Godfrey was a light-skin African American, college educated Northerner starting a newly created position for an African American to supervise Southern African American educators and their schools. If one of reason for hiring Godfrey was to start the black section of the VEA, how did the African American educators in Virginia feel about her? Why didn’t they hire an African American educator from Virginia as assistant state supervisor? Was Mary Godfrey hired as a token to appease both sides? I do not know the answer, but I do know from personal experience moving from New York to Atlanta, how the Southern African American community feels about the northerner coming down to the south trying to educate them. Most Southerners do not like when Northerners …show more content…
come down to the south trying to educate them. For Godfrey this was about class distinction and the light skin complex in the African American community. Despite opposition and segregation Godfrey visited African-American schools and travelled with Joyner throughout the state promoting art education.
In an interview, Godfrey states, “My supervisor, who incidentally was a white woman, and I got along very well. We work together as a team and we, more or less, complimented each other” (Hollingsworth, 1988, p. 205). Both women created a pamphlet in 1950 titled, Visual Presentation of Art Education, “the report submitted by the Art Education Service was subsequently illustrated by Miss Mary E. Godfrey, who gives emphasis to the promotion of art education in the Negro schools” (Mary Godfrey Papers, Box 1, Folder 2). This pamphlet described the role of the supervisor of art education, why art education was important, and art as creative experience. The pamphlet explained the purpose, objective and philosophy or art education for all school personnel and children. Art educator Ruth Peck (1958) describes, in the 1950s, role of the art supervisor was to provide in-service art training that would arouse interest in possible effects of art education by developing a solid philosophy, stimulate ideas and establish teaching techniques that would be transmitted into practice in the classroom. (p.6) This was a time when art education was not a place of valuable instruction and considered “the time-honored method…planning pupil art activities by holidays or special events,” it was up to the art supervisor to assistant teachers in selecting and organizing art activities (Hastle, 1954 p. 17). Godfrey was instrumental in developing the concept of art education as a basic approach to school and community living and understanding art as a learning process. She took her position as an assistant art supervisor and educating children seriously. Godfrey
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Elizabeth Catlett`s art documents history, but particularly the experiences of the black and brown working class women.. She combined what she has learned of African art, African American art, and
We are constantly being bombarded with visual culture throughout every hour of the day, though at times it may seem overwhelming and desensitizing, it is only getting more prevalent. Paul Duncum is an art educator who is corporating these aspects of visual culture in the classroom everyday and also teaching his students to do this as well. I have talked about Paul Duncum educational history, his contributions to art education, his teaching philosophy, and how I can use his beliefs and teachings in my future as an art educator. With my new found knowledge of Paul Duncum and his teaches, I hope, as a future educator to follow in his footsteps of incorporation of our society’s importance of visual art in my classroom.
My goal for this paper is to give a practical critique and defense of what I have learned in my time as a Studio Art Major. During my time here I have learned that Pensacola Christian college’s definition of art “art is the organized visual expression of ideas or feelings” and the four parts of Biblosophy: cannon, communication, client, and creativity. Along with Biblosophy I have studied Dr. Frances Schaeffer 's criteria for art, seeing how the technical, and the major and minor messages in artwork. All of these principles are great but they do need to be refined.
The Museum of Contemporary Art Detroit (MOCAD) had three different artists work on display. It was split up into three different rooms the first room was Design 99 To Much of a Good Thing and in the next room is Latoya Ruby Frazier Mother May I and in the last room was Jef Geys Woodward Avenue. The art that was on display was not traditional art work. All of the artist’s work displayed in the Museum of Contemporary Art Detroit was out of the box thinking. The flow in each exhibit made it easy to move from one piece of art work to another piece of work.
Anna Julia Haywood was born into slavery to Hannah Stanley Haywood and her master, George Washington Haywood, in 1858.1 At the age of nine, she enrolled in St. Augustine's Normal School and Collegiate Institute for free Blacks. Cooper married St. Augustine graduate George Cooper, in 1877. His death in 1879 "ironically allowed her to pursue a ca reer as a teacher, whereas no married woman—black or white—could continue to teach."2 Cooper received a Bachelor's and a Master's degree from Oberlin College, and was first recruited to teach in 1887. She taught at M Street High School, Washingto n's only black high school, for many years, and was the subject of public controversy because of her educational philosophy.
Dewey, J. Art and Education: A Collection of Essays. Pennsylvania, The Barnes Foundation Press, 1954.
Kane, P. R., & Orsini, A.J. (2003). The Colors of Excellence. New York, NY: Teachers
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
Women in general faced many hardships in the past and especially during the black arts movement. Women were disvalued and were the lowest in the society. They had some of the toughest jobs and worked very hard to provide for their kids. Throughout this essay there are three sources to support and display what women went through during the black arts movement. These sources are, “The Negro Woman in American Literature,” “Woman Poem,” and “Wine in the Wilderness.” All of these sources add critical information to help support the thoughts on how women were treated during the black arts movement and what they faced on a daily basis. Overall during the black arts movement women were involved in lots of art to display their sexual characteristics. Women faced many issues like being disrespected and not being given an equal opportunity. Lastly, the black arts movement really brought out the way that women were treated and displayed the terrible things that artists did to them in society, which caused more problems in their
Marianne Moore graduated from Metzger Institute in 1905. She then went to Bryn Mawr College. She majored in history, law, and political science. Since she loved laboratory courses in biology and histology, she wanted to become a physician. She graduated in 1909 with a B.A degree but did not become a physician, lawyer, or a painter like she wanted. Instead, Moore enrolled into a one-year course at Carlisle Commercial College. After graduating, she started working at the U.S. Industrial Indian School in Carlisle. Marianne and her mother traveled together, visiting cities they had dreamed of and spent hours in art museums. She taught Native American students the standard secretarial skills of the time book home in Carlisle. She taught there for four years successfully (Parrish 1). She learned a verbal decorum and precision from her mother. And Moore had never married (Stone 2).
Despite the significant influence that lead to her future career in art, Ringgold reported that she was also impacted by the racism, sexism, and segregation that she had to experience in her everyday life. Positivity and hardships both helped shaped Ringgold’s successful art career in due time.
When I was young, just like any other child, I loved playing with colors. Throughout my childhood, though, art simply meant doodling with crayons or creating some mess. I considered that as my true art. On my birthday, my father bought me one Japanese movie named The Future Boy Conan as a gift. Even though it was my first time watching a Japanese movie, I was enchanted. I developed the patience to learn to draw and continued to study more about arts. The more I drew, the more I felt like I found something, not only in the artworks, but in myself. Art is still my passion and is something that I take pride in. Moreover, arts education allows many individuals to learn about themselves, their cultures, and their community. Unfortunately, due to insufficient funding, many students in the future may not have the opportunity to experience the motivation that art education provides. Every student in America deserves a complete and competitive education that includes the arts. Therefore, art education should be taught in public schools, perhaps now more than ever. As the country becomes increasingly diverse and the workplace more oriented around creativity, arts education is the pivotal key to a successful public school system to ensuring students’ academic achievement, and enriching the positive social development of students.
Witherbee, A. (2013). Counterpoint: Education, the Masses, and Art. Points Of View: Arts Funding, 6. Retrieved April 19,2014 , from http://search.ebscohost.com/login.aspx?direct=true&db=pwh&AN=12421040&site=pov-live
During the feminist movement women sought to gain gender equality and they turned to art to get their message out there. Feminist art set the bar higher for women so they can be seen more equal to men. It redefined the way women were seen and gained them a lot more power in the world. Women were able to use feminist art to be able to show the world that they were just as capable of being successful artists just like men were. Artist like Judy Chicago help set ideas of gender equality become a reality. “Inspired by the women 's movement and rebelling against the male-dominated art scene of the 1960s.” (the art story). Judy Chicago stood for women being equal to men and fought against how men were the ones in charge of the world. She used her art as a weapon to combat gender equality. Many other artists like Chicago used their art to fight gender equality. Feminist art helped explore ideas of gender equality and exchanged it around the world. Her art served as a way of breaking societal expectation by incorporating controversial
Cato, T. (2001, January1). Reasons to support art education. Retrieved September 18th, 2002 from http://www.gaea.armstrong.edu/. Promotes the teaching of art education in Georgia. Calls for research into art education to show its benefits and advantages.