Trends in Secondary Art Education

National Art Education Association

Trends in Secondary Art EducationAuthor(s): Robert C. MooreSource: Art Education, Vol. 21, No. 1 (Jan., 1968), pp. 33-35Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3191094 .

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Trends in SecondaryArt Education

BY ROBERT C. MOORE. To one who would chart trends in art education, this immediate confrontation could be a confusing picture of many faces and authoritative voices. The place of art in school curricula has been of great concern to many leading educators and artists for a number of years. And, as one may glean from professional literature, the growing stature of art education is due largely to the dedication, thoughtful leadership, and unified activity of these people. Although all three of these conditions are important for progress, the last one will probably prove of greatest significance if growth is to continue.

We see today a constant flow of material related to the philosophy of art education and the development of a vital curriculum. One would surely expect school children to bene- fit from such easily accessible wisdom which comprises ob- servations and proposals from our most experienced and artic- ulate art educators. If this desirable state should fail to mate- rialize, the blame must lie somewhere between the child and the theorist. Is it the fault of teacher, administrator, teacher- training institution, public, or a combination of these?

A recent seminar on art in the elementary and secondary schools pointed to the importance of selectivity on the part of school boards and principals in the hiring of teachers. "In a time when superior young people are not besieging school systems for teaching jobs, it is regrettable that many applicants will be hired for their ability to 'handle adolescents.' Intellec- tual grasp of their work will be a side issue."' Another criticism of the schools is that ". . . art curricula at all levels are too fragmented, and the quality of instruction and the time allocated to art are completely inadequate if desirable art education goals are to be realized. . . . Too much emphasis is placed upon loosely guided art expression and too little stress

given to skillfully guided, aesthetically oriented, creative expression and to the development of pupil's understanding of works of art produced by professional artists."'

Indeed, a look at art education through such criticism pre- sents a rather bleak picture. Yet, aside from these very real concerns, one must not overlook the fact that there are thou- sands of splendid art programs in our secondary schools. It has been said that the good art teacher creates a lasting im- pression through assurance in evaluating his subject and by creating his own methods of approach. Art curricula in general seem to be conceived along the lines of educational objectives voiced by leaders of a much earlier period. But, because of frequent misuse and misconception of these theories, progress in art education has lagged.3 Although the following pages are devoted to a commentary on what appear to be some of the current trends in secondary art education, it should be noted that these conclusions may be properly subject to question. The scarcity of controlled studies makes it extremely difficult to provide a comprehensive picture of such a "variegated" relationship of conditions that are to be found in the art curricula of America. However, the use of a broad assemblage of professional literature has been helpful.

Some Trends in Art Education (1) Art education is being included in a broadened humani-

ties program; (2) Increased attention is given to art history and criticism in the art program; (3) There is a wider acceptance of art education as a basic and fundamental need to prepare all youth for daily living; (4) More diversified and effective art studio programs are being developed and aided by the use of newly developed materials and improved teaching aids.

Humanities programs are beginning to gain momentum

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throughout the nation, and their impact on secondary schools has been refreshing and exciting. Students have been willing to participate in some of these programs after school, on non- school days, and even without receiving credit. They have done it gladly and have come away from these meetings bub- bling over with enthusiasm. "Humanities courses deal with important ideas and values rather than just with facts. More easily than in single-subject courses, questions can be raised rather than answers given, and education can really be a dis- covery. Integration of subjects and the accent on ideas makes education more meaningful-students become really involved in humanities courses; they learn not just facts but something about themselves." 4

How are the schools using this approach? The answer is that there seem to be as many plans as there are participating schools-each utilizing the basic concept in its own way. In Allentown, Pennsylvania, a team of three teachers (English, art, and vocal music) working with college preparatory students covered the Middle Ages, Renaissance, Classical and Romantic periods, and modern times. The art and music teachers added supplemental information on how music and art influenced the lives of people who lived during these eras. At Abington High School, Pennsylvania, a one-year course open to "self-screened, very able" sophomores, juniors, and seniors introduced six phil- osophic and religious movements of our time: Existentialism, Marxism, Freudism, Catholicism, Judaism, and Christianity. The humanities question asks how these have influenced art, music, and literature. A team of six teachers, including two English teachers, one of art, two of history, and one music teacher, comprises the humanities team at Ann Arbor High School in Michigan. They placed an emphasis on period "post-holing" of ideas and artifacts to set the stage for pupil involvement in greater depth. Atlanta, Georgia, Public Schools present humanities to eleventh and twelfth graders who show ability and interest. Four teachers (music, art, literature, and history) direct the program. Guest lecturers from the Atlanta area are invited. Baltimore, Maryland, Public Schools use still a different approach. During both 1963 and 1964 a workshop was held in the humanities for teachers, preferably of English, social studies, art, music, and foreign language. The aim was to acquaint the teachers with the humanities and to encourage them to incorporate those aspects into their teaching.

Although most of the humanities programs currently reported have been rather recently organized, Garfield High School in Seattle, Washington, reported that it had a 17-year- old humanities course which developed units around cultural patterns. "Because of the unusual ethnic and socioeconomic nature of our student body (1/3 Negro, 1/3 Oriental, 1/3 Cauca- sian) we decided to set up our humanities course in terms of the following cultural patterns: I. Roots of Man (Intuitive and Cultural); II. Nature of Man (Man The Reasoner); III. Future of Man (Man The Dreamer)."

The expanded use of art survey in high school courses points to another trend. This could be partly related to the growth of humanities courses, but it is also very much in keeping with an established art education objective to provide everyone with a deeper understanding and appreciation for our heritage of art. The Austin Public Schools in Texas have given much credit to improved research materials (including textbooks, films, slides, and filmstrips) for their increased emphasis on the study of art history.6 Humanities courses with their concern for the "how and why men create" provide an excellent stim- ulus for the use of art survey in the curriculum. But in following such an approach, art history cannot be a dull and dry monologue calling for the memorizing of picture titles and

catalogued facts. Rather, the humanities-oriented technique would place greater demands on the teacher. It would thrive on the unprogrammed discussion between student and teacher; hopefully, it would ask more questions than can be answered.

A powerful and helpful influence is exerted on high school curricula by the Evaluative Criteria7 which is used by visiting teams representing accrediting committees, i.e., Middle At- lantic States Secondary Schools and Colleges. The guiding principles in the Criteria contain the following passage: "Art experiences of the past are frequently studied to contribute to a clearer understanding of the nature of contemporary art."' In Wilmington, Delaware, a guide from the art supervisor of the public schools states: (1) art is-an expression of the times, a record of the times, emotional and intellectual at the same time; (2) art education should provide-an understanding, knowledge, awareness, etc. of works of art.9

An earlier Wilmington public school art curriculum guide gives evidence of foresight in this area by its carefully detailed unit on "Time and Function" which states: "The time in which the painter lived has been a significant control largely dic- tating the function of his art."O Phoenix, Arizona, Union High School lists among its art objectives "knowledge of the his- torical background of contemporary art." " New York City Pub- lic Schools give the study of art history a prominent place in the art program guide. The Philadelphia, Pennsylvania, Public Schools art education guide uses the study of selected masters from various periods to give added meaning and impact to the study of art elements and concepts. For example, in a unit on color the guide mentions Florentine painting as characterized by the use of more or less "local" color; the Impressionists and Fauves, for relying primarily on color; Piero della Fran- cesca, Seurat, Cezanne, for use of cool colors.'2

Of major importance is the current involvement of the Federal Government in programs that support the arts and humanities. During the summer of 1966 two advanced study projects (one centered on art appreciation, the other on art history) provided fellowship grants for more than 70 art teachers and supervisors. The involvement of these educators with each other and with the school systems to which they have returned should provide new vitality to programs in various parts of the country.13' 14

A third trend would be the growing acceptance by schools of the premise that art education is a basic and fundamental need for all youth. It is encouraging that art educators have not had to carry the campaign alone. From the scientific world has come encouraging support: "One of our very great tech- nical institutes has itself become aware of the need for training in the visual arts and of their values in the growth of indi- viduals and through them of society at large." '1 The message above further states its belief in approaching the intellect through the senses.

An NEA project on the academically talented student carried this message: "It is essential that all academically talented students have guided experiences in the visual arts. Basically, they cannot be educated without them." 16 The general art curriculum is, however, designed to serve all students and this would put much emphasis on the so-called "average student." Jack Arends, professor of fine arts, Columbia University, on the occasion of the fiftieth anniversary of the Eastern Arts Association called for continued effort in the movement of art for everyday life. He explained that by providing our students with experiences useful to daily living, art may become more firmly established in the curriculum. "If we can develop their critical faculties to the point that they will feel secure in their judgments, whether such judgments are used in expres-

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sive efforts or in making purchases, we will, partially at least, have won our battle.""17

This objective has been adopted by many school systems. The title of the art curriculum guide for Wilmington Public Schools is "How Art Contributes to our Daily Living." Los Angeles, California, Public Schools have demonstrated their acceptance by a requirement of one semester of fine arts for each graduating student "to provide the senior high school graduate with a measure of aesthetic literacy and a deeper understanding of his own place in the world of art." 18 The art guide of the Denver, Colorado, Public Schools states: "Making art a part of each citizen's everyday living is the major function of a sound program of art education."19 From the Art Activities Guidebook, Vancouver, Washington, Public Schools: "Make every effort to develop in the student an increasing awareness of art values and the many opportunities for appli- cation in his present and future everyday life.""2 At Phoenix Union High School the art program is geared toward helping the students develop skills, knowledge, and values as they are related to the visual arts and to a way of living.21

Finally, the increased availability of new types of equipment and teaching materials has made its impact on art activity in the schools. Indeed, it has been felt in all fields of study. A wealth of motion pictures, slides, and fine arts prints that are reasonably priced and of high quality makes it possible to give added effectiveness to the art studio or workshop session. Good art education texts and periodicals help to keep teacher and student abreast of new developments in the visual arts. It has been reported that high school (and junior high school) curricula have shown an expansion of offerings in the crafts- design area.22 An article describing the remarkable growth of printmaking in the Dade County Public Schools, Miami, Flor- ida, quoted the art supervisor as saying: "We note that more and more articles on printmaking are appearing in School Arts magazine, that Arts and Activities is generating its own steam with its annual print contest, and film strips of the previous year's Scholastic Award winners shown at our meetings dem- onstrate a definite upgrading in the print entries."''23

Pottery kilns and throwing wheels, jewelry equipment, and facilities for photography and other processes are becoming more common in secondary school art rooms. Projects that use enameled copper are within budget range because of the marketing of inexpensive kilns and easily obtained materials. An old process, cire perdue, has been given a new twist with the use of plastics instead of molten metal. In this way the students of Kawaneeh Junior High School, Union, New Jersey, were able to use a process that had previously been omitted from the school curricula because of cost and hazards.24

Another school (Main Junior High, Franklin Park, Illinois) experimented with a technique for making decorative items of melted and fused pieces of glass.25 A recently marketed plaster- impregnated cloth that is sold in rolls was the material used for the creation of sculpture by students at Eisenhower High School in Decatur, Illinois.26 At Howard High School in Wil- mington, Delaware, art students produced a motion picture with an accompanying tape designed to interest the commu- nity and prospective students for the elective art courses.27

It is true that a new technique or material can generate much interest and excitement in the art class. But it would be wrong to assume that the importance of such basic experiences as painting, drawing, and modeling are being overlooked by the art teachers. Perhaps a very simple and profound meaning can be seen in the activities and theories discussed in this paper-specifically, the oneness or universality of knowledge and human experience. We seem to be more aware that spe-

cialization, while an economic necessity, can be carried too far in the life experience of man. Some 20 years ago, Dr. Edwin S. Burdell, director of the Cooper Union for the Advancement of Science and Art, said in his annual report to the Board of Trustees: "Scientific humanism is a fusion, a synthesis of science, art, and philosophy, a union out of which is born the intellectual life of the future. The product of this educational philosophy will be not merely an engineer or creative artist but a well-rounded man who has intellectual association with fields other than his own."''28

Robert C. Moore is an art instructor at Howard High School, Wilmington, Delaware.

REFERENCES 1 Logan, Frederick. "Art Education in Secondary Schools." Seminar on Ele-

mentary and Secondary School Education in the Visual Arts. Howard Conant, chairman, 1965. p. 71.

2 Conant, Howard. Seminar on Elementary and Secondary School Educa- tion in the Visual Arts. Howard Conant, chairman, 1965. p. 89.

3 McKibbin, Mary Adeline. "Fifty Years of Theory and Practice," in Pros- pect and Practice, Eastern Arts Association Yearbook, 1960. p. 62.

4 Keller, Charles E. "An Age of the Humanities Too?" The English Leaflet, New England Association of Teachers of English, 1964. p. 3.

5 Homrne, R.W., and Lagios, S.A. "An Overview of Humanities Programs Throughout the Country." The English Leaflet, New England Association of Teachers of English, 1964.

6 "A Teaching Guide for Art." Austin, Texas, Independent School District. p. 22.

7 Clark, L.; Klein, R.; and Burks, J. "The American and Secondary School Curriculum." N.Y.: The Macmillan Co., 1965. p. 433.

8 Evaluative Criteria, Section D-3. Art Cooperative Study of Secondary School Standards. Washington, D. C.

9 Corbi, Joseph A. "Toward Art Appreciation." Guide for art teachers. Wilmington Public Schools, 1962.

o10 "How Art Contributes to our Daily Living." Art curriculum. Department of Secondary Education Public Schools, Wilmington, Delaware, 1948.

11 Grigsby, Eugene. "The Art Program of the Phoenix, Arizona, Union High School." Seminar on Elementary and Secondary School Education in the Visual Arts. Howard Conant, chairman, 1965. p. 101.

12 "An Interim Report for a Guide to Art Education in the Secondary Schools." Philadelphia, Pennsylvania, Public Schools, Division of Art Education, 1964.

13 The School of Art, Ohio State University, Columbus, Ohio. "Institute for Advanced Study in Art Appreciation. Washington, D. C.: U. S. Office of Education, 1966.

14 The George Washington University and the National Gallery of Art. "The Museum and the Art Teacher." Washington, D. C.: U. S. Office of Edu- cation, 1966.

15 National Art Education Association. "Art for the Academically Talented

Student." Washington, D. C.: National Education Association, 1961. p. 26. 16 ibid. 17 Arends, Jack. "Looking Ahead in Art Education," in Prospect and Retro-

spect, Eastern Arts Association Yearbook, 1960. p. 87. 18 "Instructional Guide for the World of Art." Los Angeles, California,

City Schools, 1963. 19 "Creative Art in the Elementary Schools." Denver, Colorado, Public

Schools, 1956. 20 "Art Activities Guidebook-Primary, Intermediate, Secondary." Vancou-

ver, Washington, Public Schools, 1955. 21 Grigsby. op. cit. 22 Hastie, Reid, and Templeton, David. "Profile of Art in the Secondary

Schools-Report of a National Survey," in Art Education. Washington, D. C.: National Art Education Association, 1964.

23 Hurwitz, AI. "Printmaking in the Dade County Schools." Dade County Public Schools, Miami, Florida.

24 Newman, Thelma R. "Cire Perdue," Arts and Activities Yearbook No. 6, 1965.

25 Florian, Robert C. "Glass Art: New Dimensions for an Ancient Craft," Arts and Activities Yearbook No. 6, 1965.

26 Brockway, Edith. "Designs Wrapped in Plaster," Arts and Activities Yearbook No. 6, 1965.

27 "Fifth Annual Howard Art Festival," in "The Staff Reporter," monthly news bulletin of the Wilmington, Delaware, Public Schools, 1957.

28 "Scientific Humanism," in Design, 1947.

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Trends in Secondary Art Education