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There is an urgent need in terms of changing world conditions to move beyond the dualist paradigm that has traditionally informed design research, education and practice. Rather than attempt to reduce uncertainty, novelty and complexity as is the conventional approach, an argument is presented in this article that seeks to exploit these qualities through a reconceptualisation of design in creative as well as systematic, rigorous and ethical terms. Arts‐based research, which ‘brings together the systematic and rigorous qualities of inquiry with the creative and imaginative qualities of the arts’, is presented as being central to this reconceptualisation. This is exemplified in the application of art‐informed inquiry in a research unit for graduating tertiary‐level interior design students. The application is described in this article and is shown to rely substantially on the image and its capacity to open up and reveal new possibilities and meaning.

This paper aims to identify career development theories that explain the intention to choose college majors in arts and design, to integrate the identified theories and to examine the relationships between determinants of the integrated model. In addition, this study attempts to identify the characteristics of the prospective arts and design students.

The literature review resulted in a multitheoretical framework named as PERISCOPE (Personality of Holland's RIASEC in Social Cognitive and Planned Behavior Theories) to reflect the theories it consisted of. This study collected data from Year 12 students in Surabaya (n = 163) and used PLS-SEM technique to assess the measurement model and the structural model of such framework.

The results revealed that the integrated model explains 57.8 percent of the variance of the intention to pursue arts and design majors. This paper hence improves the predictive ability of an earlier model by adding a further theory. In addition, this study identified characteristics of the prospective students and concluded that students with artistic personality will have better self-efficacy, which sequentially have perception that pursuing arts and design majors will not be challenging, thus increases their intention to pursue such majors.

This study demonstrated that PERISCOPE framework is better in terms of predictive power in understanding the college major choice in arts and design. As a result, this study adds to the current body of knowledge in the field of college major choice, which was found to be lacking.

In 1939, an English artist, designer and teacher named Ann Gillmore Rees arrived in New South Wales. Over the next nine years Rees taught design and craft to adults in Sydney, working for the Children’s Library and Craft Movement (later to become the Creative Leisure Movement), the Australian Red Cross, and the Society of Arts and Crafts of New South Wales. Although the period from 1939 until 1948 represents only a short period in what was a long and diverse career, Rees’ students included some notable figures, among them Margaret Oppen who went on to establish the Embroiderers Guild of NSW, Ysobel Irvine, later a popular teacher at the Workshop Art Centre in Willoughby, and the noted interior designer Marion Hall Best. Despite her active participation in the cultural life of Sydney, Rees is curiously absent from most of the histories of craft and design in Australia and very little has been written about her work as a teacher. This article outlines Ann Gillmore Rees’ teaching activities in Sydney, with particular focus on the Craft Training School and Correspondence Courses in Colour and Design and Fabric Printing that she developed for the Society of Arts and Crafts of New South Wales. It also analyses the role these classes played at a time of limited access to formal educational programmes in craft and design and consider how, in these classes, Rees combined elements of vocational, recreational and informational adult education so as to appeal to a wide audience.

Arts-integration is a promising approach to building students’ abilities to create and critique arguments with data, also known as informal inferential reasoning (IIR). However, differences in disciplinary practices and routines, as well as school organization and culture, can pose barriers to subject integration. The purpose of this study is to describe synergies and tensions between data science and the arts, and how these can create or constrain opportunities for learners to engage in IIR.

The authors co-designed and implemented four arts-integrated data literacy units with 10 teachers of arts and mathematics in middle school classrooms from four different schools in the USA. The data include student-generated artwork and their written rationales, and interviews with teachers and students. Through maximum variation sampling, the authors identified examples from the data to illustrate disciplinary synergies and tensions that appeared to support different IIR processes among students.

Aspects of artistic representation, including embodiment, narrative and visual image; and aspects of the culture of arts, including an emphasis on personal experience, the acknowledgement of subjectivity and considerations for the audience’s perspective, created synergies and tensions that both offered and hindered opportunities for IIR (i.e. going beyond data, using data as evidence and expressing uncertainty).

This study answers calls for humanistic approaches to data literacy education. It contributes an interdisciplinary perspective on data literacy that complements other context-oriented perspectives on data science. This study also offers recommendations for how designers and educators can capitalize on synergies and mitigate tensions between domains to promote successful IIR in arts-integrated data literacy education.

The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development.

A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period.

This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987).

The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.

In the following theoretical article, the author generates a theory of Leadership Pedagogy and its connection to Creative Arts Education.

The article analyzes Leadership Theory across three pillars: Socio-relational, Cognitive and Creative, and how these areas underscore thoughtful and caring pedagogy and inclusive teaching in undergraduate education.

Drawing on the Scholarship of Teaching and Learning (SoTL), the article advocates for a flexible, multifaceted approach to curricular design rooted in theoretical pluralism, prioritizing interdisciplinary methods to bridge theory and practice in Creative Arts Education.

The article concludes with implications for future research and collaboration connecting Leadership Studies and the Arts.

The purpose of this paper is to elucidate the current state of arts entrepreneurship education at higher educational institutions (HEIs) by reviewing the relevant literature and surveying lecturers in Fine Art.

The analysis of fine art students’ educational situation at HEIs in the UK and Germany is conducted in two steps: first, a literature review provides an overview of the current state of arts entrepreneurship education, followed by the second step of a cross-sectional survey by questionnaires among fine art lecturers to capture their perspectives of fine art students’ professional preparation.

The study confirms the assumed poor state of arts entrepreneurship education at HEIs by showing evidence that an entrepreneurial education of fine art students is definitely not implemented at HEIs, neither in the UK nor in Germany.

The findings stimulate the discussion of HEIs’ task and responsibility to professionally prepare fine art graduates for their entrepreneurial and professional career.

The study contributes to knowledge by presenting relevant findings related to fine art curriculum and current state of fine art graduates’ vocational preparation.

The purpose of this paper is to examine the relations and processes by which creativity is assembled, and how this mode of creativity responds to tensions and difficulties in activities concerning “arts education” and “creativity” in a community arts organisation in Mexico City. It shows how ethnographic research can provide qualitative understanding about “creativity” on the ground, i.e. through people’s participation in ordinary activities and projects in arts organisations.

The methodological approach was ethnographic in data collection and analysis. Participant observation was conducted for 11 months (November 2011/October 2012), as well as archival research and photographs.

The findings of this research highlight how, in the face of personal difficulties and tensions people respond creatively through collaboration. The former refers to people’s difficulties to gain control over their lives, e.g., finding a stable job. The latter refers to people’s tensions to produce an artistic project, where they negotiate with institutional expectations about the project and their own experiences and reflections.

While there is an increasing interest of policy makers for fostering “arts education” and “creativity” in an instrumental way, this paper shows how creativity emerges through the intensity of their personal ideas, experiences and solidarity.

The purpose of this paper is to critically examine the claim that artworks and corporate art collections contribute a qualitative dimension to corporate identity by satisfying aesthetic, social and cultural standards.

To explore the qualitative research purpose, the theoretical framework is supplemented with in-depth interview data from five European banks.

The findings show that corporate art achieves synergies between culture and capital, internal and external communication and thus offers significant opportunities for innovative marketing communication and identity-building strategies.

The paper provides insights into how the arts interface with branding-related innovations, assisting managers in long-term decisions on value-based branding and identity construction.

Increased arts engagement by corporations creates new synergies between cultural institutions and corporations through partnerships and philanthropic initiatives.

The originality of the paper is twofold. It thematically explores the under-researched field of art in marketing scholarship. From a methodological point of view, the research design is multidisciplinary and thus delineates new avenues for marketing practice and scholarship.