The Teaching of Art History in Michigan's Two-Year CollegesAuthor(s): Elizabeth Dull and Robert JohnstonSource: Art Journal, Vol. 32, No. 2 (Winter, 1972-1973), pp. 183-184Published by: College Art AssociationStable URL: http://www.jstor.org/stable/775735 .

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Springs; in art history, at the University of Cincinnati. We hope that these insti- tutes, lasting six or eight weeks and offer- ing graduate credit in education to their students, will become a permanent fea- ture of teacher education programs, aided by grants from the National Endowment for the Humanities and private founda- tions. The University of Cincinnati ex- pects to repeat its summer institute in art history during the summer of 1973, and the National Gallery of Art and the Uni- versity of Maryland are jointly planning summer institutes in art history for 1973, 1974, and 1975. Those interested in re- ceiving information on all future summer institutes in art history or studio art should write to Harlan P. Hanson, Pro- gram Services Officer, Advanced Place- ment Program, CEEB, 888 Seventh Ave- nue, New York, N.Y. 10019, requesting to be placed on the mailing list for an- nouncements. Art departments and art education departments that are in touch with art teachers or coordinators in the secondary schools of their area can per- form a valuable service to the Advanced Placement programs in art by drawing at- tention to both the programs themselves and the summer institutes.

The Advanced Placement course in art history faces another obstacle quite apart from the shortage of qualified teachers- the problem of an adequate supply of slides. Here remedial action is being taken by the College Art Association as part of its Educational Lantern Slide Pro- gram. The Program is now preparing a set of slides for the introductory course in art history for colleges that will be equally suitable for the Advanced Place- ment course. This set will consist of 2,500 black-and-white slides and 360 color slides, to be supplied unmounted but with labels. They will become available in the spring of 1973. The estimated retail price for the black-and-white set is $125, for the color set $90 (the slides cannot be ordered singly). Those interested in re- ceiving announcements of these and other, more specialized sets of CAA-pro- duced slides should write to the Director of the Project, Sterling Callisen, Depart- ment of Fine Arts, Washington Square College, New York, N.Y. 10003. Needless to say, no teacher could possibly use all of the 2,500 black-and-white slides in a year's introductory course; he is expected to use between 500 and 750 which he chooses from the larger total in accordance with his personal preferences and the structure of his course. If (as seems likely) he uses all of the color slides, about one-half of all the slides he shows will be in color. Ideally, they should all be in color, but this goal is for the time being unattaina- ble for financial and technical reasons.

Springs; in art history, at the University of Cincinnati. We hope that these insti- tutes, lasting six or eight weeks and offer- ing graduate credit in education to their students, will become a permanent fea- ture of teacher education programs, aided by grants from the National Endowment for the Humanities and private founda- tions. The University of Cincinnati ex- pects to repeat its summer institute in art history during the summer of 1973, and the National Gallery of Art and the Uni- versity of Maryland are jointly planning summer institutes in art history for 1973, 1974, and 1975. Those interested in re- ceiving information on all future summer institutes in art history or studio art should write to Harlan P. Hanson, Pro- gram Services Officer, Advanced Place- ment Program, CEEB, 888 Seventh Ave- nue, New York, N.Y. 10019, requesting to be placed on the mailing list for an- nouncements. Art departments and art education departments that are in touch with art teachers or coordinators in the secondary schools of their area can per- form a valuable service to the Advanced Placement programs in art by drawing at- tention to both the programs themselves and the summer institutes.

The Advanced Placement course in art history faces another obstacle quite apart from the shortage of qualified teachers- the problem of an adequate supply of slides. Here remedial action is being taken by the College Art Association as part of its Educational Lantern Slide Pro- gram. The Program is now preparing a set of slides for the introductory course in art history for colleges that will be equally suitable for the Advanced Place- ment course. This set will consist of 2,500 black-and-white slides and 360 color slides, to be supplied unmounted but with labels. They will become available in the spring of 1973. The estimated retail price for the black-and-white set is $125, for the color set $90 (the slides cannot be ordered singly). Those interested in re- ceiving announcements of these and other, more specialized sets of CAA-pro- duced slides should write to the Director of the Project, Sterling Callisen, Depart- ment of Fine Arts, Washington Square College, New York, N.Y. 10003. Needless to say, no teacher could possibly use all of the 2,500 black-and-white slides in a year's introductory course; he is expected to use between 500 and 750 which he chooses from the larger total in accordance with his personal preferences and the structure of his course. If (as seems likely) he uses all of the color slides, about one-half of all the slides he shows will be in color. Ideally, they should all be in color, but this goal is for the time being unattaina- ble for financial and technical reasons.

The long-range success of the Advanced Placement program in art will depend in large measure on the response of college and university art departments. We hope they will familiarize themselves with both courses and agree to grant college credit for them. Equally important will be the cooperation of graduate departments in art history and art education in creating programs to produce adequately prepared high school teachers for both courses. One possibility, now under discussion at sev- eral universities, is the introduction of new graduate degrees, such as the M.A.T. (Master of Arts in Teaching) in Art His- tory or Studio Art. The new development I have described clearly merits the thoughtful attention of everyone con- cerned with the role of the visual arts in secondary school and higher education.

The Teaching of Art History in Michigan's Two-Year Colleges Elizabeth Dull and Robert

Johnston

At the 1971 annual meeting of the College Art Association, Elizaberth Dull and Robert Johnston, both in the Art Department of Western Michigan University (a four-year institution, need we add?) presented a re- port based on their findings of the art pro- grams of 29 public two-year colleges in Michigan and lthree private church-affili- ated schools.

Michigan's oldest public two-year school was founded in 1914 in Grand Rapids and the Highland Park Junior College opened in 1918. Both were founded as the result of a wave of interest in two-year schools which had developed early in the century. By the mid forties seven other junior colleges had been founded. These were developed primarily as transfer schools, for students who wished to enter a four-year institution af- ter completing their two years in the school. During the 1950's, in Michigan, as elsewhere in the country, an interest de- veloped in the two-year college organized to serve the needs of the surrounding communities and supported primarily by local, rather than by state funds. The ex- isting junior colleges were reorganized and an ever-increasing number of new colleges following the community-service concept were opened. These colleges are thriving and several serve close to 15,000 students each! More staggering than the total number of students served is

The long-range success of the Advanced Placement program in art will depend in large measure on the response of college and university art departments. We hope they will familiarize themselves with both courses and agree to grant college credit for them. Equally important will be the cooperation of graduate departments in art history and art education in creating programs to produce adequately prepared high school teachers for both courses. One possibility, now under discussion at sev- eral universities, is the introduction of new graduate degrees, such as the M.A.T. (Master of Arts in Teaching) in Art His- tory or Studio Art. The new development I have described clearly merits the thoughtful attention of everyone con- cerned with the role of the visual arts in secondary school and higher education.

The Teaching of Art History in Michigan's Two-Year Colleges Elizabeth Dull and Robert

Johnston

At the 1971 annual meeting of the College Art Association, Elizaberth Dull and Robert Johnston, both in the Art Department of Western Michigan University (a four-year institution, need we add?) presented a re- port based on their findings of the art pro- grams of 29 public two-year colleges in Michigan and lthree private church-affili- ated schools.

Michigan's oldest public two-year school was founded in 1914 in Grand Rapids and the Highland Park Junior College opened in 1918. Both were founded as the result of a wave of interest in two-year schools which had developed early in the century. By the mid forties seven other junior colleges had been founded. These were developed primarily as transfer schools, for students who wished to enter a four-year institution af- ter completing their two years in the school. During the 1950's, in Michigan, as elsewhere in the country, an interest de- veloped in the two-year college organized to serve the needs of the surrounding communities and supported primarily by local, rather than by state funds. The ex- isting junior colleges were reorganized and an ever-increasing number of new colleges following the community-service concept were opened. These colleges are thriving and several serve close to 15,000 students each! More staggering than the total number of students served is

the growth rate. At Oakland Commu- nity College near Detroit, in 1967 the en- rollment was 5,487; by 1968 the number of students had jumped 85% to 10,024. This year (1972) the enrollment is around 15,000 students. This rate is not limited to the Oakland. It would seem that on the basis of sheer numbers these schools would offer teaching opportunities to young art historians. Perhaps in the fu- ture they will, but the present day picture is not encouraging.

In our inquiries, we found only three full-time art historians in 29 schools. It is possible that our count was incomplete, but since the three schools with art histo- rians are among the largest in the state, it is doubtful whether smaller schools with a limited art faculty would have full-time art historians. While several schools had no full-time faculty listed specifically as teaching art, the average number of art faculty is three. On the upper end, two colleges have eight full-time faculty. In comparison, the number of courses of- fered in the art departments is surpris- ingly large, ranging from three to thirty- one. This leaves one to wonder how many classes are taught per semester and how many part-time faculty are involved. In some instances it does not seem reason- able that the number of full-time faculty could possibly handle the number of courses offered.

An analysis of the general course offer- ings in art revealed an interesting fact. Although the two-year colleges are ori- ented toward community service, many of the art programs offer the traditional studio courses-drawing and painting, sculpture, metalworking, ceramics and printmaking. Only a few colleges offer well-developed programs slanted toward commercial art work. However, in spite of the rather wide range of studio offerings, courses in art history are very limited. The most frequently offered course is art appreciation-a general introductory sur- vey to the understanding and purposes of art-and a chronological survey of the his- tory of art from prehistoric times to the present. Generally the introductory sur- vey is a one semester or one quarter course; the chronological survey of art is usually spread over the entire academic year, two semesters or three quarters. Five schools-Lake Michigan College, Flint Ju- nior College, Henry Ford Community College, St. Clair Community College and Delta College-offer art history courses be- yond the introductory level. The courses include twentieth century art, black art, the history of architecture, and eastern art. All of these schools serve approxi- mately 10,000 students each. Delta and St. Clair have full-time art historians, one with an M.A. from the University of

the growth rate. At Oakland Commu- nity College near Detroit, in 1967 the en- rollment was 5,487; by 1968 the number of students had jumped 85% to 10,024. This year (1972) the enrollment is around 15,000 students. This rate is not limited to the Oakland. It would seem that on the basis of sheer numbers these schools would offer teaching opportunities to young art historians. Perhaps in the fu- ture they will, but the present day picture is not encouraging.

In our inquiries, we found only three full-time art historians in 29 schools. It is possible that our count was incomplete, but since the three schools with art histo- rians are among the largest in the state, it is doubtful whether smaller schools with a limited art faculty would have full-time art historians. While several schools had no full-time faculty listed specifically as teaching art, the average number of art faculty is three. On the upper end, two colleges have eight full-time faculty. In comparison, the number of courses of- fered in the art departments is surpris- ingly large, ranging from three to thirty- one. This leaves one to wonder how many classes are taught per semester and how many part-time faculty are involved. In some instances it does not seem reason- able that the number of full-time faculty could possibly handle the number of courses offered.

An analysis of the general course offer- ings in art revealed an interesting fact. Although the two-year colleges are ori- ented toward community service, many of the art programs offer the traditional studio courses-drawing and painting, sculpture, metalworking, ceramics and printmaking. Only a few colleges offer well-developed programs slanted toward commercial art work. However, in spite of the rather wide range of studio offerings, courses in art history are very limited. The most frequently offered course is art appreciation-a general introductory sur- vey to the understanding and purposes of art-and a chronological survey of the his- tory of art from prehistoric times to the present. Generally the introductory sur- vey is a one semester or one quarter course; the chronological survey of art is usually spread over the entire academic year, two semesters or three quarters. Five schools-Lake Michigan College, Flint Ju- nior College, Henry Ford Community College, St. Clair Community College and Delta College-offer art history courses be- yond the introductory level. The courses include twentieth century art, black art, the history of architecture, and eastern art. All of these schools serve approxi- mately 10,000 students each. Delta and St. Clair have full-time art historians, one with an M.A. from the University of

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Michigan and one with an M.A. from Wayne State University in Detroit. The third art historian is at Oakland Commu- nity College and teaches only art appreci- ation. In the twenty-six other schools, the art history courses are taught by people who also teach studio courses.

The fact that many of the art depart- ments depend on studio people for the art history courses would obviously seem to affect the emphasis on, and the interest in, art history. Certainly, many M.F.A. studio people have strong backgrounds in art history, but if their interests are di- vided, art history is likely to suffer. From the superficial point of view of the stu- dents, studio courses are the more popu- lar and this popularity, reflected in enroll- ment figures, is supported by administra- tions. Frequently art history is treated as a step-child or perhaps a "necessary evil." That art history has such a reputation in many of these colleges, is all the more rea- son, it seems to us, that art historians should be hired to teach courses in art his- tory. Another difficulty in the develop- ment of art history courses, is the need for a large collection of slides and photo- graphs and a good art library. Frequently administrators are not sympathetic to the large expenditures necessary to build sub- stantial slide collections, purchase art books and acquire projection equipment.

There are many needs for sound art history programs in the community col- leges. Perhaps the first is the need of the transfer students. Many students will transfer to four-year institutions, after ob- taining their basic courses at the commu- nity college. For the art student who transfers, it is certainly advantageous to have already taken introductory courses. In fact, he will be at a disadvantage, if he has not had these courses. Every commu- nity college should at the least offer an in- troduction to art, plus the basic chrono- logical survey to art history. If they were to develop these courses in conjunction with art history programs offered at four- year institutions-particularly the Uni- versity of Michigan, Michigan State Uni- versity, and Wayne State University-the transfer student would be better prepared for junior status.

On a broader level, and perhaps more consistent with the community-service function of the two-year school, well-de- veloped basic art history courses taught by art historians would serve another func- tion. The art history course would offer exposure to an area of art which is not generally taught on a high school level and which might very well stimulate his thinking. Art history courses might also develop in the student an interest in mu- seum or gallery work, or in architectural and historical restoration courses or fu-

Michigan and one with an M.A. from Wayne State University in Detroit. The third art historian is at Oakland Commu- nity College and teaches only art appreci- ation. In the twenty-six other schools, the art history courses are taught by people who also teach studio courses.

The fact that many of the art depart- ments depend on studio people for the art history courses would obviously seem to affect the emphasis on, and the interest in, art history. Certainly, many M.F.A. studio people have strong backgrounds in art history, but if their interests are di- vided, art history is likely to suffer. From the superficial point of view of the stu- dents, studio courses are the more popu- lar and this popularity, reflected in enroll- ment figures, is supported by administra- tions. Frequently art history is treated as a step-child or perhaps a "necessary evil." That art history has such a reputation in many of these colleges, is all the more rea- son, it seems to us, that art historians should be hired to teach courses in art his- tory. Another difficulty in the develop- ment of art history courses, is the need for a large collection of slides and photo- graphs and a good art library. Frequently administrators are not sympathetic to the large expenditures necessary to build sub- stantial slide collections, purchase art books and acquire projection equipment.

There are many needs for sound art history programs in the community col- leges. Perhaps the first is the need of the transfer students. Many students will transfer to four-year institutions, after ob- taining their basic courses at the commu- nity college. For the art student who transfers, it is certainly advantageous to have already taken introductory courses. In fact, he will be at a disadvantage, if he has not had these courses. Every commu- nity college should at the least offer an in- troduction to art, plus the basic chrono- logical survey to art history. If they were to develop these courses in conjunction with art history programs offered at four- year institutions-particularly the Uni- versity of Michigan, Michigan State Uni- versity, and Wayne State University-the transfer student would be better prepared for junior status.

On a broader level, and perhaps more consistent with the community-service function of the two-year school, well-de- veloped basic art history courses taught by art historians would serve another func- tion. The art history course would offer exposure to an area of art which is not generally taught on a high school level and which might very well stimulate his thinking. Art history courses might also develop in the student an interest in mu- seum or gallery work, or in architectural and historical restoration courses or fu-

ture jobs. Certainly where community col- leges are located in or near large metro- politan areas, such as Detroit, a well-de- veloped basic art history program com- bined with studio work would create pos- sible career opportunities for the student, as well as prepare him for transferring to a four-year institution.

In conclusion, we would recommend that the College Art Association have an official look at the two-year colleges, both as a source of potential jobs for art histo- rians, particularly those with the M.A., and as a place where art history can be introduced to students. With interest from CAA, the community college admin- istrators, especially of the larger colleges, may become more aware of art history and more inclined to hire full-time art historians for teaching art history courses. These colleges would benefit from the in- terest and suggestions from CAA. Al- though the two-year college can never offer a fully developed program of art his- tory, it can and should provide a stimulat- ing beginning. The latter ideal does not now seem to be the case in Michigan.

The Teaching of Film as a Visual Art

Sally Chappell The day has come when all modern art,

humanities and general survey courses should include film art as a unit in the syllabus. College students have demon- strated such an eagerness to learn about what may well be the major art form of the twentieth century that it is the re- sponsibility (and the delight) of the art historian to provide them with some basic information.

For the last four years I have included a cinema unit in an elementary humani- ties course at De Paul University entitled "The Visual Arts." After some experi- menting I found the following procedure a satisfactory introduction. It involves two very short, readily available films.

To begin I announce that I will show a short work of film art that communicates entirely with visual imagery, that is, it is non-verbal, but it has some "statements" to make about the human condition. The general, rather vague comment is deliber- ate, for it can spoil the film if the teacher makes pedantic comments on it before- hand. I then show the National Film Board of Canada's Toys (color, 8 min- utes, 16 mm. purchase $135, rental $12.50). The impact of this classic film has inevitably been so stunning that the students cannot participate in a class dis- cussion immediately afterwards. This may sound like poor pedagogy to some, but to

ture jobs. Certainly where community col- leges are located in or near large metro- politan areas, such as Detroit, a well-de- veloped basic art history program com- bined with studio work would create pos- sible career opportunities for the student, as well as prepare him for transferring to a four-year institution.

In conclusion, we would recommend that the College Art Association have an official look at the two-year colleges, both as a source of potential jobs for art histo- rians, particularly those with the M.A., and as a place where art history can be introduced to students. With interest from CAA, the community college admin- istrators, especially of the larger colleges, may become more aware of art history and more inclined to hire full-time art historians for teaching art history courses. These colleges would benefit from the in- terest and suggestions from CAA. Al- though the two-year college can never offer a fully developed program of art his- tory, it can and should provide a stimulat- ing beginning. The latter ideal does not now seem to be the case in Michigan.

The Teaching of Film as a Visual Art

Sally Chappell The day has come when all modern art,

humanities and general survey courses should include film art as a unit in the syllabus. College students have demon- strated such an eagerness to learn about what may well be the major art form of the twentieth century that it is the re- sponsibility (and the delight) of the art historian to provide them with some basic information.

For the last four years I have included a cinema unit in an elementary humani- ties course at De Paul University entitled "The Visual Arts." After some experi- menting I found the following procedure a satisfactory introduction. It involves two very short, readily available films.

To begin I announce that I will show a short work of film art that communicates entirely with visual imagery, that is, it is non-verbal, but it has some "statements" to make about the human condition. The general, rather vague comment is deliber- ate, for it can spoil the film if the teacher makes pedantic comments on it before- hand. I then show the National Film Board of Canada's Toys (color, 8 min- utes, 16 mm. purchase $135, rental $12.50). The impact of this classic film has inevitably been so stunning that the students cannot participate in a class dis- cussion immediately afterwards. This may sound like poor pedagogy to some, but to

those who believe in art as living experi- ence the silence that fills the classroom af- ter the showing of that film is precious.

I then pass out a list of some elemen- tary techniques used in the film and dis- cuss them briefly. The list is as follows:

1. The Shot. The shot, like a noun, names a person, place or thing, but the shot, unlike a noun, also sets up a con- text. The context can be descriptive, in- structive or evocative. For example, one of the opening shots of David Lean's Law- rence of Arabia is a slow "pan-shot" estab- lishing the fact that the context of the story is the desert. Instead of having a narrator make some banal statements such as "the desert is hot, it glares, it is unmitigatingly horizontal, it is frighten- ingly dry, it does awful things to people, it is lethally endless," he evokes all this with one long shot in which the camera moves very slowly in a horizontal direc- tion. In Toys the director uses the glass window separating the children from the toys to establish the toystore idea and to set up the mood. Later this glass window will be involved in the ironic contrasts that help to form the statement of the film's theme.

2. Sequence. This part of film-making is principally the creative selection of which film footage to use, and its ordering into meaningful patterns. The changing position of the camera, the angle of the camera in relation to the subject, and where the subject is included in the "frame" of the camera lens are some of the factors in each sequence.

3. Montage. The ordering of sequences often involves imaginative and compel- ling visual juxtapositions, which are called "montage" effects. In this stage of the process the film artist works with scis- sors and splicing tape. In Toys the artist cut several feet of children's faces up into sections and put sections of shots of toys- in-action in between, so that on the screen this gives the impression of the children being involved with what the toys are doing more intensely than one long shot of the children looking at the toys-in-action would have. Sometimes montage is called "editing" or "cutting."

4. Rhythm: Each sequence or montage has a rhythm, depending on how long each section runs in relation to the other sections. In class discussion I illustrate this by showing a film clip of Leni Rief- enstahl's Olympia (black and white, 5 minutes, 16 mm. $6 rental). The rhythm of this montage is climactic. It begins with mundane, straight-on-shots of faces in a crowd, cutting to divers doing simple twists photographed at obtuse angles. Gradually, however, the complexity in- creases, the divers do double back-somer- sault-twists, the camera angle becomes in-

those who believe in art as living experi- ence the silence that fills the classroom af- ter the showing of that film is precious.

I then pass out a list of some elemen- tary techniques used in the film and dis- cuss them briefly. The list is as follows:

1. The Shot. The shot, like a noun, names a person, place or thing, but the shot, unlike a noun, also sets up a con- text. The context can be descriptive, in- structive or evocative. For example, one of the opening shots of David Lean's Law- rence of Arabia is a slow "pan-shot" estab- lishing the fact that the context of the story is the desert. Instead of having a narrator make some banal statements such as "the desert is hot, it glares, it is unmitigatingly horizontal, it is frighten- ingly dry, it does awful things to people, it is lethally endless," he evokes all this with one long shot in which the camera moves very slowly in a horizontal direc- tion. In Toys the director uses the glass window separating the children from the toys to establish the toystore idea and to set up the mood. Later this glass window will be involved in the ironic contrasts that help to form the statement of the film's theme.

2. Sequence. This part of film-making is principally the creative selection of which film footage to use, and its ordering into meaningful patterns. The changing position of the camera, the angle of the camera in relation to the subject, and where the subject is included in the "frame" of the camera lens are some of the factors in each sequence.

3. Montage. The ordering of sequences often involves imaginative and compel- ling visual juxtapositions, which are called "montage" effects. In this stage of the process the film artist works with scis- sors and splicing tape. In Toys the artist cut several feet of children's faces up into sections and put sections of shots of toys- in-action in between, so that on the screen this gives the impression of the children being involved with what the toys are doing more intensely than one long shot of the children looking at the toys-in-action would have. Sometimes montage is called "editing" or "cutting."

4. Rhythm: Each sequence or montage has a rhythm, depending on how long each section runs in relation to the other sections. In class discussion I illustrate this by showing a film clip of Leni Rief- enstahl's Olympia (black and white, 5 minutes, 16 mm. $6 rental). The rhythm of this montage is climactic. It begins with mundane, straight-on-shots of faces in a crowd, cutting to divers doing simple twists photographed at obtuse angles. Gradually, however, the complexity in- creases, the divers do double back-somer- sault-twists, the camera angle becomes in-

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