in creative noun

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[ kree- ey -tiv ]

Research supports the claim that children are most creative in the early grades, before middle school.

In the mythologies of the earliest human societies, the predominant ideas about which sex was more important in reproduction may have determined the sex assigned to the universal creative force.

creative writing.

Marx believed that labor alone was creative of value, not property ownership.

creative bookkeeping.

Creative really hit this one out of the park—we’ve doubled our conversion rate almost overnight.

In our latest campaign for a luxury services client, we used an AI platform to fine-tune creative based on user behavior.

You’ll have to hire at least one new senior-level creative to keep up with the client’s expansion plans.

/ kriːˈeɪtɪv /

• having the ability to create

a creative mind

creative toys

creative accounting

• a creative person, esp one who devises advertising campaigns

Discover More

Derived forms.

• creˈativeness , noun
• creˈatively , adverb
• ˌcreaˈtivity , noun

Other Words From

• cre·a·tive·ly adverb
• cre·a·tive·ness noun
• an·ti·cre·a·tive adjective
• an·ti·cre·a·tive·ly adverb
• an·ti·cre·a·tive·ness noun
• non·cre·a·tive adjective
• non·cre·a·tive·ly adverb
• non·cre·a·tive·ness noun
• sub·cre·a·tive adjective
• sub·cre·a·tive·ly adverb
• sub·cre·a·tive·ness noun
• un·cre·a·tive adjective
• un·cre·a·tive·ly adverb
• un·cre·a·tive·ness noun

Word History and Origins

Origin of creative 1

Example Sentences

For six years, our annual Change the World list has been a chronicle of the increasingly creative ways business is tethering profit to purpose.

We had become increasingly effective and decreasingly creative.

Hubert, who played Aunt Viv for three seasons before being replaced by Daphne Maxwell Reid, not only claimed that she had creative differences with Smith but she also alleged she was fired for getting pregnant.

Everlane later announced that the Chief Creative Officer Alexandra Spunt, who took much of the criticism, would no longer lead the creative team.

TikTok’s power goes beyond its democratized, creative essence.

It was his business acumen, his own unflagging zeal for the creative business solution, that had freed Sam to do this.

The creative team behind the new My Lai project is working out the details for set design.

Despite the acclaim and the viral popularity, the band has never lost that independant creative spirit.

It was creative thinking like this that helped it debut at number one on Billboard Top Heatseekers Chart.

For the aficionado or the neophyte, Comics is a useful overview of a richly creative period in a burgeoning art.

John Baptiste Robinet taught the gradual development of all forms of existence from a single creative cause.

Now she roved with free footsteps through the vineyards which sprang up beneath her creative pencil.

In its highest degree, imagination rises to the sphere of creative fancy, or poetic power.

Tchaikovskys creative talents, which are occasionally apparent in his symphonic works, are completely lacking in The Oprichnik.

Show me one of our young artists who can stand like Fudo in the flame of his own creative thought!

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creative noun

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What does the noun creative mean?

There are two meanings listed in OED's entry for the noun creative . See ‘Meaning & use’ for definitions, usage, and quotation evidence.

How common is the noun creative ?

How is the noun creative pronounced, british english, u.s. english, where does the noun creative come from.

Earliest known use

The earliest known use of the noun creative is in the 1900s.

OED's earliest evidence for creative is from 1903, in Westminster Gazette .

It is also recorded as an adjective from the early 1500s.

creative is formed within English, by conversion.

Etymons: creative adj.

Nearby entries

• creational, adj. 1677–
• creationary, adj. 1894–
• creationism, n. 1840–
• creationist, n. & adj. 1820–
• creation money, n. ?1527–
• creation myth, n. 1863–
• creation mythology, n. 1877–
• creation science, n. 1970–
• creation scientist, n. 1967–
• creation story, n. 1860–
• creative, n. 1903–
• creative, adj. a1513–
• creative accountancy, n. 1981–
• creative accountant, n. 1973–
• creative accounting, n. 1967–
• creative class, n. 1836–
• creative destruction, n. 1927–
• creative director, n. 1938–
• creative evolution, n. 1908–
• creative evolutionist, n. 1915–
• creatively, adv. 1713–

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Meaning & use

Pronunciation, entry history for creative, n..

creative, n. was first published in June 2003.

creative, n. was last modified in December 2023.

oed.com is a living text, updated every three months. Modifications may include:

• further revisions to definitions, pronunciation, etymology, headwords, variant spellings, quotations, and dates;
• new senses, phrases, and quotations.

Revisions and additions of this kind were last incorporated into creative, n. in December 2023.

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Citation details

Factsheet for creative, n., browse entry.

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Definition of creative adjective from the Oxford Advanced Learner's Dictionary

• a course on creative writing (= writing stories, plays and poems)
• creative thinking (= thinking about problems in a new way or thinking of new ideas)
• the company’s creative team/director
• the creative process
• She channels her creative energy into her art.
• creative with something (informal) You can get creative with this recipe and add whatever fruit you like.
• They use creative ways to market their services to customers.
• Most of his creative work has been done in the theatre.
• the creative and performing arts

Take your English to the next level

The Oxford Learner’s Thesaurus explains the difference between groups of similar words. Try it for free as part of the Oxford Advanced Learner’s Dictionary app

Can 'creative' be a noun?

When adjectives drift into noun territory

Thesaurus Entries Near creative

creativeness

Cite this Entry

“Creative.” Merriam-Webster.com Thesaurus , Merriam-Webster, https://www.merriam-webster.com/thesaurus/creative. Accessed 18 May. 2024.

More from Merriam-Webster on creative

Nglish: Translation of creative for Spanish Speakers

Britannica English: Translation of creative for Arabic Speakers

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Meaning of creative in English

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• imaginative She is often brilliantly imaginative in filling out the details of the writer's life.
• creative The designer is either a creative genius or completely bonkers.
• inventive The company was known for hiring inventive people who could dream up new products.
• innovative She was an innovative, entrepreneurial thinker.
• visionary An organization doesn't grow if you don't have a visionary leader to take you into the future.
• She has been described as the creative colossus of the literary world .
• She's very creative on the design front .
• Like many creative individuals , she can be very bad-tempered .
• Excessive managerial control is inimical to creative expression .
• This early in the morning it's hard to get the creative juices flowing .
• anti-creative
• breathe (new) life into sth idiom
• divergently
• incentivize
• inspiration
• show (someone) the way idiom
• stimulating

You can also find related words, phrases, and synonyms in the topics:

Related words

• administrative
• administrative assistant
• administratively
• at the coalface idiom
• job-sharing
• joblessness
• professionality
• well qualified
• white-collar
• who's who idiom
• wilderness years idiom

creative | American Dictionary

Creative | business english, examples of creative, translations of creative.

Get a quick, free translation!

Word of the Day

a computer program designed to have a conversation with a human being, usually over the internet

Searching out and tracking down: talking about finding or discovering things

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Pronunciation [ change ]

• ( US ) enPR : mäsʹkou  or mäsʹkō , IPA ( key ) : /ˈmɑskaʊ/  or /ˈmɑskoʊ/
• ( UK ) enPR : mŏsʹkō IPA ( key ) : /ˈmɒskəʊ/
• ( NZ ) enPR : mŏsʹkō IPA ( key ) : /ˈmɔskɐʉ/

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What Creative Arts Therapies Teach Us About DBT Skills Training

Bridging dbt with the arts for deeper understanding..

Posted April 15, 2024 | Reviewed by Jessica Schrader

• What Is Therapy?
• Find a therapist near me
• Research supports the effectiveness of combining DBT with creative arts to improve outcomes.
• Facilitators can teach wise-mind skills through drama therapy techniques.
• Action-based DBT utilizes storytelling and role-play to make skill learning more accessible and impactful.

In the ever-evolving realm of mental health, therapists are always exploring new and innovative methods to enhance traditional treatments. Creative arts therapists have led the way in utilizing art-based interventions to teach DBT skills.

Creative arts therapy combines visual arts, movement, drama, music, writing, and other creative processes to support clients in their healing process. Many mental health clinicians have embraced creative arts therapy interventions to improve their clients' health and wellness.

There is a growing body of research that indicates that therapists can utilize creative interventions to help clients learn and generalize DBT skills. In this post, I will provide a brief literature review of therapists who have been doing this integrative work and provide an example of how drama therapy can be utilized to teach the DBT skill of wise mind.

DBT and Art Therapy

Research indicates that integrating art therapy into established psychotherapy forms, such as cognitive-behavioral therapies, can have significant positive effects on client well-being. For example, a study by Monti et al. (2012) demonstrated the potential of mindfulness -based art therapy (MBAT) in alleviating emotional distress, highlighting the power of combining art therapy with the core feature of mindfulness in DBT. Though this study did not specifically discuss DBT, it demonstrated that implementing mindfulness, a core component of DBT, can assist individuals who are facing significant physical and emotional stressors.

Building on research that examined mindfulness and art therapy, several practitioners have contributed articles that specifically address the integration of DBT and art therapy within clinical populations. For example, researchers Huckvale and Learmonth (2009) led the charge by developing a new and innovative art therapy approach grounded in DBT for patients facing mental health challenges. Furthermore, Heckwolf, Bergland, and Mouratidis (2014) demonstrated how visual art and integrative treatments could help clients access DBT, resulting in stronger generalization and implementation of these skills outside of the session. The clinicians concluded that this integrative approach to treatment could reinforce skills, contribute to interdisciplinary team synergy, and enact bilateral integration.

Other notable examples from art therapists include Susan Clark’s (2017) DBT-informed art therapy, a strategic approach to treatment that incorporates creative visual exercises to explore, practice, and generalize DBT concepts and skills.

Expanding Beyond Visual Art Therapy

DBT has now been integrated with other expressive art therapies, including drama and music. Art therapists Karin von Daler and Lori Schwanbeck (2014) were instrumental in this expansion when they developed Creative Mindfulness, an approach to therapy integrating various expressive arts therapies with DBT. Creative Mindfulness “suggests a way of working therapeutically that is as containing and structured as DBT and as creative, embodied, and multi-sensory as expressive arts” (p. 235). These clinicians incorporated improvisation into their work, a tool that can be simultaneously playful, experiential, and grounding, ultimately producing substantial new insights for clients.

Moreover, music and drama therapists have recognized the benefits of multisensory skill teaching, expanding the creative techniques used to teach DBT skills ( Deborah Spiegel, 2020 ; Nicky Morris, 2018 , and Roohan and Trottier, 2021 ).

My Own Experience Integrating Drama Therapy and DBT

Personally, I am a big advocate of both dialectical behavior therapy (DBT) and drama therapy. In fact, I love these modalities so much that I dedicated not only my master's thesis but also my dissertation to better understanding how to reinforce DBT skills through dramatic techniques. In the process, I developed a new approach called Action-Based DBT that uses dramatic interventions like storytelling, embodiment, and role-playing to create a supportive environment for participants to learn skills in a more personalized and embodied way. An expert panel review demonstrated that this format can effectively support skill learning, especially for clients who struggle with the standard format of DBT skills training. Additionally, mental health clinicians found the program easily adaptable across populations in both individual and group settings.

Embodying the Mind States

To illustrate this approach and its effectiveness, the following is an example of how drama therapy methods can teach the DBT skill of wise mind within the context of an action-based DBT group.

The facilitator begins the group session by reviewing general guidelines and introducing the targeted DBT skill for the day: wise mind. The group then participates in improvisational warm-up activities to promote creativity , positive social interaction, and group connectivity. Following the warm-up, the facilitator distributes the DBT mind states handout (Linehan, 2015) and provides brief psychoeducation on this skill. Three chairs are placed in the front of the group room, facing the semi-circle of clients. Each chair had a piece of colored construction paper taped to the front, reading as Reasonable, Wise and Emotion . The facilitator explains that each chair represents one of the three mind states: reasonable mind, emotion mind and wise mind. To encourage exploration of the mind states, the facilitator can assign a more specific role to each state of mind. For example, the reasonable mind is The Computer, the emotion mind is The Tornado, and the wise mind is The Sage. Group members are invited to think of a scenario in which they felt they had difficulty accessing their wise mind. Clients then take turns embodying each mind state by sitting in the chair and speaking from the respective role. When a client first sits in a chair, the facilitator aids in enrolling the individual by asking questions about the role (i.e. The Computer, The Tornado, The Sage). For example, the facilitator may ask about the posture, tone of voice, or a “catchphrase” for this role. The client then embodies the role and responds to questions from the group as the specific mind state. After the embodiment, clients engage in verbal processing. The wise mind directive supports clients in developing kinaesthetic awareness of the three mind states. Embodying these mind states within the context of a supportive group and engaging in verbal processing around the experience can increase awareness of the mind states, which is helpful for clients who are trying to understand their emotional response to lived events outside of the group setting.

The creative arts therapies offer a dynamic pathway to teaching and reinforcing DBT skills. Incorporating visual art, drama, or music in the process of learning DBT skills allows clients to engage with these concepts in a multisensory and embodied way.

In my personal experience, weaving drama therapy techniques into DBT skills training has proven to be profoundly impactful. The Action-Based DBT approach, with its emphasis on storytelling and embodiment, offers an immersive and experiential learning environment that can be especially beneficial for those who find traditional methods challenging.

Looking ahead, my next post will delve into how storytelling can be harnessed to teach DBT skills in a way that is both engaging and memorable.

To find a therapist, please visit the Psychology Today Therapy Directory .

Clark, S. M. (2017). DBT-informed art therapy: Mindfulness, cognitive behavior therapy, and the creative process. Jessica Kingsley Publishers.

Heckwolf, J. I., Bergland, M. C., & Mouratidis, M. (2014). Coordinating principles of art therapy and DBT. The Arts in Psychotherapy, 41(4), 329-335.

Huckvale, K., & Learmonth, M. (2009). A case example of art therapy in relation to dialectical behaviour therapy. International Journal of Art Therapy, 14(2), 52-63.

Monti, D. A., Kash, K. M., Kunkel, E. J., Brainard, G., Wintering, N., Moss, A. S., Rao, H., Zhu, S., & Newberg, A. B. (2012). Changes in cerebral blood flow and anxiety associated with an 8-week mindfulness programme in women with breast cancer. Stress and Health, 28(5), 397-407.

Morris, N. (2018). Dramatherapy for borderline personality disorder: Empowering and nurturing people through creativity. Routledge.

Roohan Mary Kate, Trottier Dana George. (2021) Action-based DBT: Integrating drama therapy to access wise mind. Drama Therapy Review, 7 (2), 193 https://doi.org/10.1386/dtr_00073_1

Spiegel, D., Makary, S., & Bonavitacola, L. (2020). Creative DBT activities using music: Interventions for enhancing engagement and effectiveness in therapy. Jessica Kingsley Publishers.

Von Daler, K., and Schwanbeck, L. (2014). Creative mindfulness: Dialectical behavior therapy and expressive arts therapy. In L. Rappaport (Ed.), Mindfulness and the arts therapies: Theory and practice (pp. 107-116). Jessica Kingsley Publishers.

Mary Kate Roohan, Psy.D., is a licensed psychologist and drama therapist and the founder of Thrive and Feel, a therapy practice that supports clients in managing emotional sensitivity.

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The creative economy is booming. why aren’t creatives.

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A lack of understanding how the creative and cultural industries function as an economy, and what’s ... [+] needed for them to flourish, are to blame.

The creative economy is booming. In many countries, such as Georgia and Mexico, the sector's total value — including music, gaming, film, museums, and the creative and performing arts — grew to nearly 3% of GDP .

Globally, there are estimates that it could be worth up to 10% of global GDP by 2030, according to G20 Insights . A lack of understanding on how these industries function as an economy are to blame, and artists most often lose out.

Many countries worldwide, from Oman to Kyrgyzstan and Moldova to Belize , are investing in tools and strategies to understand the impact of their creative economies, and alongside, multiple global conferences and reports demonstrate the value that artistry delivers to national exchequers.

In the private sector, the commercial successes of mainstream music and film since the pandemic restrictions were lifted have led to more concert tickets being sold than ever before and more bums in seats in movie theatres worldwide. People will travel internationally to see Taylor Swift, and we are seeing new laws, from Pakistan to the United States , introduced in Parliamentary chambers to support the development of the creative economy.

These are all reasons to be cheerful. As true in the art form itself as in policy, being talked about and having the attention of others is a mark of success on its own. However, advancing policies and turning them into systemic changes are not solely based on proclamations or stakeholder engagement.

When Does Bridgerton Season 3 Part 2 Come Out On Netflix See The Release Schedule

The best self cleaning litter boxes tested for months, north carolina legislators want to ban masks, even for health reasons.

In fact, despite this growth in interest and positive economic forecasts, those creating this economy are not benefitting in most places. Launching a creative economy strategy is one thing; growing from 3% of one’s economy to over 10% in a few short years is another.

HANGZHOU, CHINA - DECEMBER 28: A humanoid robot plays piano at a restaurant on December 28, 2022 in ... [+] Hangzhou, Zhejiang Province of China. (Photo by Long Wei/VCG via Getty Images)

For one’s creative economy to grow, it must be supported by respected and followed policies, practices, legal processes, and administrative procedures that define creations as economic goods that can be registered, tracked, and, most importantly, paid for. These systems are absent in many countries developing these welcome creative economy strategies and plans or those highlighted in global reports as investors.

Take Kyrgyzstan, for example. Here, the UNDP has embarked on a comprehensive creative economy development project aligned with the state’s national plan to retain youth and create sustainable jobs . This has led to a powerful Disability Art initiative to uplift local artisans, creating a virtual game celebrating Bishkek - the capital’s - cultural heritage and opening a city park dedicated to the creative industries.

However, while the country has taken steps to regulate and provide systems to protect and remunerate intellectual property registered nationally, in 2019, it collected the equivalent of $141,000 USD in royalties (12.5 million Kyrgyz Som) for a population of 6.95 million. For example, Finland, with a similar population, collected $66 million (€62 million) in 2022 . While the state-approved strategy to invest in the creative economy outlines a requirement to monetize this output, collections remain low. Festivals are ephemeral; owning one’s IP that produces income is not.

Music background design. Musical writing notes

This is where the rubber fails to hit the road. Many countries invest in making cultural goods but fail to address the most integral part—having robust intellectual property regulation that policymakers, businesses, and the general public understand, respect and follow. This is hampering economic development worldwide, creating missed opportunities everywhere.

For example, by 2050 one of every 13 children born will be Nigerian. It is one of the world’s largest cultural exporters, from global Afrobeats superstars to its Nollywood film industry, and it has stated ambitions for its creative economy to represent 10% of its economy by 2030 , which would amount to $100 billion in GDP uplift. If this were true, the creative economy could be one of Nigeria’s largest industries when these kids grow up.

However, at present, large investors are pulling out of the market because of endemic intellectual property regulatory challenges . Creators offshoring their content and registering it in the U.K., France, or the United States becomes commonplace, and there’s a lack of attention to these foundational systems and their potential economic impact at home. No amount of workshops to develop creative economy plans can overcome poor IP policy.

As a result, a transformational national opportunity to leverage something Nigeria is world-leading - creating art - is not being leveraged. But this can change. The hard part - creating great art - is happening. Creating robust, modern regulation to support is, on the surface, easier.

Nigeria and Kyrgyzstan are simply examples; they are far from exceptional. More countries lack robust intellectual property policies and mandates than have them. As a result, we end up with a paradox where interest and excitement in the creative economy's potential are often prioritised over nuts-and-bolts reform. We focus on the front-of-house and forget the mess behind the stage.

We should celebrate the expansion of interest in the creative economy. But it should be worth more than 3% of the global economy. Even 10% is modest, given that music, film, art, and other forms of culture are goods we all share, enjoy, and play a role in, either as creators or consumers. But until we stop obsessing over the word intellectual and focus on the word property, we’ll continue to talk but fail to act.

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Definition of 'creative'

Learn how to use this word creative

creative in American English

Creative in british english, examples of 'creative' in a sentence creative, related word partners creative, trends of creative.

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• 1.1 Proper noun
• 2.1 Pronunciation
• 2.2.1 Inflection
• 2.2.2 Derived terms
• 3.1 Proper noun
• 4.1 Etymology
• 4.2 Pronunciation
• 4.3.1 Usage notes
• 5.1 Etymology
• 5.2 Proper noun
• 5.3 References
• 6.1 Etymology
• 6.2 Pronunciation
• 6.3.1 Declension
• 7.1 Pronunciation
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• 7.3 References
• 8.1 Pronunciation
• 8.2.1 Declension
• 9.1 Proper noun
• 9.2 See also
• 9.3 Further reading
• 10.1 Alternative forms
• 10.2 Etymology
• 10.3 Pronunciation
• 10.4.1 Declension
• 10.4.2 Derived terms
• 10.4.3 Descendants
• 10.5 See also
• 10.6 References
• 11.1 Pronunciation
• 11.2.1 Declension
• 12.1 Proper noun
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Usage notes [ edit ]

• This Dungan word is a borrowed word and has no corresponding Chinese character.

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The challenge of being a creative person once you’ve created a person

A very tired parent’s tips for writing a book while also doing all the other things.

Eight or nine years ago, an old friend called seeking advice. She was trying to write a novel, but she was also a new mom with a full-time job, and she was exhausted. I, who had breezily published a couple of books by then, offered my best wisdom. You have to push through, I told her sternly. You have to take your own writing seriously, or nobody else will. Set aside two hours every night. Put on the coffee and push through the exhaustion. You can and will do it.

Years passed. Then I, too, had a baby. Then I, too, set out to write a book while also being a mother with a full-time job. And somewhere in the middle of this endeavor, I called my friend and asked whether my advice had been as bad as I was beginning to sense it had been. No, she told me cheerfully, it had actually been much worse. The callousness of it had shocked her, she said, until she decided that I simply hadn’t known any better and that, when I did, I would apologize.

God, I’m so sorry.

My first post-baby book came out today, and I have been thinking, almost nonstop, about the relationship between creativity and motherhood. I used to love reading articles with titles such as “The daily routines of 10 famous artists,” until I realized that Leo Tolstoy may have finished his masterpieces by locking his study doors to ensure uninterrupted productivity, but, like, what were his 13 children doing while he was in there? Did anyone check in on Mrs. Tolstoy? For the women I know, there is no setting aside a few hours at the end of the workday. The end of the workday is the beginning of the parent day. The end of the parent day is never, because 2-year-olds wake cheerfully at 5 a.m., and strep throat comes for us all.

Where, in this schedule, was the life of the mind? TikTok would not stop showing me videos of mothers showing off their “realistic beauty routines,” but what I really wanted were realistic creativity routines: the mothers who didn’t give a crap about heatless curlers, but had somehow composed a cello sonata while working five days a week as a dental hygienist.

In my bleariest days of early parenthood, I met a woman at the playground who had just finished doing something extraordinary (Triathlon? Solo art exhibit?), and when the rest of us asked her how she’d found the time, she shrugged and said, modestly, “Oh, you know.” But the point was that we didn’t know, and we were desperate for her to tell us. (Live-in grandparents? Adderall?)

The bigger point is that we weren’t really trying to figure out how to compete in triathlons. We were trying to figure out how to be people.

When you have a baby or a toddler, reminding yourself that you are a full person with your own dreams and needs can feel both completely vital and completely impossible. But being a full person is a sacred legacy to give to a child. My own mother is a folk artist. When I was growing up, she made Ukrainian eggs in the frigid concrete sunroom, a space heater at her feet, and her works were shown and sold at galleries around the Midwest. I knew then, and I know now, that my mother would die and kill for me. But I also knew that she loved other things, too. She had loved those things before she ever knew me. She had secrets and wisdom to pass on.

Her work had nothing to do with me, yet it was a gift. It paid for my brother and me to go to summer camp. It went on display at the Art Institute of Chicago, and we visited it, as well as the Seurats and the Hoppers, and ate granola bars. When my mother dies, I will carefully unwrap the tissue paper surrounding the astonishing works of art she gave to me over the years, and I will sob.

I want that for my own daughter. I want her to know that motherhood doesn’t have to atrophy personhood; it can expand it.

And in wanting that, desperately, I came up with a routine that allowed me to maintain a grip on the parts of me that were me before I was a mother. A realistic creativity routine, if you will.

I write between the hours of 10 p.m. and midnight, unless it turns out that I write between the hours of 2 a.m. and 4. I write 300 to 400 words every time I am on the Metro; I write 30 to 40 words each time I pick my daughter up from day care, in the three-minute gap between when I ring the outer bell and when a teacher’s aide comes to let me inside. I write badly. I write very, very badly, vaguely remembering a quote I’d once heard attributed to author Jodi Picoult, about how you can always edit a bad page, but you can never edit a blank page.

Does it look like the routines of Tolstoy, or Virginia Woolf, or anyone else I may have once read about in an article about the routines of famous artists? It does not. But the bad pages get edited, and then they get good.

Pursuing creativity as a working mom means, in other words, letting go of any romantic notions of what creativity means or looks like.

It means not waiting for inspiration to strike, but instead striking inspiration, bludgeoning it upside the head and wrestling it to the ground. Inspiration is a luxury, and once you realize that, you can also understand that the ability to create something through sheer force of will — without inspiration, without routine, without time — is a far more creative act than relying on a muse.

If my old friend called me now, I think that is what I would say to her. That, and:

You will not be Mark Twain, summoned by a horn when it’s time to eat the dinner someone else has prepared. You will not be going on Tchaikovsky’s vigorous two-hour walks through the countryside or spending the morning shopping for inspiring objects like Andy Warhol.

But you will create something. Not by pushing through the exhaustion so much as living alongside it, and then peering beyond it, and then stopping, and then starting, and then having superhuman discipline, and then eating a whole package of Oreos, and then finishing something beautiful at 2 a.m. and sneaking into your child’s room to see another beautiful thing, and then thinking about how the things that make us the most tired are the things that give us reason to create at all.

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Critic’s Notebook

At SFMOMA, Disability Artwork Makes History

After 50 years, Creative Growth in Oakland celebrates as its artists enter the San Francisco Museum of Modern Art’s collection.

At the San Francisco Museum of Modern Art’s exhibition, “Creative Growth: The House That Art Built,” a mannequin wears an untitled piece by William Scott from 2020 (acrylic paint on suit jacket and pants). Right, a wall-size photo of Creative Growth artists and staff members. Credit... Don Ross, via San Francisco Museum of Modern Art

Supported by

By Jonathan Griffin

Reporting from Oakland, Calif.

• Published May 7, 2024 Updated May 8, 2024

In 1974, Florence Ludins-Katz and Elias Katz — she an artist, he a psychologist — turned the garage of their Berkeley home into an art studio for adults with developmental disabilities. Across California at that time, people with a range of disabilities were being deinstitutionalized, with little provision made for them after their release. The Katzes viewed art-making as a pathway not only to personal fulfillment for disabled people, but also to their integration into a society that valued their work.

Half a century on, Creative Growth — as the iconoclastic and influential studio in Oakland was named — is celebrating its 50th anniversary with an exhibition, “Creative Growth: The House That Art Built,” at the San Francisco Museum of Modern Art.

The exhibition draws from SFMOMA’s half-million-dollar acquisition of more than 100 Creative Growth artworks, the largest purchase by any American museum of the work of disabled artists. The museum acquired 43 more pieces from Creative Growth’s sister organizations in California, also founded by the Katzes: Creativity Explored in San Francisco and NIAD (Nurturing Independence Through Artistic Development) in Richmond.

Time was when such work would have been siloed in collections of “Outsider Art” or folk art. Over the past decade, however, it has been increasingly common to see art by developmentally disabled artists integrated, without contextual fanfare, into group shows or biennials. Cultural institutions, from the Museum of Modern Art to the Brooklyn Museum, have occasionally acquired examples of such work, although it is seldom exhibited except in special displays.

What is happening at SFMOMA is different. The acquisition is part of a partnership with Creative Growth through which the museum, led since 2022 by the director Christopher Bedford, pledges to introduce more art by developmentally disabled people from the three Bay Area organizations into its collection displays, and consequently into the canon of modernist art history.

Tom Eccles, executive director of the Center for Curatorial Studies at Bard College, calls the partnership “unprecedented.” The art historian Amanda Cachia — who writes on disability art — agrees, saying, “The canon as we know it is being reorganized to incorporate the voices of disabled artists who have long been excluded from these narratives. Museums have a long way to go in recognizing contemporary disability art.”

The partnership with SFMOMA, which began in late 2022, is a landmark achievement for Tom di Maria, who joined Creative Growth as its executive director in 1999 and has led the organization to become the most successful and widely recognized studio of its kind in the United States.

The exhibition “Creative Growth: The House That Art Built” opened April 5, showcasing nearly 70 standout works by 11 of the center’s hundreds of current and former artists, alongside a newly commissioned mural in the museum by the acclaimed Creative Growth artist William Scott.

The partnership constitutes the breach of the institution’s high walls that Creative Growth has been striving toward for years. While it may signal a turning point for disability arts, it also comes at a time of change for the organization, as di Maria, 65, looks to retirement and its staff has moved to unionize.

In 2019, di Maria tried to step back from his position as Creative Growth’s leader, first by sharing the position of director, then later moving into a director emeritus role. New appointments did not stay in leadership roles for long. The pandemic complicated matters further, interrupting Creative Growth’s operations. Since December, when the executive director, Ginger Shulick Porcella, left after 12 months, di Maria stepped in once again as interim executive director.

Di Maria tells me that this kind of leadership problem is common in art nonprofits, where long-term directors broadened their job descriptions as their organizations grew. “When they step away,” he said in an interview, “you’re looking for somebody that’s going to be the fund-raiser, the curatorial director, the HR person, the grant-writer, all in one.”

Under di Maria’s leadership, Creative Growth has evolved in ways that make it barely recognizable from the nonprofit he inherited. Its annual budget has risen to $3.4 million from $900,000 in 1999, about a third of which is raised from sales of the artists’ work. (Art sales totaled around $20,000 annually when he joined. When artists sell their work through Creative Growth, the organization takes a 50 percent cut.)

Di Maria has advanced the Katzes’ legacy by pushing to integrate the work made by Creative Growth artists into the mainstream commercial art world. During his tenure, artworks have been acquired by museums including the Pompidou Center in Paris, the Tate in London and the Museum of Modern Art in New York. Two Creative Growth artists, Judith Scott and Dan Miller, exhibited in the 2017 Venice Biennale. Many others have had solo shows at respected commercial galleries across the world.

The sale of artworks by disabled people, di Maria says, is a means of “getting a seat at the table.” Collectors acquire often-inexpensive works, and become invested in the lives of the makers; dealers take notice, and put on shows; prices go up; museum boards promote the work they own to curators; work gets donated to museum collections. Once the art is inside the museum, the real work can begin: changing the way the public values and understands the lives of disabled artists.

On one level, the exhibition — organized by the SFMOMA curators Jenny Gheith and Nancy Lim — presents a social history of disability arts in the Bay Area and the Katzes’ groundbreaking initiatives. This story is told through a well-designed interpretive display in a new gallery called “Art in Your Life,” and in cases of ephemera such as fund-raising letters and event announcements that frame the exhibition in documentary terms.

On another level, however, it is a show of art as accomplished as any in the museum. The first gallery showcases work by three of Creative Growth’s pre-eminent figures, and one emerging talent. Dwight Mackintosh, who died in 1999, was one of the first artists from the organization to win international attention for his drawings. Using felt-tip and colored paint, in his looping hand, he drew groups of translucent figures often surrounded by a distinctive, intermittently legible script.

Mackintosh’s repetitive mark-making rhymes with the intensely overlaid words and shapes in drawings and paintings of Dan Miller, 62, and in an assemblage sculpture by Judith Scott, who died in 2005: a small chair wrapped with strips of fabric and twine, tying in other items including a basket and a bicycle wheel. Meanings are buried deeply in these works.

Do not confuse such practices with art therapy. Just like professional artists who work and rework a set of ideas and motifs, Mackintosh, Miller and Scott spent decades honing private languages, resulting in oeuvres that embody their powerful personal visions.

In that first gallery is also an arresting video by Susan Janow, 43, her first foray into the medium. In “Questions?” (2018), Janow stares into the camera, tight-lipped, while questions are asked of her (in a voice-over, also recorded by Janow), ranging from the banal — “Do you wear a watch?” — to the existential — “Do you trust others easily?” “Who do you miss?” “Where do you see yourself in 10 years?” Her art reveals that her interior life is shaped as much by inquiry as by confident conclusion.

Another highlight of the exhibition is a vivacious untitled abstract painting, from 2021, by the Berkeley-based Joseph Alef, 43. In an exhibition text, Alef explains that nonfigurative work makes it “easier to get all of the emotions out.” These texts admirably elucidate artists’ processes and approaches without disclosing the nature of their disabilities, which might risk skewing viewers’ interpretation of their art.

If some artists choose to share details of their lives through their art, that is their prerogative. Camille Holvoet, 71, who worked at Creative Growth until 2001, makes cheerfully frank, brightly colored drawings of her joys, anxieties and hopes. Created between 1987 and 1998, the pictures on view depict her medications, her fear of public transport, her experience of moving to a new group home, and — poignantly, in this context — a picture of a smiling woman next to stacks of cash and checks: “Making More as Mush Money as a Good Artist, Without No SSI Cuts and No Pay Tax.”

Ordinarily, I am not inclined toward such illustrative artwork. But Holvoet’s pictures achieve one of the most profound aims of the exhibition, and indeed of Creative Growth’s founders: to help disabled artists thrive as individuals with agency and potential. Whether an artist is using creative work to narrate their life story or to transcend their circumstances, making art is a deeply assertive act.

Exemplary is William Scott’s commissioned mural “Praise Frisco: Peace and Love in the City,” part of the museum’s “Bay Area Walls” series. Over the course of his artistic career, Scott, 59, has painted his vision of a utopian San Francisco of the future, a city he calls “Praise Frisco” which incorporates rejuvenated elements of his past. In his mural at SFMOMA, we see smiling, youthful versions of himself and his mother, alongside a spotless depiction of the Alice Griffith public housing development where he grew up. (Also present are green flying saucers, labeled “Wholesome Skyline Friendly Organizations.”)

Three days before this triumphant exhibition opened, di Maria received a letter from Creative Growth staff members announcing their intention to unionize. “Forming a union will help ensure more equitable hiring and pay practices, standardized benefits, greater protections, safer working conditions, and improved procedures around transparency and accountability,” it read.

Di Maria accepted unionization soon after, on April 11. In recent years, staff members at arts institutions across the country from museums to art schools have been unionizing. Sam Lefebvre, a part-time artist aide and member of the union Creative Growth United, told me that high turnover, owing to unsustainable working conditions, can negatively affect the artists, who may form close bonds with studio facilitators, and who often respond best to routine and stability.

At this moment of transition for both Creative Growth and SFMOMA, all eyes are on the future. Museums across the country are working to connect more deeply with their audiences, and by including and celebrating the work of disabled artists in their collections, they will better reflect the lives and experiences of all their visitors.

“One in four people in the United States identifies with disability,” the scholar Jessica Cooley, who writes on disability arts and museum studies, said in an interview. “Disability art and artists are already everywhere, in every collection, making incredible impacts on the art world.” SFMOMA’s partnership with Creative Growth can be seen just as an acknowledgment of the contributions disabled artists have made to art history.

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2024 Presidential Arts and Humanities Fellows selected to advance research, creative projects

BLOOMINGTON, Ind. — A signature Indiana University program that amplifies and accelerates the work of outstanding arts and humanities faculty recently selected its latest cohort. The Presidential Arts and Humanities Fellowship is an annual program that supports the work of IU faculty who are improving society and revitalizing communities through their research and creative activity, and poised to become national and international leaders in their fields.

Supported by the IU Office of the President and IU Research, and administered by the university’s assistant vice president for research, the fellowship awards $50,000 of flexible funding to each recipient to support a variety of needs as they pursue innovative research and creative projects. President Pamela Whitten started the program in 2022.

Along with funding, recipients gain access to professional development programming and advanced training in the areas of grant writing, scholarly communication with the public, media training and digital scholarship, among other specialized trainings.

The goal of the IU Presidential Arts and Humanities Fellowship program is to amplify and promote the rich and diverse opportunities within the arts and humanities at Indiana University and to ensure the recipients have continued success as they make impactful changes in their fields and in local, national and international communities.

“Congratulations to the 2024 Presidential Arts and Humanities Fellows,” Whitten said. “The recipients of this fellowship exemplify the standard that is set by our faculty at Indiana University, which has long been a leader in the arts and humanities. This fellowship represents the university’s steadfast commitment to supporting the pursuit of transformative research and creativity across our campuses, which helps us better understand the world and revitalizes communities.”

The 2024 IU Presidential Arts and Humanities Fellows are:

Allison Baker

Allison Baker is an associate professor of fine arts in the Herron School of Art and Design on IIU’s Indianapolis campus. She will construct a body of work and monumental public sculptures that memorialize the complexities of late-stage capitalism, illuminating the aspirations and struggles of the American working class and working poor.

Baker seeks to build monuments that challenge dominant narratives, humanize the ripple effects of poverty and create work that the American working class and working poor can see as a reflection of their own experiences in galleries and museums, which are spaces where they are seldom represented.

Emily Beckman

Emily Beckman is an associate professor and director of the Medical Humanities and Health Studies Program in the School of Liberal Arts on the Indianapolis campus. Beckman is co-founder of Build Community Give Care, a nonprofit organization that provides compassionate end-of-life care in Africa.

She will use the funding to support research addressing the need for palliative care education in Uganda. Outcomes will include a better understanding of the pathways available for palliative care education and access in Uganda, solutions for better retention in these educational programs and the development of medical humanities curricula at IU.

Catherine Bowman

Catherine Bowman , professor of English in the College of Arts and Sciences at IU Bloomington, is an award-winning poet, author of several collections of poetry and the editor of “Word of Mouth: Poems Featured on NPR’s ‘All Things Considered.’”

Bowman will use the fellowship funding for travel and archival research to make significant progress on her sixth poetry collection, tentatively titled “Volver, Volver: An Underworld Intergenre Pilgrimage.” The collection will imagine and recount various underworld encounters with several generations of women.

Andrew Goldman

Andrew Goldman is an assistant professor of music in music theory at the Jacobs School of Music and assistant professor of cognitive science in the College of Arts and Sciences. He directs the IU Music and Mind Lab , an interdisciplinary research group that investigates music perception and cognition and the role of music in the human condition.

Goldman will use the fellowship funding to explore the critical challenges and contributions of incorporating cognitive science into music studies. He will research how music cognition researchers’ historical and cultural situations have influenced their scientific work and the nature of their findings.

Raiford Guins

Raiford Guins is a professor and the director of Cinema and Media Studies at The Media School in Bloomington. He is also an adjunct professor of informatics. He plans to use the funds to support research travel that will aid in the development of his book, tentatively titled “Museum Games.”

The book will explore the emerging area of games and gaming culture in museums, libraries and archives worldwide. For example, the Strong National Museum of Play in Rochester, New York, recently completed a $70 million expansion, while The Nintendo Museum plans its long-anticipated opening in Kyoto, Japan, in 2024. Guins will detail the relatively new phenomenon of gaming museums and preservation from an academic perspective.

Lisa Lenoir

Lisa Lenoir is an assistant professor who teaches courses in The Media School’s new Fashion Media Program in Bloomington. Her research examines contemporary cultural phenomena in media discourses in journalism studies, activism and identity, and consumer culture.

Lenoir will use the funds to research the life and work of Chicago Defender journalist Mattie Smith Colin, a fashion and food editor who covered the return of Emmett Till’s body from Mississippi to Chicago in 1955. Lenoir will collect oral histories from people who knew Colin and review archival materials, compiling her findings into a digital bibliography.

Anja Matwijkiw

Anja Matwijkiw is a professor of philosophy in the College of Arts and Sciences at IU Northwest and affiliated faculty in the Institute for European Studies at IU Bloomington. She will use the funds to explore stakeholder philosophy and international law as it pertains to the United Nations rule of law.

Linda Pisano

Linda Pisano is chair and professor in the Department of Theatre, Drama and Contemporary Dance in the College of Arts and Sciences at IU Bloomington. Her fellowship is sponsored by the Big Ten Academic Alliance and the Vice Provost for Faculty and Academic Affairs.

Pisano will use the fellowship funding to research methods and mechanisms in cultivating new audiences, patrons and donors of the arts and humanities on university campuses during increasingly difficult times. Her research will include investigating interest in community outreach, education, socio-political advocacy and identity, among other areas. Pisano hopes to ensure that universities are communicating the value of arts and humanities as fundamental to their institutional identity and the public spaces they occupy.

Spencer Steenblik

Spencer Steenblik is an assistant professor of comprehensive design at the Eskenazi School of Art, Architecture + Design in Bloomington. He will use the funds to develop several projects, including producing and testing an innovative structural joint and pursuing a patent. The main goals are to develop full-scale experimental structures and installations that test new materials, technologies and design approaches and to highlight the need for more opportunities for young practitioners to engage in similar types of hands-on innovation.

The previous cohort of fellows made advancements across a multitude of disciplines with the funding and resources provided by the IU Presidential Arts and Humanities Fellowship, including composing a chamber music and AI opera that will premiere next year and erecting a floating monument that spotlights underrepresented communities in Chicago.

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‘the guiding light’ star kim zimmer has real-life illness that her character faced, ‘daredevil: born again’: vincent d’onofrio & charlie cox say they are both “very much involved in the creative process” of disney+ series.

By Armando Tinoco , Natalie Sitek

Vincent D’Onofrio and Charlie Cox teased Daredevil: Born Again as Disney+ has targeted March 2025 for the series to premiere.

The duo attended Disney’s upfront presentation to advertisers on Thursday and teased what viewers can expect.

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Cox said he that returning to the show, his knees are not what they were ten years ago and needed a lot more rehab after shooting the new series. The actor said that during the strikes, he underwent shoulder surgery.

D’Onofrio and Cox revealed they didn’t have that many scenes together and stopped short at divulging how many they shared. Despite only filming a handful of scenes together, Cox said that they see each other alot as they are “very much involved in the creative process.”

“We’re on the phone all the time,” D’Onofrio said.

Cox added, “We agree on almost everything. I read the scripts first and I’ll text Vincent and he’ll be like, ‘What do you think?” And I’ll be like, ‘I’m not saying til you read it.’ And then we’ll talk about it.”

Charlie Cox on the preparation for coming back to the role of Daredevil for ‘Daredevil: Born Again,’ plus, Vincent D’Onofrio and Cox on agreeing on everything in the creative process pic.twitter.com/XBM7Wk1cLp — Deadline Hollywood (@DEADLINE) May 14, 2024

Cox also revealed that production of Daredevil: Born Again just wrapped a couple of weeks ago.

Charlie Cox reveals production just wrapped a couple weeks ago on ‘Daredevil: Born Again’ pic.twitter.com/i3HqRaxRIE — Deadline Hollywood (@DEADLINE) May 14, 2024

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