In order to co-construct a better understanding of the nature of children's art experiences at home and in educational settings, I interacted with four young children who photographed and discussed their art experiences over the course of one year. As a result of these research processes, and considering John Dewey's (1934/2005)…

This study describes the effects of a yearlong, multivisit teen program in a contemporary art museum on adolescents' reflections about art. Our purpose was to discover whether this program, focused on experiences with contemporary art and artists with its metacognitive approach, affected students' thinking about their own artmaking. The…

In this article, I propose that research which focuses on young children's experiences with the interactivity of new media not only furthers findings about young children's digital lives but also enriches the conclusion that children's engagement with artmaking--in general and in traditional ways--is richly complex, affective, and…

What did art education look like within the confines of the Japanese American Internment Camp classrooms? Did the art education in the camps reflect the same curriculum that was being taught outside the camps and what other factors may have played a part in the students' experience? I propose that there were at least three significant…

Reconceptualizing the relationship between a child/subject and the adult/researcher is necessary in order to begin unraveling the possibilities entangled in children's learning practices, particularly those articulated by/through children's drawing performances. This article seeks to expand upon the complexities of researcher/subject…

In this article, I present a reexamination of the myth of inherent creativity in early childhood to elucidate how still-dominant discourses of optimization such as child development, individualism, expression, creativity, and visual realism exert limiting pressures on understandings of the art and visual culture that children consume and create.…

Recently, artwork of child artists from the Carrolup settlement school in Western Australia was rediscovered in the archives of the Picker Art Gallery at Colgate University. The young artists were among what was then called the half-caste children and now known as the Stolen Generation. Between the late 1800s and mid 1970s the Australian…

Volume 1, No. 2, of "Studies in Art Education," appearing in spring 1960, included an article by Viktor Lowenfeld titled "Creative Intelligence." Here, he highlighted his belief in the importance of creative intelligence to human functioning, linking it to creative practice as represented most purely in the artworks of children and untutored…

Research has shown that the study of children's drawings can shed light on certain problems, allowing many invisible sides of children's school life to emerge. Based on the results of that research, this article will study whether the use of drawings, and art in general, could lead to the reduction of social and academic marginalization and to the…

Historically, the majority of studies on children's image making have emphasized the appraisal of children's graphic development and/or the artistic qualities of children's pictures, thereby assigning them the status of self-contained visual artifacts and objects of analysis in their own right. However, such a product-oriented paradigm of inquiry…

This study examines a series of children's drawings ("Draw for Math" tasks) to determine the relationship of students' spatial understanding and mathematical problem solving. Level of spatial understanding was assessed by applying the framework of central conceptual structures suggested by Case (1996), a cognitive developmental researcher.…

This article examines the process of graphic representational development in paint in the context of the theoretical assumptions of traditional developmental stage theory. Consistent with current theory and research in art education and cognitive psychology, a model of painting development is proposed that is multidimensional rather than unitary,…

Room 13 is a Scottish primary school art group that is largely pupil managed, where learners have a designated "drop-in" space (Room 13) with artists-in-residence and make art that is engaged with contemporary practices. Using this example, I argue that this is an artist-teacher and artist-learner configuration that represents emerging resistance…