Art education in the United States reflects the cultural and social values ​​of America. Internships were once the norm and the main meaning, but with the democratization of education, especially as promoted by the educational philosopher John Dewey, opportunities have grown tremendously. Elliot Eisner has been an influential advocate for the benefits of art in schools.
Enrollment in art classes at the high school elective level culminated in the late 1960s to early 1970s with the emphasis of that period on individuals expressing the uniqueness. Currently "magnetic art schools", available in many larger communities, use art (s) as a core or a fundamental theme to attract students motivated by personal interests or with the goal of becoming professional or commercial artists. It is widely reported that the art of losing instruction time in schools is based on budget cuts in combination with increased test-based assessment of children required by the No Child Left Behind (NCLB) action of the federal government. It should be noted that although NCLB maintains the arts as part of the "core curriculum" for all schools, it is not necessary to report any time instruction or assessment data for educational content of art or performance standards, which is a frequently cited reason for the decrease or the likelihood of decreasing art education in schools common American.
Video Art education in the United States
Gerakan studi gambar, sebelum 1930
Art appreciation in America was accelerated by the "image study movement" at the end of the 19th century. The movement began to fade in the late 1920s. Picture study is an important part of the art education curriculum. Attention to the aesthetics in the classroom raises the public interest to beautify schools, homes and communities, known as "Art in Everyday Life". The idea is to bring culture to children to change parents.
Image research is made possible by the improvement of image reproduction technology, the growing interest of the people towards the arts, the Progressive Movement in education, and the increasing number of immigrant children who are more visually literate than they are in English. The kind of art that is included in the curriculum comes from the Renaissance and beyond, but nothing is considered "modern art" taught. Often, teachers choose images that have a moral message. This is because the main factor in aesthetic development as a subject is its relation to the moral education of new citizens due to the influx of immigrants during that period. Aesthetics and artwork are part of popular ideas about self-culture, and the moralistic response to artwork is in the ability of teachers, who often lack artistic training to discuss the formal quality of artwork.
Typical Learning Image Lessons are as follows: Teachers buy materials from the Perry Picture Series, for example. This is similar to the packaged curriculum we have today. This material includes a larger teacher image for the class to be viewed together, and then a smaller reproduction of about 2 ¾ "by 2" for each child to see. These are generally in black and white or sepia tones. Children often collect these cards and exchange them like modern baseball cards. Teachers will give students some information about the images and artists that create them, such as image representation content, vital artist statistics, and some biographical details about the artist. This is all included in the material so that an unskilled teacher can still present information to his class. Then the teacher will ask some discussion questions. Sometimes suggestions for linguistic art projects or studio activities are included in the material.
The motion picture study died in the late 1920s as a result of new ideas about the appreciation of art learning through studio work became more popular in the United States.
Maps Art education in the United States
Since World War II
Since World War II, artist training has been the responsibility of colleges and universities and contemporary art has become an increasingly academic and intellectual field. Before World War II, an artist did not need a degree. Since then the Bachelor of Fine Arts and then the Master of Fine Arts became a recommended title to be a professional artist, a need facilitated by "part of the GI Bill in 1944, which sent waves of World War II veterans to schools, including art schools, universities quickly developed, American artists who may have studied in bohemian, intensive craft schools such as Art Students League such as Jackson Pollock, Mark Rothko, Helen Frankenthaler, Robert Rauschenberg, Lee Bontecou, ​​Al Held, Eva Hesse, Roy Lichtenstein, Donald Judd, James Rosenquist, Cy Twombly, and hundreds do Black Mountain College as John Chamberlain, Kenneth Noland, Robert Rauschenberg, and others do it or Hans Hofmann School of Art in Greenwich Village whose students include Joan Mitchell, Helen Frankenthaler, Lee Krasner and Larry Rivers, among others, began enrolling in universities, in the '60s , The School of Visual Arts, the Pratt Institute, and Cooper Union in New York City and other art schools throughout the country such as the Kansas City Art Institute, the San Francisco Art Institute, the School of the Art Institute of Chicago, and the School of Fine Arts Museum, Boston, and Princeton and Yale has emerged as a leading American art academy; the alums include Roxy Paine, Robert Mapplethorpe, Beverly Pepper, Lee Krasner, RB Kitaj, Sylvia Plimack Mangold, Elizabeth Peyton, Joseph Kosuth, Dan Christensen, Peter Reginato, Robert Graham, Michael Heizer, Ronald Davis, Karen Finley, Jason Rhoades, Ronnie Landfield, Elizabeth Murray, Claes Oldenburg, Leon Golub, Jeff Koons, Joan Jonas, Ellsworth Kelly, Larry Poons, Frank Stella, Michael Fried, Walter Darby Bannard, Chuck Close, Brice Marden, Richard Serra, Eva Hesse, Jennifer Bartlett, John Currin , and Robert Mangold, making it look as if every hip artist in New York is obliged to have a degree or an Ivy League degree. "This trend is spreading from the United States around the world.
Currently, the PhD in studio art is being debated as the new standard as a terminal degree in art. Although in 2008 there were only two US programs offering PhDs in studio art, "10 universities offer degrees in Australia, and they are ubiquitous in England, Scandinavia, the Netherlands and other countries. teaching in Malaysia ". Like James Elkins, chair of the department of art history, theory and criticism at the School of the Art Institute of Chicago and chair of the art history department at the University of Cork in Ireland writes in Art in America, "In the 1960s the MFA was everywhere. MFAs are commonplace and PhDs come to replace them as a basic requirement to teach jobs ". This refers to teaching positions for studio art at the college level. PhD has become a standard requirement to become a professor of arts education for many years. In his upcoming book, Artist with PhD , James Elkins (art critic) presents the opinion that the PhD will become a new standard, and offers this book as a resource to assess these programs and to program future. However, the College of the Arts Association still recognizes the MFA as a terminal degree, stating "At this time, some institutions in the United States offer PhD degrees in studio art, and do not seem to be a trend that will continue or grow, or that PhDs will replace the MFA."
art education Discipline based in the early 1980s
Discipline-based art education (DBAE) is an educational program formulated by J. Paul Getty Trust in the early 1980s. DBAE supports reduced emphasis on studio instruction, rather than promoting education in four disciplines in art: aesthetics, art criticism, art history and art production. It maintains a strong tie for studio instruction with an emphasis on technique.
Among DBAE's goals is to make art education more parallel to other academic disciplines, and to create a standard framework for evaluation. It was developed specifically for K-12 classes but has been institutionalized at other educational levels. DBAE recommends that art should be taught by certified teachers, and that "art education is for all students, not just those who show talent in making art".
The DBAE criticism is voiced by postmodern theorists advocating a more pluralistic view of art, and the inclusion of multiple points of view that may not be included in the standard curriculum.
Art history education provisions
In the 1970s, provisions for art in education were limited, at the discretion of individual countries. Local schools, school boards, and districts are the main actors in deciding whether art education is provided. Where art education is offered, it consists of experience-based exposure to cultural organizations outside the school and is not integrated into the classroom curriculum. In the coming decades, budget cuts as a result of the fiscal crisis greatly weaken the school budget to the point where positions for art teachers are essentially eliminated to maintain core subjects. At this time, art is seen as unimportant for the development of critical thinking and there is no standard curriculum for teaching art in public schools. Thus, the provisions are scarce if present in the 1980s and 1990s.
However, the importance of art education arose when the data found improvements in academic performance and socio-emotional and socio-cultural benefits, among other positive effects, stemming from the stimulative nature of art. Key players in advocating and providing art education include a mix of public entities (schools, government agencies, etc.), private organizations, and community centers.
The emerging recognition of the importance of art education is matched by a decrease of provisions in the early nineteenth century. With the implementation of NCLB, public schools prioritize achieving the Academic Achievement Index (API) growth target, lowering the emphasis on non-core subjects. For example, in California public schools, while enrollment increased by 5.8% from 1999 to 2004, music education decreased 50% over the same 5-year period. At the national level, data from the Community Participation in Arts Survey (SPAAs) show that in 2008, 18-24 year-olds were less likely to have art education than in 1982. Low-income and low-performing schools disproportionately struggled with this decline, and African-American and Latin American students are generally less able to access art when compared to their White counterparts.
The findings of a drastic decline in the provision of art education spurred efforts to reinvest. The NEA states objectives including maximizing the impact of investment, collaboration with local education at various levels of government, and offering leadership guidance and support for art education.
Today, funding for education in the United States comes from three levels; local, state and federal levels. The entire educational system is kept in the hands of the public sector for control and to avoid mismanagement. Recently, the US Department of Education began providing Art Awards in the Development of Educational Models and Socialization Grants to support organizations with art expertise in the development of their artistic curriculum that helps students better understand and retain academic information. One such educational model was created in 2006 by Storytellers Inc. and ArtsTech (formerly Pan-Educational Institute). AXIS curriculum and learning method.
National organization
The National Endowment for the Arts (NEA) is one of many nationally recognized organizations that promote art education in the United States. Since its formation in 1965, NEA has led efforts in integrating art as part of core education for all K-12 students. These efforts include collaborating in state, federal, and public-private partnerships to request and provide funding and grants for art education programs. During fiscal year 2008, the NEA provided over 200 grants totaling $ 6.7 million for programs that enable students to engage and participate in learning with skilled artists and teachers. NEA has initiated a number of other art education partnerships and initiatives, which include:
- The Arts Education Partnership (AEP) AEP holds a forum to discuss topics in arts education, publishes research materials that support the role of art education in schools, and is a clearinghouse for materials for art education resources.
- The National Strategic Arts Alumni Project (SNAAP) is an ongoing online survey system that will collect, track and disseminate data on alumni, and will help institutions better understand how students use art training in their careers and others. aspects of their lives.
- The NEA Education Leaders Institute (ELI) holds key decision makers to improve the quality and quantity of state-level art education. Each institution gathers a team of school leaders, legislators, policy makers, educators, professional artists, consultants, and scholars from up to five states to discuss joint art education challenges and engage in strategic planning to advance art education in their respective states.
There are various other national organizations that promote art education in the United States. These include America for Art featuring major projects like The Arts. Ask for More. public awareness campaign of national art education, Association for the Advancement of Art Education, Association of Collegiate Art; and National Art Education Association.
Art integration
Source of the article : Wikipedia
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