system of modern education. Sir Ken’s remarks and philosophy toward non-linear, individualized education can be very persuasive and appealing.
Jason Robert LeClair
4/12/14
1. Murray, J. (1983). Art, Creativity, and the Quality of Education. The Arts and Humanities in America’s Schools, Daedalus, 112(3), 129-147
Jon J. Murray at the time of this article was teaching at the Mamaroneck High School in Mamaroneck, NY. His article written for the MIT publication, Daedelus, takes an in-depth look at the use and practice of developing creativity in the high school art classroom. Though dated, Murray’s ideas and philosophy of teaching reflect contemporary sentiments concerning the fostering of child-centered creative curriculum. He also adopts pedagogy that emphasizes this point – the student need only compete with him/her self, not the mass media or fellow students.
2. Zimmerman, E. (2010). Creativity and Art Education: A Personal Journey in Four Acts. Art Education, 63(5), 84-92.
Dr. Enid Zimmerman is a professor Emerita at the Indiana University School of Education. An international consultant for educational institutions developing art programs, she also is an editor of educational publications including guest editing Art Education. Guiding us through the decades of modern art education history, Zimmerman gives a brief, yet frank overview of the ebb and flow that is art education. We are guided through her experiences as an educator and scholar through the experiences of many lectures, conferences, and studies in the art and science of our educators’ medium. Quoting from several sources such as Blandy and Lowenfeld, she gives us a perspective on creativity’s role in art education. Her opinions are shared by many; we’ve a long way to go to reach the goal.
3. Zimmerman, E. (2010). Reconsidering the Role of Creativity in Art Education. Art Education, 63(2), 4-5.
Dr. Enid Zimmerman is a professor Emerita at the Indiana University School of Education. An international consultant for educational institutions developing art programs, she also is an editor of educational publications including guest editing Art Education, from where this article is taken. This brief selection from the issue has points that reflect what many of us in the art education field find important and timely. Most particularly, the need for art classes to be used as a training ground for independent creative thought, not standardized rubrics ticking forward in the same fashion as years past generating the same work time and again.
4. Raleigh, H, P. (1966). Creativity, Intelligence, and Art Education. Art Education, 19(8), 14-17.
Henry P. Raleigh was the chairman of the department of art education at the Pratt institute. He was a frequent contributor to many art education journals. Although this entry is dated material, the concepts and psychology are eerily familiar to multiple contemporary authors. The emphasis on divergent thinking and creative problem solving as well as an investigation that standardized testing works on primarily convergent thinking and is therefore not viable for creative, imaginative thinkers. This discussion about change in the curriculum has been going on for this long. This generation of educators can make even more progress in accomplishing change to arts education.
5. Jarrett, J. (1988). Personality and Artistic Creativity, Journal of Aesthetic Education, 22(4), 21-29.
James L. Jarrett was a professor emeritus at the graduate school of education at the University of California. His work in philosophy and psychology is well regarded as he was asked to participate in extensive lecture tours nationally and internationally. Although the essay focuses on the art of writing, the dissections of Jungian theory in the realm of creativity (whether it is introverted or extroverted) can be applied to more than just the art of the word. Jarrett speaks of the fictional and the inspiration as if it is external to the creator, much like Gilbert in her TED talk of finding the elusive genius. Using this understanding of creative psychology, approaching students individual needs becomes more clear.
6. Delacruz, E. (2011). Entrepreneurial Strategies for Advancing Arts-Based Public Engagement as a Form of University-Sanctioned Professional Activity in the New Creative Economy, International Journal of Education the Arts, 12(1), 1-26
Elizabeth Delacruz, Ph.D. has been a professor of art education at the University of Illinois at Urbana-Champaign and currently a faculty member in the University of Florida online art education program. She is also the editor of Visual Arts Research journal. Dr. Delacruz in this journal entry investigates through her personal experiences as an educator. She focuses on education in institutions of higher education and “cultural creatives,” or the changers of societal norms. Her perception that educators, college educators should use entrepreneurial behavior to aid in social and community outreach manifest in her program ArtSpeak are similar in track to programs like Gude’s Spiral Workshop but more focused on a wider community outside of the university. Spreading creativity beyond the classroom in both high school and college are the goals herein.
7. Gude, O. (2013). New School Art Styles: The Project of Art Education. Art Education, 66(1), 6-15.
Olivia Gude is an associate professor at the University of Illinois at Chicago and the founding director of The Spiral Workshop. Her work in new pedagogy for art educators has earned her acclaim and respect from the art education community. In this article for Art Education Magazine Gude expresses her opinion of modern curriculum practices. She finds the shortfall in tried and true projects that have no basis in the actual practice of professional art making. Her methods call for more broad spectrum teaching to gather the intrinsic meanings behind the art of making. Like the revolution in teaching talked of by Sir Ken Robinson, Gude calls for a complete overhaul of art education. It may be time for this to manifest.
8. Kelley, D. (2011). How to build your creative confidence, TED Talks. Retrieved from http://www.ted.com/talks/david_kelley_how_to_build_your_creative_confidence
David Kelley heads one of the most renowned design firms, IDEO. Speaker on the topics of creativity and design, Mr. Kelley also teaches at Stanford and has recently begun the d.school. His talk illustrates the power of divergent thinking in business and in school. That divergent thinking process he calls, “creative confidence.” In other words, it is the ability to look in another direction to solve a problem. This relates fully to the common core concept of creative problem solving. This is a center of work as educators; to reignite the creative response to challenges students have in the classroom.
9. Gilbert, E. (2009). Your elusive creative genius. TED Talks. Retrieved from http://www.ted.com/talks/elizabeth_gilbert_on_genius
Elizabeth Gilbert is a best-selling author. Her degree is in political science from New York University but her passion has been fiction writing. Many life experiences and extensive travel have been the fodder for her novels. In personal reflection, Ms. Gilbert contemplates the existence of creative muses in an artistic mind, which happens to be the subject of this talk. Throughout her piece, she speaks of the history behind the perception of creativity. Her investigations have led her to conclusions about the elusive nature of the muse and of the make up of the artistic mind. Her speech reignites the vigor to work on projects trying her method of finding the elusive genius.
10. Robinson, K. (2010). Bring on the learning revolution! TED Talks. Retrieved from http://www.ted.com/talks/sir_ken_robinson_bring_on_the_revolution
Sir Ken Robinson is an international leading authority on Creativity and Education. He has gained notoriety through his books and frequent talks on the subject to both educators and business leaders. He has earned several honorary degrees to accompany his Ph.D. in drama and theatre education from the University of London. In this TED Talk, Sir Ken proposes a “revolution in education.” The basis for the revolution lies in the concept that humans inherently have different talents and that those talents should be cultivated. His claim is that instead, education concentrates on a more “mechanical” and “industrial” model working in a linear pattern. His views on creativity are echoed by several authors such as Olivia Gude and other scholars calling for change in the confining linear system of modern education. Sir Ken’s remarks and philosophy toward non-linear, individualized education can be very persuasive and appealing.
