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The Great Depression
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1940-1960 Creativity Research
Focused on determining the nature of creative ability:
-Schaefer-Simmern claimed creativity could only occur if relative to one’s mental capacities.
-Eindhoven & Vinacke considered creativity not in stages, but rather as a dynamic and interwoven process
-Lowenfeld concluded the creative process is not always visual.
-Barkan & Hausman suggested accomodations for differences in creative thinking
-Michael believed creative growth to occur when using personal experiences -
Creative Self-Expression Movement: Viktor Lowenfeld
Viktor Lowenfeld establishes the significance of self-expression and creativity, as well as their relative stages of development in his 1957 "Creative and Mental Growth". Lowenfeld pairs self-identification and self-expression as crucial elements to creative growth. Lowenfeld broke down the notion of self-expression in art education as a logical progression through child development and mental growth. -
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1960-1970's Creativity Research
Kincaid discovered that creative ability and chronological age were related. -
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Civil Rights Movement
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1970- Present Creativity Research
The rise of DBAE created a significant decline in creativity in art education.
Packard found a creative tempo correlation to aesthetic quality of products in children's artwork.
Grossman researched figural elaboration in creative thinking. -
DBAE
Discipline based art education emerged in the 1980’s. This movement pushed for art education to focus on art history, art criticism, aesthetics, and art making. This shifted energy away from creativity and self-expression. -
Linda Ettinger
4 Pedagogical Considerations:
(1) traditions within the art disciplines
(2) the computer as art medium
(3) human-computer interaction
(4) curriculum design -
Creativity Crisis
Creativity has been declining since 1990. This is problematic as creativity is a practical 21st century skill. -
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Introduction to the World Wide Web
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1994 K-12 National Visual Arts Standards
First developed to provide general objectives, with only 1 standard related to the use of technology in the classroom. -
Introduction of Web 2.0
Second stage of development of the World Wide Web. Centers on the growth of social media and the ability for people to communicate, collaborate, and share information online. Examples include Facebook, Twitter, Instagram, MySpace, Pinterest, blogs, social networking sites, and other various web applications. -
VCAE: 1990's-2000's
Focus and attention in art education has been notably evident in Visual Culture Art Education (VCAE). This shift in art education uses critiques and newer media and technology in the art making process. Curriculum relevant to VCAE centers on concepts and interdisciplinary connections. There is a lack of emphasis on self-expression in art education. -
2002 Partnership for 21st Century Skills
Partnership for 21st Century Skills (Funded by Dept. of Ed) paired the NEA with for-profit companies invested in technology use in schools, such as Apple, Microsoft, Dell, Pearson, and the College Board. -
Gen Y (Born 1980-1990): Net Generatin Theory
Net Generation theory: Gen Y learners have an automatic level of proficiency with technology. This theory categorizes Gen Y as independent and experiential learners, multi-taskers, visual learners, and able to communicate visually, and inclusive social communicators with expressive freedom. -
Avatars in Visual Arts Courses
Christine Liao: Avatars act as the graphical representation of the user. Students can create a character representing a particular person in a video game, virtual world, or other Internet forums. Liao studies the impact on identity transformation in visual arts students. -
Traditional Information Theory
Barbara Combes: Traditional Information Theory- counters the Net Gen theory, stating information-seeking behavior is impacted by cultural, education, and social contexts. -
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2009 NAEA Standards
For teacher preparation programs and current art educators. Only 1 technology related standard in each set of objectives, showing limited recognition and expectation of tech in visual arts education. -
Four Levels of Creativity & Pro-C Art Educators
Diana Gregory: Mini-C, Little-C, Pro-C, & Big-C Categories- define different levels of creative expression and steps towards creative maturity Pro-C Creators- having technical abilities, creative skills, and the ability to take risks in artmaking. -
Creative Teaching in Art Education: The PIE Model of Change
Cyra Levenson & Darcy Hicks PIE Model of Change (Perception, Interpretation, and Expression):
Theoretical framework and tool for teaching creative processes in art education. -
Transforming Creative Processes: FTC Palette
Renee Sandell: Pairs creative thinking with the practice of visualization in the FTC Palette (Form + Theme + Context), pushing past traditional methods of planning and preliminary sketching.
Form= structural considerations
Theme= overarching idea & concept
Context= conditions of the artwork, intent, & purpose -
Creativity in 3-D Virtual Worlds
Lilly Lu: Educational creativity vs. artistic creativity vs. digital creativity
3-D Virtual Worlds -
2014 K-12 National Standards
Most recent set of Visual Arts Standards. This includes Media Arts as separate from the Visual arts. -
STEAM: An Arts Integrated Approach
Christine Liao: Interdisciplinary to Transdisciplinary As the STEM fields of science, technology, engineering, and math are considered critical to an innovative future, creativity is a common link between between these fields and the arts, creating STEAM and recognizing art as a discipline. -
STEAM Embodied Curriclua
Karen Keifer-Boyd, Eileen M. Trauth & Jennifer Wagner-Lawlor: The STEAM Embodied Curricula framework considers learning environments beyond the typical or formal format, and embodied collaborative problem solving between artists and scientists. Creativity is considered a social process through three characteristics: translate-ability, sense-ability, and response-ability.
