contexts: tradition and innovation || preparation for a new art world

National Art Education Association

Preparation for a New Art WorldAuthor(s): George SzekelySource: Art Education, Vol. 49, No. 4, Contexts: Tradition and Innovation (Jul., 1996), pp. 6-13Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193627 .

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eparation

New Art s an art student, I was taught to work hard, study

art history, go to the museums, and listen to my

teachers in order to discover my own style.

Today's art students take larger leaps and bigger

risks than merely finding their own style or reshap-

ing known art ideas. They need to discover art. Tried

methods of instruction brought to the public schools in the

form of design formulas, perspective, and gesture draw-

ings, may not be what are needed to help students discover

new art worlds. This paper describes a five-year-old (or

young) exploration at the University of Kentucky in work-

ing with elementary art teachers and their students at

every level in a preparation for an as-yet-faceless new art

world. The project is called Preparation for a NewArt World.

BY GEORGE SZEKELY

Luggage tag bar codes.

_ ART EDUCATION / JULY 1996

SPECIAL



fora World

The "latest" in school supplies.

ART LEARNING FROM THE ENVIRONMENT

My favorite part of our art class is sitting in a relaxed circle and sharing the latest finds. What did you bring to class today? What is in the teacher's suitcase, hatbox, or tool box? You can always be sure to find the latest here first. Most students can't wait to share their finds. "I found clues to a UFO," explains a student, waving her proof-a black paper with mysterious gray and white sharply focused dots. Curiosity is challenged as she eagerly passes the sheet around while recounting the story of its discovery. "Late at night, I love to go with my dad to the photocopy store and browse through waste baskets which are filled by that time." She shares other items from her treasure folio, such as misprints she curated. Children who are encouraged to search independently make incredible discoveries. Seeking beauty in unusual environmental forms and processes and revealing one's sources, is a fundamental activity in our art class. Show and tell, a favorite activity of young children and artists, is extended to all grade levels. We share the latest forms, from a ski boot catalog to ice-cream-shaped notepads in colorful flavors. Students learn to see that exciting ideas come from all sources. A comer of our room is dedicated to extraordi-

nary finds, to observing and trading items which have been rescued, purchased, or saved. Usually, these items are regarded as junk and kept out of the house or school.

Now it is the teacher's turn! I am happy to report that my son, Jacob, made Honor's Orchestra. Of course, we could not send our young musician nor his cello dressed in any- thing but the finest to such an important event. On Monday, a new black cello case arrived. It came in a small, unimpressive box and we did not recognize it as art until Jacob started inserting his tuning fork, bow, music stand, and instrument, puffing out new shapes as we stood in awe of the cushy case's expan- sion. The next morning, this "over the shoul- der sculpture" was carried to class for a public re-inflation.

As we discuss backpacks, pump-up rafts, sleeping bags, and other innovative camping equipment we demonstrate daily that any object from any field can be subject matter for art studies. Children, in fact, are often at the forefront of advanced art in their natural awareness and interest in new objects. Observe a child expertly guide you around the aisles of a shoe store, explaining every fea- ture of the latest Nike shoe-how it inflates, its varied fillings of air or gelatin-lined soles. The importance here for art teaching is making

JULY 1996 / ART EDUCATION I



Art classes need to discuss not only art history, but also

imagine possible changes and explore the responses of all

kinds of people to unfamiliar art works.

connections between the soft inflatable forms of Red Grooms and Claes Oldenberg, for example, or the latest in pump-up multicolored baseball gloves, and other soft forms in contemporary furnishings. In homage to the idea, we inflate and stuff soft garbage bag sculp- tures.

Objects which are not a planned part of a teacher's lesson are seldom wel- comed at school. One day, when I was an art student, into our drawing class came Frank Asch. He was late as usual, having been slowed down by shopping. His clanging entrance heralded the arrival of a giant, solid wood door bor- rowed from a New York City subway bathroom, inscribed with a lively over- lay of drawings, warnings, and messages. This handsome load was received less than enthusiastically in our art school drawing class. Frank was able to see art everywhere, way beyond the teacher's lesson plans. A three-time Caldecott Medal winner for his children's books, Asch represents the view of art as discovery, not as a handed-down series of experiences or exercises.

When I first noticed the classic bumper sticker, "Born to Shop," I thought it was a display by an art teacher. I teach Shopping 101 and Advanced Shopping 102 to students very interested in the topic. We keep track of all that is new in toy stores, sta- tionary stores, candy counters, or fast

food restaurants. We learn to search for stuff that will be of interest to children.

The future of art is seldom found in schoolrooms. Too many art classes emphasize passively receiving tradi- tions, ideas passed from adults to children. Young children outside school don't wait to receive art; they playfully search for great stuff and interesting ideas themselves. They are not yet dependent on adults to show them what is interesting, valuable, or art. Active, independent search needs to be promoted in and out of the art class.

I took my yearly walk through the Hirshhorn Museum and Sculpture Garden, but it was not until I reached the Air and Space Museum next door that I felt excited-I was in the compa- ny of new art. The latest materials and forms dressed in the most incredible substances live here. Children need to be able to walk through their world, observing, touching, and testing a cello case, or admiring a satellite which may inspire their new view of art. With this attitude, everything may be considered and tried out as an art tool or surface. Art class should be as exciting as a flea market, a junk yard, a super salad bar- a place for choices and discoveries.

Who is praised and appreciated? The good child who helps you clean up the table and throw out everything at MacDonald's or the one who wants to take it all home? Shopping in fast food restaurants (the world's most advanced art supply store) for the latest in french

fry boxes or incredible metallic burger wraps or vacuum-formed plastic containers requires the sensibilities of the artist of the future.

The future of art is seldom found at art conventions.. Exceptions can be found, of course, at convention hotel gift shops. Just let the children guide you to where new and fun things live. The research of Ana, my ten-year-old daughter, is my Exhibit 1. She found a small, silver case with an acrylic top housing a delicate portrait with mov- able features which were altered by shaking a tiny chain attached to the drawing. When I brought it to my art class, it inspired ideas of using jump ropes, extension cords, or casting pic- tures with a fishing pole. Each object children discover is wrapped in great ideas. Playfully visualizing plans and ideas, which may reach beyond present resources and other limitations, should be promoted as part of artistic thinking. Art students can develop confidence in their own collecting, make selections, and develop ideas from environmental sources. We seek new aisles and places to practice our shopping and cre- ative visions.

ART LEARNING FROM EXPERIENCES

On a recent all-night drive from Atlanta, searching for a rest stop, I found an all-night market. Tired, yet navigating through the checkout line, I

_ ART EDUCATION / JULY 1996



Roses-a pencil-shaving display.

was almost certain that the cash register talked to me. It must be the fatigue, I thought. But when the cashier point- ed a light-firing space gun in my direc- tion, I guickly woke up. Continuing to talk in a friendly banter, she used the space weapon to scan the groceries. The register responded in unison, talk- ing and interpreting each code's mys- tery message.

With a spiffy, spark-emitting lazer phaser (a toy) in hand, I retold the story to the art class. A range of noises and light shows spit forth from my circa- 1950 space gun, doubling as an activa- tor and decoder of special messages. Wouldn't it be exciting to trade in our old drawing tools and make art with this machine? As I speak, students already begin to stir and whisper, show- ing off their pencil transformations while attributing super powers to their present tools. I share my collection of unusual bar codes as we try to envision secret art works encoded in each.

Stories filled with images can be acted out in live performances with accompanying props and fantastic discussions. Connecting images from stories and recalled experiences to art works can be practiced. Several of my favorite bar code paintings are reminis- cent of works by such "stripe" artists as Gene Davis. We discuss stripe paintings and also notions of storing art in bar codes and even computer disks. As

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a further lesson in art history, I share my collection of space guns and books such as Leslie Singer's Ray Gun Classics (1991). This is an important example of American toy art from the 1930's to the 1970's. After our bar-cod- ing episode, students demonstrated the ability to fuel remote-controlled and programmed drawing tools. They spoke of futuristic grips and handles such as those on new hair dryers and curling irons. This was followed by a visionary survey of other home appli- ances as possible art sources, i.e., toast- ers as canvas makers, popcorn poppers as drawing dispensers. A student sug- gested I mention that for the best bar- code reception in a pencil an antenna is

required. He recommends a hairpin or a button as a satellite dish to gain reception from other planets.

STARTING WITH THE CHILD Postmoder art was and will be

invented by children. "A flower for you," Ana said to my mother after she sneaked into her hospital room to per- sonally deliver a special gift. The delicate flowers required close inspection to notice that they were actually woven from concentric pencil shavings tightly grouped and framed inside an acrylic jewelry box. Clues to the future of art lie in children's daily inventions.

Just look closely at any avant-garde

JULY 1996 / ART EDUCATION



. 7 . 4. e

As the art world moves at the spc information on superhighways, it I

to unravel itself from its audi

art to recognize how children shaped its path. Earthworks were, of course, first invented and practiced in sandbox- es, in children's rock collections and outdoor play setups. Christo, like other children, must have joyously wrapped presents for friends and family before he packaged buildings or islands. Judy Chicago's table settings were surely first volunteer works at home; we know that young children take great pleasure in creating special

Fast food tray. table settings. Even though each new art is credited to adults, its discovery was pioneered by children. Future arts are landscaped in Halloween candy designs, played out in Barbie setups, experimented with in bubble gum and Legos before the new media or art form receives a Soho display. 'I'hrough art teaching, students can learn to recognize that their home inventions and play have become the basis for future

| . arts and are a most valuable resource for art teaching today.

W''t As my oldest daughter, Ilona, prepared to take over the family business and become an art teacher, I proudly followed her training. In her very first college studio class and first art assign- ment, she was asked to construct a "personality box." The art class viewed the works of Louise Nevelson, Joseph Cornell, and other famous box artists.

r However, they did not examine the works of premier box designers-chil-

*_M ~ dren who customize boxes to play inside, move into, and create their own tool boxes, decorated pencil cases, sticker lunch boxes, etc. Few boxes ever enter a home without being

,ed of claimed by a child who readily offers a plan and idea for its use. Better than

tends the presents inside, the box is what children desire. 'I'hey creatively con-

ence. vert it, often playing with it more than the toy it contains.

Our profession has been very suc-

ART EDUCATION ,' JULY 1996



cessful in bringing art history into the school curriculum, introducing children to the accomplishments of adult artists. Similar intensity is needed to teach our students about their own history of great box artists, wrapping artists, peeling artists, interior designers (doll house decorators), and fashion artists (dress-up players), who happen to be children. To be prepared for our changing art world, children need to learn of their roots and understand connections between their early environmental interests and new forms of art.

Art teachers need to be equally adventurous and notice art beyond school art as they turn to child-study and first-hand observations of children's studios (their rooms, bathtubs, etc.), children's collections (prizes), places of shopping and playing, their basic plays, audiences, and reasons for art making. The following examples of child-study and suggestions for new approaches to art teaching are based on such observations.

Yertle, a handsome turtle is joining our family just this afternoon. The design of his new home is progressing. Yertle already has an interesting view of the beach with a drawing-paper back- drop mounted to the sides of his aquari- um. Furnished with an arrangement of rocks, the interior also has a turtle friend made from a potato shell wearing attractive stickers. By the end of the week, Yertle's accommodations will surely surpass any five-star hotel.

Children are environmental artists and interior designers, practicing their talents in settings for dolls, armies, stuffed animals, and, of course, pets. They create rooms under a table, in doll houses, boxes, or aquariums. To find a child's room, you simply look at door knobs and decorations, door displays, and elaborate settings on window sills, bulletin boards, on top of a stereo.

Children are truly concerned about the appearance of objects and environ- ments, and, as future designers, need to be employed in our art classes.

"Dad, you never play with me!" After clocking play hours in the thou- sands, you still hear the familiar com- plaint. "What would you like to play?" Just a second, as Ana quickly shops through the house collecting business

School case-interior view.




cards, paint sample charts, orange bandaids, colorful post-its, and striped paper clips. Every room in a home is a contributing art supplier for idea gath- ering. She decides to make "friends," that is, moveable figures which gather voice and movement from the real Geppeto, a child who can bring any object to life as she performs, uses voic- es and animates it. Art rooms need to become exemplary shopping placeifor the future artist so that discoveries can be made and stages can be setup for performing and displaying them.

What else can you carry to school? Observing the huge loads and numer- ous packages children take to school each morning, I often wonder how much of it is for work, and how much provisions for secret playing? Ana car- ries a big pocketbook, a hard file case, and still sneaks secret stuff like Pogs, paint roller candies, and other contra- band items in her decorated lunchbox. Where do children find these things? What is current in their collections? What is being traded, and what is it worth? The secret items in children's containers are also on their minds and in their imaginations. To them, these are treasures to dream about, to play with; and, for the future artist, these objects make memories and may become art supplies of the future. Starting with the child means begin- ning with the interests and the objects which support play.

Happy Birthday, Ana! A great party! I await prizes to be shared in my class. Standing next to the birthday girl with my own shopping bag, I fill it with contemporary wrappers, napkins, illustrat- ed plates, unusual cards, and magnificent shopping bags. What children give and receive become sources for art ideas. Important occasions are clues for art teaching and what is more exciting and timeless than the parties children dream of? We replay all occa-

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Ready for school.

ART EDUCATION / JULY 1996



Inside the lunch box.

sions in the art class, dressing tables and ourselves, wrapping presents and cakes, and using tablecloths as one of many canvases for celebrations. These art interests are timeless in a changing art world.

I wear my heart to school! A big sur- prise for our 25th anniversary is a photo cut-out with candy arrangements, bows, and drawings displayed on a vest-style cardboard heart. Children's art is often made for special occasions and for special persons. Art, as a hand- made gift, is an important reason for children's creativity. We need to study the occasions and significant reasons for children's art-making, since all artists create from personal needs and interests. Art as a special gift to people will become an increasingly important notion to preserve in a future world where all is ready-made and ready for purchase.

'Your dad scribbles!" Children

teased Ana in school in response to sharing my paintings in her class. I recall my first serious discussion about the nature of art after Ana came home from school sadly recounting her class- mates' taunts. Proud of dad's work, she found it difficult to defend in front of hostile critics. Since then, discussions about the changing nature of art have become a regular part of our conversa- tions at home and with students in school. To be prepared for new art worlds requires an early commitment to talk about change in art. Art classes need to discuss not only art history, but also imagine possible changes and explore the responses of all kinds of people to unfamiliar artworks. Sources for such discussions may range from daily newspaper photographs to art ideas discovered through raking leaves, cutting the grass, and other daily actions. What makes this art, or why should certain objects, events and daily acts not be looked upon as art? Children build early boundaries around their art views and learn to guard these fences. Taking opposing views and bringing these discussions to class, as

well as involving a variety of new art sources, helps to open opinions. We look at the science section of the New York Times and expand our views of new art through the study of technology, fashion and furnishing trends, and other consumer related objects.

ENDING On the last day of a recent show of

my art, I noticed an unkind remark scribbled on the face of a painting. Unfortunately, my 35-foot rice paper scroll was left uncovered to be accessi- ble to the audience. The study of the changing art world needs to be the subject of every art class. As the art world moves at the speed of information on superhighways, it tends to unravel itself from its audience. Frustration is expressed not only by individuals, but also by communities into which new public art is plopped. Intolerance is voiced at agencies of government which sponsor new art forms by audiences who feel left out. There is one time where future audiences and artists meet and pass through our art rooms and we have a brief opportunity to make an impression on each. We hope that, after students leave our art classes, they will become more tolerant of new art, and even excited about the changing art world and its future. Young artists at every stage need to discuss, write about, explore new art worlds, and consider their effects on future audiences.

George Szekely is Professor and Director of Graduate Studies in Art Education at the University ofKentucky in Lexington.

REFERENCES Singer, L. (1991). Ray Gun Classics. San

Francisco, CA: Chronicle Books.




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