In three broad sections--Foundations, Pedagogies, and Contemporary Issues--the editors and chapter authors of "Connecting Creativity Research and Practice in Art Education" articulate the significance of reconsidering creativity as a crucial dimension of art education research and practice today. This book represents a groundbreaking effort to map current research, scholarship, and influences shaping current art education discourse, thus bridging the gap between how creativity is understood and how it is communicated. Chapters in this book invite art educators to reconceptualize creativity in a framework of holistic education for all students in the 21st century. This timely anthology is designed for educators who wish to include creativity and visual arts as significant topics in a broad range of school subjects including K-12 art teachers, instructors of college courses who prepare teachers or teach graduate courses, administrators, and gifted and talented coordinators--as well as those who instruct in non-school settings such as museums and community centers. The book opens with the: Foreword: Connecting Creativity Research and Practice in Art Education: Foundations, Pedagogies, and Contemporary Issues (Flávia Bastos and Enid Zimmerman); an Introduction: Bridging the Gap between Creativity Research and Practice in Art Education (Enid Zimmerman) and thirty-five chapters divided into three sections as follows. Section One: "Foundations Introduction." Foundations (Enid Zimmerman) and its chapters: Chapter 1: Looking Back and Looking Forward: Creativity Research and Art Education (D. Jack Davis); Chapter 2: Frederick Froebel's Philosophies About Art and Creativity (Courtney Lee Weida); Chapter 3: Thomas Munro and Creativity in Aesthetics (Virginia L. Fitzpatrick); Chapter 4: Friedl Dicker-Brandeis' Strategies for Creative Art Teaching in a Nazi Ghetto Camp (Susan K. Leshnoff); Chapter 5: Rhetorical Claims About Student Creativity and the Arts: Pragmatic Appropriation Versus Humanistic Realization (Jen Katz-Buonincontro); Chapter 6: Learning as a Condition of Creativity: The Relationship Between Knowing and Making Art (Kerry Freedman); Chapter 7: Connecting Artistic Creativity and Applied Creativity (James E. Modrick) Chapter 8: A Dozen +1 Meditations on Stupidity and Precarization: The Capture of Creativity by De(sign)er Capitalism (Jan Jagodzinski); Chapter 9: Boundaries, Play, and the Spiritual Dimensions of Creativity: A Teacher's Reflections on Fashioning Environments for Good Ideas (Mark A. Graham): Chapter 10: Pedagogy Toward a Creative Condition (Jerome Hausman, Nicholas Hostert, and W. Keith Brown); Chapter 11: Re-Describing Creativity in Visual Arts Education (Nadine M. Kalin and Daniel T. Barney); Chapter 12: STEAM Embodied Curricula: Creativity Through Translate-ability, Sense-ability, Response-ability (Karen Keifer-Boyd, Eileen M. Trauth, and Jennifer Wagner-Lawlor.) Section Two: "Pedagogies Introduction." Pedagogies (Flávia Bastos and Enid Zimmerman) and its chapters: Chapter 13: Opening the Door: Teaching Toward Creativity (Cyra Levenson And Darcy Hicks); Chapter 14: The Limits of Social Construction: Promoting Creativity in the Visual Arts (David Pariser); Chapter 15: Misrecognized Collaboration by Students and Teachers in the Creative Making of Art (Kerry Thomas) Chapter 16: Fiat Lux: Creativity Through Play (Stacey McKenna Salazar); Chapter 17: Visualizing Creative Processes: Using the FTC Palette for Transformative Studio Practice (Renee Sandell); Chapter 18: Making Art as a Creative Process: The Importance of Imagination, Freedom, and Skills for Artistically Talented High School Students (David M. Harrington and Christina S. Chin-Newman); Chapter 19: Creativity and Problem Solving: A Student-Driven Art Party (Kevin Hsieh); Chapter 20: I Wish My Assignments Were More Creative! (Cathy Smilan); Chapter 21: Out of the Box: Connecting Creativity and Art History (Eunjung Chang); Chapter 22: Art Education for Older Adults: Insights From Current Research on Creativity and Aging (Rébecca Bourgault); Chapter 23: The Evolution of Creativity in Voluntary Artmaking Communities (Marjorie Cohee Manifold); Chapter 24: Creativity: Unmasking the Process and Product of Art Educators as Professional Pro-C Artists (Diana Gregory.) Section Three: "Contemporary Issues Introduction." Contemporary Issues (Flávia Bastos) and its chapters; Chapter 25: Examining Painter Mark Messersmith's Creative Processes (Tom Anderson); Chapter 26: Creativity and Folk Art: Making Connections Through Innovation and Grounding in Cultural Contexts (Kristin G. Congdon); Chapter 27: Creativity for Understanding: Art-Based Research in the Classroom (Julia Marshall); Chapter 28: Creativity After Deleuze: Possibilities for Art Education Theory and Practice (Sydney Walker); Chapter 29: Metaphors, Puns, and Chance Combinations: Creative Thinking Strategies and Art Practice (Jeanne Nemeth); Chapter 30: A Conceptual Model for Neuro-Creativity in Visual Arts (Rick Garner); Chapter 31: Prosumers, Parasites, and Playful Pedagogy (Paul Duncum); Chapter 32: Embracing Artistic Creativity in 3-D Virtual Worlds (Lilly Lu); Chapter 33: From Bone Box to Ghost House: Creativity, Indigenous Culture, and the Museum (Kit Grauer and Jill Baird); Chapter 34: Refocusing a Global Lens on Creativity (Melody Milbrandt); Chapter 35: The Tao of Creativity: Teaching Chinese Calligraphy in the United States (Crystal Hui-Shu Yang.) A Conclusion: Reflections and Closing Thoughts: Reconsidering Boundaries (Flávia Bastos) ends the book.