National Art Education Association

[Language in the Women's Liberation Movement]Author(s): Milton PaleologosSource: Art Education, Vol. 29, No. 4 (Apr., 1976), p. 30Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3192167 .

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was different from what they had pre- viously experienced in their art classes. There are probably many reasons why they continued to observe, but one thing was sure-they were intensely involved. I believe they were learning something about art and artists. The students could see that the artist was working with an intense desire to com- municate through his art form. The lan- guage barrier was not a problem.

In another Nebraska AIS project I have observed, a sculptor works part- time in his own studio, part-time in the high school, and part-time with senior citizens. I am excited about this pro- gram, too. This kind of teacher, artist,

was different from what they had pre- viously experienced in their art classes. There are probably many reasons why they continued to observe, but one thing was sure-they were intensely involved. I believe they were learning something about art and artists. The students could see that the artist was working with an intense desire to com- municate through his art form. The lan- guage barrier was not a problem.

In another Nebraska AIS project I have observed, a sculptor works part- time in his own studio, part-time in the high school, and part-time with senior citizens. I am excited about this pro- gram, too. This kind of teacher, artist,

was different from what they had pre- viously experienced in their art classes. There are probably many reasons why they continued to observe, but one thing was sure-they were intensely involved. I believe they were learning something about art and artists. The students could see that the artist was working with an intense desire to com- municate through his art form. The lan- guage barrier was not a problem.

In another Nebraska AIS project I have observed, a sculptor works part- time in his own studio, part-time in the high school, and part-time with senior citizens. I am excited about this pro- gram, too. This kind of teacher, artist,

was different from what they had pre- viously experienced in their art classes. There are probably many reasons why they continued to observe, but one thing was sure-they were intensely involved. I believe they were learning something about art and artists. The students could see that the artist was working with an intense desire to com- municate through his art form. The lan- guage barrier was not a problem.

In another Nebraska AIS project I have observed, a sculptor works part- time in his own studio, part-time in the high school, and part-time with senior citizens. I am excited about this pro- gram, too. This kind of teacher, artist,

community interaction improves com- munity-school relations and helps increase public support for the total school program.

Although some object to tax dollars financing Artist-in-Schools programs, I believe art educators should support the National Endowment for the Arts AIS program and be grateful for the as- sistance.

Dr. Hausman also says: "We have long accepted the idea that the depth of experience and personal insights of the artist provides an es?ential resource for communicating about the creative pro- cess in making art."3 The National Endowment for the Arts in cooperation

community interaction improves com- munity-school relations and helps increase public support for the total school program.

Although some object to tax dollars financing Artist-in-Schools programs, I believe art educators should support the National Endowment for the Arts AIS program and be grateful for the as- sistance.

Dr. Hausman also says: "We have long accepted the idea that the depth of experience and personal insights of the artist provides an es?ential resource for communicating about the creative pro- cess in making art."3 The National Endowment for the Arts in cooperation

community interaction improves com- munity-school relations and helps increase public support for the total school program.

Although some object to tax dollars financing Artist-in-Schools programs, I believe art educators should support the National Endowment for the Arts AIS program and be grateful for the as- sistance.

Dr. Hausman also says: "We have long accepted the idea that the depth of experience and personal insights of the artist provides an es?ential resource for communicating about the creative pro- cess in making art."3 The National Endowment for the Arts in cooperation

community interaction improves com- munity-school relations and helps increase public support for the total school program.

Although some object to tax dollars financing Artist-in-Schools programs, I believe art educators should support the National Endowment for the Arts AIS program and be grateful for the as- sistance.

Dr. Hausman also says: "We have long accepted the idea that the depth of experience and personal insights of the artist provides an es?ential resource for communicating about the creative pro- cess in making art."3 The National Endowment for the Arts in cooperation

with State Arts Agencies places artists in the schools throughout the country for that very purpose.

Richard L. Brink is assistant professor in the Department of Art, Hastings Col- lege, Hastings, Nebraska.

REFERENCES 1 Elliot W. Eisner, "Is the Artist in the

School Program Effective?," Art Edu- cation, Volume 27, February 1974, p. 22.

2 Jerome Hausman, "Teacher as Artist and Artist as Teacher," Art Edu- cation, Volume 20, April 1967, p. 13.

3 Ibid.

with State Arts Agencies places artists in the schools throughout the country for that very purpose.

Richard L. Brink is assistant professor in the Department of Art, Hastings Col- lege, Hastings, Nebraska.

REFERENCES 1 Elliot W. Eisner, "Is the Artist in the

School Program Effective?," Art Edu- cation, Volume 27, February 1974, p. 22.

2 Jerome Hausman, "Teacher as Artist and Artist as Teacher," Art Edu- cation, Volume 20, April 1967, p. 13.

3 Ibid.

with State Arts Agencies places artists in the schools throughout the country for that very purpose.

Richard L. Brink is assistant professor in the Department of Art, Hastings Col- lege, Hastings, Nebraska.

REFERENCES 1 Elliot W. Eisner, "Is the Artist in the

School Program Effective?," Art Edu- cation, Volume 27, February 1974, p. 22.

2 Jerome Hausman, "Teacher as Artist and Artist as Teacher," Art Edu- cation, Volume 20, April 1967, p. 13.

3 Ibid.

with State Arts Agencies places artists in the schools throughout the country for that very purpose.

Richard L. Brink is assistant professor in the Department of Art, Hastings Col- lege, Hastings, Nebraska.

REFERENCES 1 Elliot W. Eisner, "Is the Artist in the

School Program Effective?," Art Edu- cation, Volume 27, February 1974, p. 22.

2 Jerome Hausman, "Teacher as Artist and Artist as Teacher," Art Edu- cation, Volume 20, April 1967, p. 13.

3 Ibid.

Art Education Should Not Be A Gamble

Some educationally naive and well rmeaning organizations sponsor contests which offer impressive prizes. These contests are much like lotteries where you have a few winners and so many, many losers. Students can get crushed and rejected in contests and may never create again. Art education wants winners and learners, not a lot of losers.

LeRoy B. Schwan Director of Art Education Quincy Public Schools Quincy, Illinois

Art Education Should Not Be A Gamble

Some educationally naive and well rmeaning organizations sponsor contests which offer impressive prizes. These contests are much like lotteries where you have a few winners and so many, many losers. Students can get crushed and rejected in contests and may never create again. Art education wants winners and learners, not a lot of losers.

LeRoy B. Schwan Director of Art Education Quincy Public Schools Quincy, Illinois

Art Education Should Not Be A Gamble

Some educationally naive and well rmeaning organizations sponsor contests which offer impressive prizes. These contests are much like lotteries where you have a few winners and so many, many losers. Students can get crushed and rejected in contests and may never create again. Art education wants winners and learners, not a lot of losers.

LeRoy B. Schwan Director of Art Education Quincy Public Schools Quincy, Illinois

Art Education Should Not Be A Gamble

Some educationally naive and well rmeaning organizations sponsor contests which offer impressive prizes. These contests are much like lotteries where you have a few winners and so many, many losers. Students can get crushed and rejected in contests and may never create again. Art education wants winners and learners, not a lot of losers.

LeRoy B. Schwan Director of Art Education Quincy Public Schools Quincy, Illinois

Artistic Pragmatism: The Arts andthe Bicetennial- A Challenge

The major thrust of education in the arts demands a threefold perspective. First, the idea(s) is born. Second, it is represented through a variety of audio or visual symbols. Third, the idea(s) reaches social usefulness when its uniqueness is eventually implemented within the society.

The preceding should serve to formulate for educators and political leaders an arts direction that nurtures the individual toward contributory citizenship. Each citizen must come to know his uniqueness, and the arts can: provide the vehicle for accomplishing this feat. When the arts are given proper priority in American society, democratic citizens will grow in number and thrive in the type of citizenship envisioned by our artistic and pragmatic statesmen of 1776.

Harold Leonard Krevolin Art and Music Curriculum Coordinator, K-12 Greenwich Public Schools GreenJwich, Connecticit 30 Art Education, April 1976

Artistic Pragmatism: The Arts andthe Bicetennial- A Challenge

The major thrust of education in the arts demands a threefold perspective. First, the idea(s) is born. Second, it is represented through a variety of audio or visual symbols. Third, the idea(s) reaches social usefulness when its uniqueness is eventually implemented within the society.

The preceding should serve to formulate for educators and political leaders an arts direction that nurtures the individual toward contributory citizenship. Each citizen must come to know his uniqueness, and the arts can: provide the vehicle for accomplishing this feat. When the arts are given proper priority in American society, democratic citizens will grow in number and thrive in the type of citizenship envisioned by our artistic and pragmatic statesmen of 1776.

Harold Leonard Krevolin Art and Music Curriculum Coordinator, K-12 Greenwich Public Schools GreenJwich, Connecticit 30 Art Education, April 1976

Artistic Pragmatism: The Arts andthe Bicetennial- A Challenge

The major thrust of education in the arts demands a threefold perspective. First, the idea(s) is born. Second, it is represented through a variety of audio or visual symbols. Third, the idea(s) reaches social usefulness when its uniqueness is eventually implemented within the society.

The preceding should serve to formulate for educators and political leaders an arts direction that nurtures the individual toward contributory citizenship. Each citizen must come to know his uniqueness, and the arts can: provide the vehicle for accomplishing this feat. When the arts are given proper priority in American society, democratic citizens will grow in number and thrive in the type of citizenship envisioned by our artistic and pragmatic statesmen of 1776.

Harold Leonard Krevolin Art and Music Curriculum Coordinator, K-12 Greenwich Public Schools GreenJwich, Connecticit 30 Art Education, April 1976

Artistic Pragmatism: The Arts andthe Bicetennial- A Challenge

The major thrust of education in the arts demands a threefold perspective. First, the idea(s) is born. Second, it is represented through a variety of audio or visual symbols. Third, the idea(s) reaches social usefulness when its uniqueness is eventually implemented within the society.

The preceding should serve to formulate for educators and political leaders an arts direction that nurtures the individual toward contributory citizenship. Each citizen must come to know his uniqueness, and the arts can: provide the vehicle for accomplishing this feat. When the arts are given proper priority in American society, democratic citizens will grow in number and thrive in the type of citizenship envisioned by our artistic and pragmatic statesmen of 1776.

Harold Leonard Krevolin Art and Music Curriculum Coordinator, K-12 Greenwich Public Schools GreenJwich, Connecticit 30 Art Education, April 1976

On television a few weeks ago, Maud analogized the language issue of the Women's Liberation Movement as the "tip of the pin". The "tip of the iceberg" would be more to the point. By now, prolix arguments, such as the one presented by Judy Loeb in the November issue, against language stereotyping only suc- ceed in needling me. Thetip of anything, after all, is only its smal- lest part.

Milton Paleologos Tyler School of Art Philadelphia, Pa.

On television a few weeks ago, Maud analogized the language issue of the Women's Liberation Movement as the "tip of the pin". The "tip of the iceberg" would be more to the point. By now, prolix arguments, such as the one presented by Judy Loeb in the November issue, against language stereotyping only suc- ceed in needling me. Thetip of anything, after all, is only its smal- lest part.

Milton Paleologos Tyler School of Art Philadelphia, Pa.

On television a few weeks ago, Maud analogized the language issue of the Women's Liberation Movement as the "tip of the pin". The "tip of the iceberg" would be more to the point. By now, prolix arguments, such as the one presented by Judy Loeb in the November issue, against language stereotyping only suc- ceed in needling me. Thetip of anything, after all, is only its smal- lest part.

Milton Paleologos Tyler School of Art Philadelphia, Pa.

On television a few weeks ago, Maud analogized the language issue of the Women's Liberation Movement as the "tip of the pin". The "tip of the iceberg" would be more to the point. By now, prolix arguments, such as the one presented by Judy Loeb in the November issue, against language stereotyping only suc- ceed in needling me. Thetip of anything, after all, is only its smal- lest part.

Milton Paleologos Tyler School of Art Philadelphia, Pa.

ADVERTISERS' INDEX

American Art Clay Co. .......... 24 American Crayon Co. .......... C4 American Pad & Paper Co ....... 22 Goddard College ............... 22 M. Grumbacher, Inc. ........... C3 Harvard Summer School ........ 20 Hoosuck Community Resources

Corp ......................... 22 Miami University ................ 15 New York University ............ 15 Pennsylvania Academy of

Fine Arts ..................... 22 Permanent Pigments ........... C2 Pyramid Films .................. 21 Rochester Institute of

Technology .................. 20 Thomas C. Thompson Co. ....... 27 University of Cincinnati ......... 22 Utrecht Linens .................. 27

ADVERTISERS' INDEX

American Art Clay Co. .......... 24 American Crayon Co. .......... C4 American Pad & Paper Co ....... 22 Goddard College ............... 22 M. Grumbacher, Inc. ........... C3 Harvard Summer School ........ 20 Hoosuck Community Resources

Corp ......................... 22 Miami University ................ 15 New York University ............ 15 Pennsylvania Academy of

Fine Arts ..................... 22 Permanent Pigments ........... C2 Pyramid Films .................. 21 Rochester Institute of

Technology .................. 20 Thomas C. Thompson Co. ....... 27 University of Cincinnati ......... 22 Utrecht Linens .................. 27

ADVERTISERS' INDEX

American Art Clay Co. .......... 24 American Crayon Co. .......... C4 American Pad & Paper Co ....... 22 Goddard College ............... 22 M. Grumbacher, Inc. ........... C3 Harvard Summer School ........ 20 Hoosuck Community Resources

Corp ......................... 22 Miami University ................ 15 New York University ............ 15 Pennsylvania Academy of

Fine Arts ..................... 22 Permanent Pigments ........... C2 Pyramid Films .................. 21 Rochester Institute of

Technology .................. 20 Thomas C. Thompson Co. ....... 27 University of Cincinnati ......... 22 Utrecht Linens .................. 27

ADVERTISERS' INDEX

American Art Clay Co. .......... 24 American Crayon Co. .......... C4 American Pad & Paper Co ....... 22 Goddard College ............... 22 M. Grumbacher, Inc. ........... C3 Harvard Summer School ........ 20 Hoosuck Community Resources

Corp ......................... 22 Miami University ................ 15 New York University ............ 15 Pennsylvania Academy of

Fine Arts ..................... 22 Permanent Pigments ........... C2 Pyramid Films .................. 21 Rochester Institute of

Technology .................. 20 Thomas C. Thompson Co. ....... 27 University of Cincinnati ......... 22 Utrecht Linens .................. 27

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This content downloaded from 185.44.78.31 on Sun, 15 Jun 2014 23:23:11 PMAll use subject to JSTOR Terms and Conditions