they worked side by side with artistic approaches to developing curriculum and assessing students’ performance. In an article titled “Curriculum Ideas in a Time of Crisis,” Eisner (1965) makes a call to action concerning the arts: "Perhaps we can now identify the crisis in art education. I believe it is a crisis of making the most of a period of opportunity. I believe this to be a period of unlimited promise for the field of art education. Our crisis is now, the students are ready, the parents are ready, the country is ready-will we be ready?." Art education at this time in history, he argued, was in crisis not only because of a lack of art in schools, but because the way the arts were taught was focused primarily on expansiveness of student’s work with media rather than understanding a given media in depth. Eisner not only proceeded to make a call for a greater presence of the arts in schools, he also made the case for developing a deeper understanding of art. He wrote, “I would like to propose that the art education curriculum be built along three major lines of focus. These three foci are the productive aspects of art, the critical aspects, and the historical aspects”. The productive aspects of art are where the students engage in actually producing works of art, while the critical aspects focus on students’ having the language to critique and talk about a work of art and its effect on them as a viewer, and the historical aspects cover the movements of art over a course of time. This call to action was a call driven by a direct lack of subject matter that was important to Eisner, personally. He was making a case for something that he was passionate about because he saw that the attention given to it at the time was damaging any real experience that students could have with the curriculum content. This would mark the direction of his work for a long time to come. While Eisner’s (1965) initial focus was primarily on bringing attention to the arts and the lack of it in the American curriculum, he also wanted to point out that art did not need to be siloed from other subjects or that it had a monopoly over creativity. He wrote, “Now, developing creativity is a fine thing and I believe art educators should