CHAPTER EIGHT
ART EDUCATION FROM WORLD WAR II TO THE PRESENT
American Art during the Postwar Era
Teaching Art During and After the War
The Arts In American Higher Education
Art Teacher Education Programs
Graduate Study in Art Education
Expansion of Art History Programs
Graduate Study in the Fine Arts
Twilight of the progressive era
The Sub-urbanization of Art Education
Decline of Art Supervisors in the central cities
The Re constructionist Stream
Art As part of the War Effort
The Art-for-Peace Movement
Teaching Art during the Postwar Era
The Expressionist Stream
The Life and Career of Viktor Lowenfeld
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Teaching Art for Creativity
Impact of the Cold War on Art Education
The Sixty Fourth Yearbook
Reports of the Commission on Art Education
Aesthetic Experience in General Education
Discipline Oriented Art Education
The Arts and Humanities Program
The Penn State Seminar
Criticism of Discipline Oriented Curricula
The Arts In Education Movement
The philosophy of the Movement
University City Project
Characteristics of the Movement
Criticism of the Movement
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Accountability and Qualitative Inquiry As Rival Movement 1972-1980
Criticism of the Accountability Movement
Qualitative Inquiry in Art Education
National Assessment of Art Learning
Excellence and Critical Theory As Rizal Movement: The 1980s
Discipline based Art Education
Criticism of the Excellence Movement
Critical Theory in Educational Discourse
Postwar Innovations in Art Education
Expansion of Art Media
Uses of Newer Media
New Content as an Issue in Art Education
The Status of Art Education
Founding of National Art Education Association
Survey of Art Education
WW2 Dividing point between the recent and past times
US and Soviet Union Became superpowers
War changed cultural landscape
Newyork became the center
George Orwell's novel 1984 yield a vision of optimistic future
W.H>Auden called it the age of anxiety
Anxiety made palpable in the painting of Francis Bacon
Giacometti sculptures reduced the human form to ske
Giacometti reduced the human form to skeletal leanness
Armitage's figures are bounded by inflexible limbs unable to control the environment
The Americans moved into suburbs and raised large families causing baby boom
Thomas Griffith 1979 called america "the waist high culture"
Other voices spoke of society as a lonely crowd
marked by the rise of Newyork art world
A new community of artists emerged
Piet Mondrian
Max Earnst
Arshile Gorky
Willem de Kooning
Marcel Ducham
Marcel Duchamp
they began it influence younger artists
New york became the center for
Newyork became the place for art critics and dealers
Other art styles opposing to abstract impressionism soon followed
By 1970 conceptual art had succeeded
In early 1980s a neoexpressionist trend once again asserted itself
Millions of returning servicemen and women
As a greater percentage entered higher education the universities art departments expanded
Millions of american serviceman used their GI benefits to attend school
Initially the art departments were run by individuals trained as artists, art educators, historians and designers
coming from different specialties these individuals had differing views of art and teaching which resulted in departmental friction
In large institutes these specialties were organized into separate departments
acute shortage of art teachers
few people entered the teaching profession during depression and the war
by 1940 there were few replacements available for the ones retiring
Schools of education offered a basic course in the teaching of art
graduate study in art education was limited to masters which was taken in a department of either art or education
graduates functioned as supervisors
a few institutes like the New York University offered PHD or Ed.D
most graduate to place in these programs
AS the number of art educators increased at the university level the nature of graduate study changed to reflect a growing interest in research
The Ed.D started getting supplemented by P.H.D
recognized as scholarly discipline
yet by the end of 1942 a few universities offered PHD in this subject
Graduate programs started to multiply
by 1960's a number of new departments were functioning
most collages possessed a MA from a professional art school
Eisners survey indicated the correct number and nature of graduate programs in 1960s
Leadership in Art Education after Lowenfield