The case for creative expression: the Winebrenner years: 1953 to 1962. (A Look at the Past).

In his first editorial, D. Kenneth Winebrenner states his intention to make substantive changes in the magazine's content and format. He says, "There are readily apparent changes in arrangement and format, all planned to make SchoolArts more serviceable as well as more attractive." However, long-time readers of SchoolArts did not need to read the editorial to know that the new editor was going to make major changes in the magazine. They would have been aware that changes awaited the reader as soon as they received their September 1953 issue just by looking at the cover. Gone was the simple design, which, with minor changes, had been used for all of the covers during the previous year. This cover, with its black lines and free form birds, was less structured and conveyed a feeling of excitement and energy.

The energy and excitement of the cover design was reflected in the contents of the magazine as well. During Winebrenner's tenure as editor, SchoolArts moved away from publishing articles and themes primarily centered around the processes of art, crafts, and design to a mix of process-based articles and issues affecting the field of art education. The theme for the first issue edited by Kenneth Winebrenner, Developing Imagination and Originality, set the tone for the majority of issues that were to follow. While many articles were still based on the process of making art, they also in some way reflected the idea of creativity and free expression. Some months, for example the September 1957 issue titled Children and Creative Expression, the entire magazine was dedicated to this theme.

As seen in these excerpts, almost all editorials written during Winebrenner's nine-and-a-half-year editorship centered around aspects of creativity, free expression, and the development of imagination in children and teachers.

October 1953 "We must have more and more time devoted to creative activity, and all school subjects must be approached with a creative mind if we are to prepare children to cope with problems which will surely face them tomorrow." (p. 48)

October 1956 Winebrenner maintains that the Cardinal Sins of Teaching are "memorization, imitation, standardization, indoctrination, classification, exploitation, evaluation." (p. 52)

March 1962 "Academic freedom is compromised when the individual creative growth and overt performance of the student must be measured by formulas." (p.56)

Winebrenner maintained in his first editorial that SchoolArts "continues today as the most widely read magazine in the art education field." (p. 52) Since Art Education, begun in 1947, had limited readership, and Studies was not published until 1960, Winebrenner's assumption was probably accurate. As editor, he wanted to acquaint teachers with current theories and methodologies in art education. This mission was apparent in his choice of advisory editors, articles dedicated to art education theory and pedagogy, and the ongoing features in each issue.

The choice of members for his Editorial Board, for the most part affiliated with colleges and universities, reflected the direction he wanted the magazine to take. Many of these advisory editors, Manuel Barkan, Ralph Beelke, Howard Conant, Victor D'Amico, Italo deFrancesco, Edmund Feldman, C.D. Gaitskill, and Edwin Ziegfeld, were not only professors and directors of Art Education programs but also some of the best known writers and theorists of the 1950s and 60s. Their books and articles made significant contributions to the direction of art education during that time.

Many of the articles published while Winebrenner was editor also reflected his desire to keep teachers in the field informed about the current theories and direction of art education, particularly as they related to creativity and freedom of expression. During each publishing year, at least half of the issues contained articles or commentary from well-known art educators. In addition to the members of the advisory board, most of the prominent writers of the 50s and 60s contributed to SchoolArts. Viktor Lowenfeld, perhaps the most recognizable name in art education from this time, published four articles; Virginia Always Draws the Same Thing, January 1954; The Creative Process and the Handicapped, March 1955; The Case of the Gifted Child, April 1956; and Creativity and Art Education, September 1959. Imagination, Sesame of Creative Expression, September 1953 was one of four articles written by Victor D'Amico. Gaitskill, Barkan, deFrancesco, Feldman, and Ziegfeld were also frequent contributors.

In addition to the articles discussing theory and pedagogy, Winebrenner also instituted a number of monthly features designed to keep teachers abreast of current issues and ideas in art education. Such monthly features as News Digest, Items of Interest, New Teaching Aids, and Art Films kept readers informed about products, books, and films, which would aid in the teaching of art. Additional features such as Beginning Teacher, Questions You Ask, Art Problem Clinic, and Issues of the Day addressed specific topics each month. The topics covered the full range of issues affecting K-12 classrooms and were written to provide practical advice. For example, in the September 1958 Issues of the Day, "Art Educators of Note" were asked to address the issue of Holiday Art.

While theory and pedagogy played an important role during his tenure, Winebrenner did not neglect art-making or art appreciation. However, most articles did not give teachers a "how to approach;" rather, the process of art-making was presented in a dialogic form, often presenting the theory rather than the process of a project. Each article was well-illustrated with images of student art, and each issue contained at least one color example of student's art. The projects were directed to teachers working with students at all levels, but even structured drawing or crafts projects stressed the need for creativity and individual expression. For example, in Starting with Scribbles (2/54), Jean Bird describes a design lesson which is intended to improve composition. The author states, "Children who need to develop confidence, whose work lacks freedom and spontaneity, may profit from scribble patterns." (p. 13) Another example of the "creative lessons" presented by teachers is one entitled Elvis Presley and Art (9/57). Written by a high-school art teacher named Al Hurwitz, the lesson was intended to get students to "rock and roll their way to creative expression." (p. 17).

Art appreciation is also a major theme throughout the Winebrenner years. In addition to many articles by and about artists, he initiated several features specifically addressing art appreciation. In April 1957, Understanding Art first appeared. This feature presented information about art and artists in a brief, one-page discussion. It was usually illustrated with black-and-white reproductions of the featured artist's work, and was intended to inform students and help teachers "to brush up a bit."

In May 1959, another new feature was added which was directed toward the appreciation of art. This series, Why People Create, looked at living artists and asked them for their ideas about art, education, and the world. The feature included such well-known artists as Frank Lloyd Wright (6/59), Louise Nevelson (3/60), and Jacob Lawrence (2/61). Both of these features were designed for older children. In September 1961, a new feature, Children's Gallery, was inaugurated. Its purpose was to "discuss some work of art each month that will be of special interest to children, in language which may be easily read by elementary pupils."

Winebrenner edited ninety-four issues of SchoolArts. Throughout his tenure, he presented a magazine dedicated to the idea of creative expression. Each issue was well-designed, presented interesting projects, and provided strategies for creative teaching.

Marianne S. Kerlavage is a professor of art education and Chair of the Department of Art at Millersville University in Pennsylvania.