international school art program issue || keeping informed: an obligation and opportunity

National Art Education Association

Keeping Informed: An Obligation and OpportunityAuthor(s): Mariema MillerSource: Art Education, Vol. 16, No. 3, International School Art Program Issue (Mar., 1963), pp.14-16+21Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190512 .

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BOAT AT DOCK by Marvin Quammen, age 15, Grade 10, Central High School, Philadelphia, Pennsylvania.

Mariema Miller is National Chairman, Inter- national School Art Program.

MARIEMA MILLER/

keeping

informed

An Obligation and Opportunity 'Tis an impertinent question, but...

What kinds of stock investments have you been

making lately? Is their value increasing or are they taking a downward plunge? Whatever the direction, surely your interest in your investments leads you to

keep informed about them. One of the biggest investments of the National Art Education Association-in terms of people, time, energy, and potential value-is the International School Art Program. Because of this, the members of the NAEA certainly have a right, as well as an obligation, to keep informed about the

policies and the administration of this program. Most members already know that the International

School Art Program came into existence in 1947

through an agreement between the Eastern Arts Asso- ciation and the American Junior Red Cross. Shortly thereafter, the National Art Education Association and all its regional associations joined in the cosponsorship of this program, whose primary purpose has been and continues to be international communication by our

high school youth-that is, cultural communication

through art. Since 1947, over 75,000 paintings have been accept-

ed as contributions from American students to 48 Red Cross Societies throughout the world. Approximately 15,000 paintings have been received from these socie-

ties for use in International School Art exhibits in this

country as well as in nations other than their point of

origin. From 4,000 to 7,000 students participate in this program every year. About 2,000 people, most of them volunteers from the Red Cross and the teaching profession, are involved annually in conducting the

program. During the past 15 years, the American Red Cross has spent over $150,000 in promoting and

structuring the program. The success of this gigantic undertaking is depend-

ent upon the commitment made to it by the cosponsors. The National Art Education Association is committed to giving educational motivation and validity to the

program and to providing responsible supervision and critical guidance. The Red Cross is committed to

giving continuity of purpose and a structure for col-

lecting, screening, and distributing the art work con-

ART EDUCATION 14



tributed by the students, as well as dependable financing from the point of origin to the point of delivery.

The International School Art Program has evoked many and varied reactions from students, art teachers, screening committees, art education associations, and the general public. Those reactions having the strong- est effect on the program have come from art teachers sincerely interested in the program and its educational value for their students. They are the ones who inter- pret the program to their students and, to that extent,

HENRY STREET, by Henry Lipinski, age 17, 12th Grade, Central High School, Pittsburgh, Pennsylvania.

determine the quality of the work contributed. This constant concern for quality on the part of art educators and of the personnel in the Office of Educational Relations of the American National Red Cross resulted in some recent changes in policy and structure.

In November 1961, and again in 1962, Dr. Robert J. Gordon, newly appointed head of the Office of Edu- cational Relations of the American National Red Cross, invited the executive secretary of NAEA and the national chairman and all regional chairmen of the International School Art Program to attend a two-day conference in Washington, D.C., with some representatives from the office of Educational Relations, to discuss policy and determine areas of needed action. Dr. Gordon emphasized the importance of thinking beyond conventional boundaries and of exploring the

program's potential in terms of this modern age and

MARCH 1963 15



the current trends in education. In this atmosphere, ideas were exchanged and recommendations were made that have strengthened the present program and that give promise of renewed vitality for the future.

Perhaps the most important action is the shift in

emphasis from a painting done specifically for this

program to a cooperative evaluation by teacher and students of the art work created in the regular art

program throughout the year to determine the work that reflects with integrity some personal expression of the individual, that maintains a high level of art

distribution, a committee of art teachers should further evaluate the art to eliminate whatever is trite, copied, or so lacking in true quality that it does not adequately reflect the art program in the local schools.

Early in June, after the local Red Cross chapters have sent their art contributions to the area Red Cross

headquarters, a regional committee of art educators

appointed by the regional art association president meets with representatives of the area headquarters to determine the distribution of the art. The decisions made by the regional ISAP Art Committees are final. This is another of the important changes in the structure of this program. Beginning in June 1963, each

regional ISAP committee will select the art from the area that will go to other regional exhibits, to two national exhibits, and to the International Red Cross Societies participating in this program. (The regional and national exhibits are used at educational meetings in this country for one year. The art work is then added to that sent to the International Red Cross Societies.) Hereafter, both regional and national exhibits should be available to teachers and educational organizations by the opening of the school year in

September. Regional ISAP chairmen have been asked to experi-

ment, in a limited way, with adding 3-dimensional art and elementary school art to the ISAP exhibits.

Other important changes in the program are evolv-

THE OLD AND THE NEW, by Marsha Labovitz, age 15, Grade 10, Munhall High School, Munhall, Pennsylvania.

quality, and that makes a suitable (in terms of content) contribution to the International School Art

Program. The focus has changed from "art about America" to "the art of American youth." Underlying this shift in emphasis is the assumption that the sin- cere, honest art of a teen-ager requires personal involvement and the expression of experience. From the work selected in this teacher-student evaluation of their art, it is hoped that students will develop a school exhibition emphasizing the ISAP and the even- tual destination of their contributions to other nations throughout the world.

From the school, the art moves to whatever com-

munity exhibition has been planned by local art educators working with local Red Cross chapters. Some recognition of participating students as well as exhibition of all the contributions is urged at the

community level. However, prior to sending the contributions to the Area Red Cross Headquarters for

THE CITY, by Cebe Sue Haines, age 14, Grade 9, Fair- view High School, Dayton, Ohio.



ing. One makes use of other curricular areas to explain the cultural milieu that produced the art. For the

present, the initiative for developing this must come from local art teachers working with other teachers in the schools.

Other changes are being made in the content and

design of the communication media and labels used in this program. In 1962, the brochure giving information about the program to the teacher was completely redesigned and rewritten. At the present time a format is being designed to symbolize the program for several

years. A brochure, with pictures, has been published specifically for the student. The label that goes on the art work has been simplified. The label and the litera- ture give equal emphasis, through symbols or type. to the NAEA and the Red Cross as cosponsors of the International School Art Program. Five sets of over- head projections with tape and script are being produced for use with teachers, students, or the public to explain the purpose of the program, where the art comes from, what happens to it, and the reactions of

people in other parts of the world to the art that is sent them. These kits will be available in the fall of 1963.

Many teachers have asked for specific exhibits of art from other countries or for more regional exhibits. This year each area headquarters has two additional exhibits available to the art teachers in the area. The National Red Cross is in the process of collecting art from other countries to make up other special exhibits. These should be ready by the fall of 1963. Meanwhile, filmstrips have been made of art already contributed by International Red Cross Societies. Requests for these should proceed through local Red Cross chapters to the area headquarters.

Recently, the size limitations on matted art work were changed to include any size up to 22" by 28" when matted. This gives greater flexibility to art teachers and students in deciding the art that will be given to this program. This change was made after publication of the brochure in use this year, but it is effective for this year.

These changes in policy and structure are the result of the active interest of many members of the National Art Education Association and the flexibility and vision of the program leaders in the American Red Cross Office of Educational Relations. Future changes and new directions depend upon continued interest and participation in planning the means for young people to develop an ever deepening understanding of themselves and their fellowman and to communicate this through their art.

The real value of the International School Art Program is this investment in understanding.

HARBOR, by Jeanne Bude, age 17, Grade 12, Pius Xl High School, Milwaukee, Wisconsin.

INTERNATIONAL SCHOOL ART

PROGRAM FILMSTRIPS

Filmstrip #9 "Impressions and Expressions"

Filmstrip #10 "New Dimensions in Two Dimensions"

Filmstrip #11 "Adventures in Art"

The above and other filmstrips may be obtained

through local Red Cross Chapters.

MARCH 1963 21



international school art program issue || keeping informed: an obligation and opportunity

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