Integrating Creativity and Structure: A Practical Reflection on Doing Art Together

Integrating Creativity and Structure: A Practical Reflection on Doing Art Together

Muriel Silberstein-Storfer was an American artist, educator, and author best known for her pioneering work in art education for children and families. Born in Brooklyn, she graduated from the Fieldston School and earned a BFA in drama from Carnegie Mellon University. She began her career as a set designer at the Pittsburgh Playhouse before expanding into painting, collage, and other mixed-media work.
She studied under Victor D’Amico, the founder of the education department at the Museum of Modern Art (MoMA), and in the 1960s conducted workshops at MoMA. Later, she founded and led parent-child workshops at The Metropolitan Museum of Art, helping to spread the model of creative family art education.

Doing Art Together

Her most well-known book, Doing Art Together, was first published in 1982 and updated in 1997. The book serves as a practical guide to the creative process, encouraging parents and children to explore art side by side. It includes step-by-step project instructions and emphasizes open-ended questions rather than labeling or interpreting children’s work, fostering imagination and self-expression.

Doing Art Together Program

Building on her work at the Met, Silberstein-Storfer co-founded a nonprofit organization called Doing Art Together with Electra Askitopoulos-Friedman. The initiative aimed to extend museum-quality art education beyond traditional institutions, bringing it to underserved communities through partnerships with New York City public schools, social service agencies, and hospitals. The program focused on accessibility, creativity, and cultural enrichment for children who might not otherwise have the opportunity to engage with the arts.

Legacy and Impact

Muriel Silberstein-Storfer passed away in 2014, but her vision endures through the ongoing work of Doing Art Together. She received the Charles Marshall Robertson Memorial Award in 1995 in recognition of her contributions to arts education. Her legacy lives on in the inclusive, hands-on, and community-based teaching methods she championed.

​Muriel Silberstein-Storfer was an influential American artist, educator, and author who pioneered family-centered art education in museums. As a disciple of Victor D’Amico at MoMA, she led parent-child workshops at the Metropolitan Museum of Art and later founded the non-profit organization Doing Art Together. Her acclaimed book of the same name offers hands-on, inclusive art activities designed to cultivate creativity and communication between children and adults. Silberstein-Storfer’s work continues to inspire community-based art programs across the U.S.

Why Doing Art Together Remains My Most Trusted Guide as an Art EducatorMuriel Silberstein-Storfer’s Doing Art Together is not just a book—it is a compass for any educator navigating the beautiful, unpredictable terrain of teaching art to children. While the book is often recommended as a guide for parents who want to nurture creativity and artistic sensibility in their children, I believe it is just as essential—if not more so—for art teachers working in the classroom.

What sets this book apart is its incredible attention to detail. Silberstein-Storfer begins with the very basics, offering advice on how to set up an effective art table, what kind of tabletop surface is most suitable, and how to create a physical environment that encourages creativity. But she doesn’t stop there—she anticipates the many unpredictable situations that can arise in an art class and provides clear, compassionate strategies for how to respond. Her writing is full of empathy and experience.

One of the parts that resonated with me most is her emphasis on routine. She explains that when students know what to expect—whether it’s a progression from painting to collage to clay—they feel safe, grounded, and more open to exploration. This idea completely transformed the way I plan my curriculum. I realized that a predictable rhythm in class allows children to settle their minds and focus more deeply on the work in front of them. Art class, after all, thrives on a combination of concentration and joy—and Silberstein-Storfer shows us how to foster both.

Another insight that has stayed with me is her advice on maintaining classroom focus. If students are constantly getting up to fetch materials or wander around, it becomes difficult for them to stay engaged. To prevent this, she urges teachers to plan ahead—to arrange materials in advance, to minimize disruptions, and even to take on more cleanup responsibilities themselves if it means the students can remain immersed in their art. While this might appear to increase a teacher’s workload, I’ve found that it actually brings peace and productivity into the classroom. I applied this directly to my own teaching during graduate school, and it changed the tone of my classes entirely. The students became more present, more concentrated, and more connected to their work.

Perhaps my favorite part of the book is how Silberstein-Storfer weaves in Eastern philosophy. She draws inspiration from the layout of traditional East Asian painting—where calligraphy and imagery exist side by side—and observes how practicing calligraphy can develop a deeper artistic sensibility. This sparked an idea for my own curriculum. I began teaching East Asian ink painting, combining brushwork with expressive writing. The results were astonishing: my students found deep joy and meaning in the work, and their artistic skills flourished in unexpected ways.

Silberstein-Storfer also stresses the importance of museum-based learning. During my time in Germany, I was fortunate to have regular access to museums and galleries, and it enriched my cultural life immeasurably. In contrast, many students in the United States, particularly outside of major cities, lack access to such experiences. The built environment doesn’t always prioritize the arts. I often feel a twinge of sadness when I think about how much time children here spend in cars instead of in front of beautiful paintings or sculptures. Her message reminds me how critical it is to expose students—early and often—to powerful, inspiring images.

Finally, Doing Art Together champions intergenerational learning: the idea that art should not just be an isolated classroom activity but a shared experience between students and their families. One day, I hope to bring this idea to life—through workshops, parent-child art days, and community events that celebrate making things together.

I read this book over and over again during graduate school. It was my roadmap, my teacher, and my quiet companion through many lesson plans and long nights. As I learned more about Muriel Silberstein-Storfer’s life—her dedication to public arts education and her work in underserved communities—I came to see her not just as a mentor in print but as a role model. Her legacy reminds me that change doesn't happen through grand gestures alone. It happens through small, steady acts of care: setting up the right table, anticipating a child’s needs, cleaning a brush before class begins.
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Today, as I continue to build my own path in community-based art education, I carry her wisdom with me. And I’m reminded, every time I see a child light up in front of a blank page, just how powerful that wisdom truly is.