__________. (1984) A gift from Maine. Instructor, 94 (4), 36-39.

Gives examples of some of the responses when a sixth grade class "wrote letters to artists and writers living in Maine, asking them to share their thoughts on the sources of their inspiration and suggest creative activities the students could do." (p.36)

 

Ambrose, D., Allen, J. & Huntley, S. (1994) Mentorship of the highly creative. Roeper Review, 17 (2), 131-134. [See under Mentoring]

 

Banbury, M.M., Walker, H. & Punzo, R. (1990) Thinking CAP: A computer art program for gifted and talented students. The Gifted Child Today, 13 (1), 32-35.

"The purpose of this paper is to present a module which will serve to facilitate the integration of computers and art into the curriculum for g/c/t students. The module will be based on the Renzulli (1977) Enrichment Triad model." (p. 33)

 

Becker, G.R. (1980) Make a movie without a camera, in Mallis, J. (Ed.) Ideas for Teaching Gifted Students: Visual Arts. Austin: Multi Media Arts. 132-133.

Describes the making of a different kind of animation which produced a completed film in about two hours.

 

Bennett, N.J. (1983) An art enrichment program. Arts and Activities, 94 (3), 32 33.

A concise outline of a community based enrichment program for upper primary children.

 

Cassidy, J.M. (1984) Lights, camera, animation! School Arts, 83 (6), 36-38.

"Through this comprehensive unit on cartooning and animation, the students became aware of techniques and equipment used in the production of animation, learning to think in logical sequence and developed an appreciation of the interactions and interdependence of individuals working together on a project." (pp.37-38)

 

Chetelat, F.J. (1981) Visual arts education for the gifted elementary level arts student. Gifted Child Quarterly, 25 (4), 154-158.

Summarises early research and programs and discusses developments within Baltimore County.

 

Clark, G. (1989) Screening and identifying students talented in the visual arts: Clark's Drawing Abilities Test. Gifted Child Quarterly, 33 (3), 98-105.

"The research reported here describes development, testing, and use of a new instrument, Clark's Drawing Abilities Test, and its success in screening and/or identifying students for a visual arts program for artistically gifted students." (p.98)

 

Clark, G.A. & Wilson, T. (1991) Screening and identifying gifted/talented students in the visual arts with Clark's Drawing Abilities Test. Roeper Review, 13 (2), 92-97.

Findings from field tests and use of the CDAT with Indiana University Summer Arts Institute students "are discussed and their implications for more efficient and effective identification of artistically gifted/talented students in the visual arts are reported." (p.92)

 

Clark, G.A. & Zimmerman, E.D. (1988) Views of self, family background, and school: Interviews with artistically talented students. Gifted Child Quarterly, 32 (4), 340-346.

"Most students in this study reported that school offered a social community but that they did not have many friends with similar interests. Many of them took art classes outside school and had won awards which they perceived as having both positive and negative effects. ... Their art teachers were recalled as having encouraged or challenged them, but they often expressed a need for more rigorous and supportive instruction." (p.345)

 

Clark, G. & Zimmerman, E. (1987) Tending the special spark: Accelerated and enriched curricula for highly talented art students. Roeper Review, 10 (1), 10-17.

"Recommendations are set forth for educating highly able artistically talented students at the proposed science and art high school in Israel, derived from Stanley's and other models in the education of academically gifted students. Consideration is given to areas of student identification and characteristics, teacher selection and strategies, curriculum content, and educational arrangements and settings and how practices of acceleration and enrichment relate to these areas." (p.10)

 

Clark, G. & Zimmerman, E. (1985) Old Donation Center for the gifted and talented. School Arts, 85 (2), 34.

Briefly outlines a program for students talented in the visual arts, with a contact address if further information is desired. In this interdisciplinary program students study anatomy prior to beginning a unit on drawing and the physics of colour, light and vision in their study of visual perception. "They study creative writing and myths and create and write comic books about heroic figures."

 

Clark, G. & Zimmerman, E. (1984) Inquiry about art ability and talent: A remembrance of things past. Theory Into Practice, 23 (4), 321-329.

Provides an overview on measures used to identify artistic talent, on associated research and on programs for artistically talented students in the U.S.A.

 

Clark, G. & Zimmerman, E. (1984) Toward a new conception of talent in the visual arts. Roeper Review, 6 (4), 214-216.

"The concept of artistic talent is examined by countering several popular misconceptions about students with superior abilities. A new conception of artistic talent is presented in which parallels are drawn between the representation of the concept of intelligence on a normal distribution and representation of talent in art on a naive to sophisticated continuum." (p.214)

 

Clark, G. & Zimmerman, E. (1983) At the age of six, I gave up a magnificent career as a painter: Seventy years of research about identifying students with superior abilities in the visual arts. Gifted Child Quarterly, 27 (4), 180-184.

"Many issues relative to identification of students with superior abilities in the visual arts have ... been raised and remain unresolved." (p.183)

 

C1ark, G. & Zimmerman, E. (1983) Identifying artistically talented students. School Arts, 83 (3), 26-31.

"In general, the more identification procedures schools use, the more likely they are to discover the truly talented students among them." (p.28) Nominations, structured nominations, portfolio review, interviews, creativity tests, informal art tests, achievement tests, biographical and student interest inventories and observation are discussed, while three identification forms are included.

 

Cote, H.B. (1987) The Imaginarium. School Arts, 86 (5), 30-31.

Describes how a high school created a studio/gallery, "where self-motivated students use their study periods to work unattended on a variety of art problems. The studio, named the 'Imaginarium', revolves around a series of visual challenges that are set up for a period of time ranging from two to six weeks." (p.30)

 

Crichton, J. (1985) Learning from Leonardo. Art and Craft, 326, 10-12.

Explains briefly but with illustrations how a class started a project on working models by studying the drawings and designs of Leonardo da Vinci.

 

Currie, D. (1983) Words, letters, numbers and cameras. School Arts, 83 (3), 22 25.

Explains how artistically gifted students at New Trier High School "create new and exciting images by uniting written imagery and other forms of visual information." (p.23)

 

Dircks, J. (1991) Art-Links between Mosman High and Primary schools. TalentEd, 35, 7-9.

[See under School Provision - Australia]

 

Edmonston, P. (1981) The visually creative student. School Arts, 80, 6-11.

Discusses characteristics of visually creative students, with examples of students' work.

 

Emerick, L. (1986) Lights! Camera! Learn! The Gifted Child Today, 9 (5), 29-31.

"Movies and video are a combination of art and technology which have no limits as to uniqueness and usefulness of the end product." (p.31) Discusses basic knowledge, planning, filming, post-production activities and audiences.

 

Eriksson, G.I. (1989) Developing creative thinking through an integrated arts programme for talented children. Gifted Education International, 6 (1), 8-15.

"This paper discusses the nature and development of creative thinking in relation to expression and communication in the arts based on the results of an evaluation study of an Integrated Arts Programme. In the Integrated Arts Workshops, professional artists and teachers are brought into contact with groups of talented children to give exposure, encourage participation and develop understanding of the nature of creative thinking as expressed through different art forms." (p. 8)

 

Gaitskell, C.D. & Hurwitz, A. (1970) Children and their Art - Methods for the Elementary School. New York: Harcourt Brace and World. (372.5/G144C/1970)

See Chapter 14, Art Activities for Gifted Children.

 

Golomb, C. (Ed.) (1995) The Development of Artistically Gifted Children. Hillsdale: Lawrence Erlbaum. (155.455/D489]

After an opening chapter on 'The changing concept of artistic giftedness' several case studies are examined in detail, including 'Nadia reconsidered'. Contains numerous examples of the children's work.

 

Goertz, J., Warren, S. & Fennie, K. (1988) The role of art in cognition: A problem solving approach. Roeper Review, 10 (3), 166-167.

Discusses the use of Creative Problem Solving strategies in a 'summer enrichment program' in art.

 

Harrison, C. (1999) Visual representation of the young gifted child. Roeper Review, 21 (3), 189-194. [See under Early Childhood]

 

Haroutounian, J. (1995) Talent identification and development in the arts: An artistic/educational dialogue. Roeper Review, 18 (2), 112-117.

"The future direction of talent identification and development in the arts relies on meaningful collaboration between educator and artist. ... Effective identification of artistic talent requires teamwork to find students who show hints of that spark of talent. Talent development in the arts benefits from reaching beyond the school walls, to embrace the arts community." (p.116)

 

Hatfield, T.A. & Elam, A.H. (1983) Gifted and Talented in the Visual Arts. Columbia: South Carolina State Dept of Education. (Q371.956/H362g)

"Sample program models cited include acceleration, multi-age grouping, resource/interest centers, mentorships, and 'happenings'." (p.1) Sample identification forms are discussed, as are programming and evaluation considerations.

 

 Johnsen, S. (1998) Interview with a young artist-in-residence: Pi Xiaoxiao. Our Gifted Children, 4 (4), 8-9.

An interview with a talented 14-year-old who was artist-in-residence at a primary school.

 

Kay, S. (1982) The gifted and the arts: A prismatic view. School Arts, 81 (6), 44 45.

Outlines an approach to the identification and evaluation of students with artistic talent.

 

Kelen, E. (Ed.) (1990) Leonardo da Vinci's Advice to Artists. Philadelphia: Running Press. (759.506/L581a)

"Here, in his own words and his own matching illustrations, is Leonardo da Vinci's advice to artists, just as he imparted it to the painters who worked in his studio in Renaissance Italy. ... All of the material in this book is based on Leonardo's minute observations, scientific knowledge, and day-to-day experience: it is the result of the constant questing and fertile imagination of a unique mind." (Cover notes) Full of interesting guidelines and insights for the talented young artist.

 

Kenny, A. (1987) Guidance and visual art. Gifted Child Today, 10 (3), 33-37. [See under Counselling]

 

Krause, C.S. (1987) A creative arts model for gifted and talented students using community resources and people. Roeper Review, 9 (3), 149-152.

"Using Type I, II and III activities adapted from Renzulli's enrichment triad model, courses in the visual and performing arts using community resources and artists are scheduled to broaden and enhance each child's creativity." (p.149) Type III activities included: a tape presented to the Archive of Folk Song, Washington, D.C.; a modern dance show which toured six area schools; a Family Night performance for parents of original, family stories: "A Trunkfull of Family Folktales'.

 

Madeja, S.S. (Ed.) (1983) Gifted and Talented in Art Education. Reston: National Art Educ. Association. (371.953/M181G)

This booklet contains details of exemplary programs for gifted and talented students in art in the U.S.A., with numerous photographs of children's work and children at work.

 

Nelson, K.C. & Janzen, P. (1990) Diane: Dilemma of the artistically talented in rural America. The Gifted Child Today, 13 (1), 12-15.

Presents a case study that has relevance beyond just 'rural America'. "To understand the psychological crisis Diane faced in adolescence, it is important to know her talent for art is accompanied by the personality characteristics associated with high creativity: independence, nonconformity, tenacity, love of solitude, low tolerance for boredom and boldness in expressing her opinion." (p. 12)

 

Page, B. (1980) Cartoon Art: An Adventure in Creativity. Mansfield Center: Creative Learning Press. (741.58/P132c)

An example of a curriculum unit for the gifted and talented based upon Renzulli's enrichment triad model. Describes how Eric, a fifth- grader, produced an original comic book involving his own creation, 'Cactusman'.

 

Piirto, J. (1991) Why are there so few? (Creative women: Visual artists, mathematicians, musicians) Roeper Review, 13 (3), 142-147.

"The profession of artist demands an extraordinary commitment in terms of willingness to take rejection, to live in poverty, and to be field independent. Those are traits of committed males, but not of committed females, who usually choose careers as art educators, but not as artists." (p.143)

 

Saunders, R.J. (1982) Screening and identifying the talented in art. Roeper Review, 4 (3), 7-10.

Discusses attitudes about artistic talent and creativity, standardised tests in art, and the use of portfolio and interview to aid recognition of outstanding talent in the creative arts.

 

Selfe, L. (1977) Nadia: A Case of Extraordinary Drawing Ability in an Autistic Child. London: Academic Press.

A most unusual case study of "a child who turns upside down all our notions of graphic representation." (p.1) Includes numerous examples of Nadia's drawings, done between three and a half and six and a half years of age.

 

Sims, W. (1980) Our art class makes a film, in Mallis, J. (Ed.) Ideas for Teaching Gifted Students: Visual Arts. Austin: Multi Media Arts. 120-131.

Describes in detail the various steps involved in making an animated film about Marco Polo. Practical suggestions are given.

 

Snelson, K., Siler, T., Schwartz, L., Carr, J. & Strange, G. (1991) Essential components for a visual arts curriculum for highly talented high school-age students. Roeper Review, 13 (2), 69-71.

Practising artists "discuss how they became artists and what factors were pivotal in their careers. Motivation, confidence, discipline, learning basic skills, finding structure, and studying with gifted teachers are factors that influenced them greatly." (p.69)

 

Sullivan, G. (1986) Immaculate perception is not enough - artistic intelligence: children's imaginative use of symbols. Art in Education, 11, 15-21.

Argues that "the arts can no longer be seen as the province of a talented few, as a therapeutic outlet, or as a curriculum dessert to be served after the main course is through. Instead the arts are an area that involves a way of learning that some individuals find necessary in order to come to know their world." (p.21) Includes several case studies.

 

Szekely, G. (1981) The artist and the child - a model program for the artistically gifted. Gifted Child Quarterly, 25 (2), 67-72.

Outlines the goals and functioning of Art Partnership Networks whereby college students majoring in various fields of art 'adopt' a talented schoolchild. Includes a 'Checklist for the Identification of the Artistically Gifted'.

 

Szekely, G. (1982) Creative learning and teaching of the gifted through sketchbooks. Roeper Review, 4 (3), 15-17.

"Teachers can enhance the talents of artistically gifted students by encouraging them to maintain sketchbooks for their projects, ideas, and visions." (p.15) Stresses the need for privacy.

 

Turner, D. (1987) Professional art in the entrance. School Arts, 86 (5), 28-29.

Describes a school that "renovated the front entrance lobby into a professional art gallery, allowing students to confront art daily." (p.28)

 

Whelan, L. (1984) You are an artist. TalentEd, 5, 7-20.

Provides an art program for whole class use in the upper primary school, based on Renzulli's 'enrichment triad model'.

 

Winner, E. & Martino, G. (1993) Giftedness in the visual arts and music. In K.A. Heller, F.J. Monks & A.H. Passow (Eds) International Handbook of Research and Development of Giftedness and Talent. Oxford: Pergamon. pp.253-281. (371.95/H477i)

Discusses 'Early signs of artistic giftedness', 'The role of family and teachers', 'Correlations between artistic giftedness and other abilities and disabilities', 'Procedures for identifying artistically gifted children', 'High drawing ability in ordinary children as a function of instruction: The case of China', ''"Savant" artists' and 'The relation between artistic giftedness and creative adult artistry'.

 

Yunghans, M. (1981) A pull-out program for gifted elementary students. School Arts, 80 (8), 50-51.

Outlines general goals and five units that formed an art enrichment program. Includes suggestions for parental participation.

 

Zimmerman, E. (1994/95) Factors influencing the art education of artistically talented girls. Journal of Secondary Gifted Education, 6 (2), 103-112.

"Nineteen girls and boys ages 11 to 16 who attended the Indiana University Summer Arts Institute were interviewed to learn about their perceptions of their early art talent, adult and peer encouragement, positions in their families, future expectations, interest in creating art, living environments, familiarity with artists, schooling, and art abilities. Results of these interviews were contrasted and compared in respect to gender issues, with findings by Clark and Zimmerman, Kerr, Reis, and Silverman." (p.103)

 

Zimmerman, E. (1992) Assessing students' progress and achievements in art. Art Education, 45 (6), 14-24.

"Assessment instruments that approximate real-life, authentic situations that involve integrated, complex, and challenging tasks also can be used to assess individual achievement and higher level thinking skills." (p.15) Provides several examples of 'authentic assessment procedures'.

 

Zurmuehlen, M. (1991) A summer art workshop for high school students with special interest in art. Roeper Review, 13 (2), 64-68.

"Artists' summer retreats are described as the basis for a summer art workshop for 20 high school students with special interest in art. The students' perceptions of early art exeriences and environmental influences, along with other interests and future plans are reported from interviews conducted with each participant in the 1989 workshop." (p.64)

©TalentEd is located at the School of Education, University of New England, Armidale, Australia.

This page updated: 23 January 2006 Webmaker: Howard Smith. hsmith4@une.edu.au