Expressionist and Reconstructionist Streams

In this week's readings I have arrived in the early to mid twentieth century. I am always very interrested in this period of time as its rich American History is a favorite topic of discussion for my dad and I (both being American History "buffs"). The optimism and lively sprit of the roaring 20's is knocked down quite a few notches by the stockmarket crash of 1929 and the lingering effects of the Great Depression. American art was only slightly influenced by the avant garde art movements happening in Europe. The influence apparent during new events such as the Armory Show and the opening of the Museum of Modern Art in New York City. For the most part American art remained "narrow and conservative" staying loyal to modernist art and art of the old masters (118). I can see where Americans during this time were at the same time looking for stability and escape. Stability being a conservative value and something taken from most citizens after the crash. Escape being a more progressive or liberal value and desired in reation to the struggles shared. Perhaps this was the reason American artists were not quite comfortable enough following the patterns of Europe into the more experimental art education? They were rattled by the economic state of things and afraid to steer too far away from the known, the "safe"?

The progressive ideas of science and pshychology in art education were fueled by expressionist art and unique spurts of educational advances shared by educators believing in the natural role of self-expression and teaching from a socialogical perspective rather than a literary one (192). Activists supporting this shift in educational practice sought to find a broader view of instruction relative to the life of the individual and to examine and foster personal perceptions. This philosophy aligns close to my own, but I do see where there needs to be a mix of instruction methods. The more structured methods that align with the philosophies of educators like Mann and Dewey would allow for easier evaluation of the student's learning, but I disagree with the more extreme conservative ideas like that of George S. Counts (1934/1978) who seemed to conclude children shouldn't have a voice in their own education. Finding a proper balance of liberal and conservative interests in education (in anything) is like nailing Jell-O to a tree.

By the 1930s the reputation of art education had evolved so that institutions were now evaluating the effectiveness of their programing, organizing their curricula into the various "fields" of art offered by their school or practiced in their community. An awareness of art in education hightened as European influence continued to sway perspecives on American art and art education via exhibitions and publications, but also through the influx of immigrants prior to the war. I'm attracted to the evolving theories of this time that connect art education to the community by integrating art practice into other subjects and developing programming that addresses the life-problems of citizens. I don't think that is all art education should strive to achieve, but in a community that might be struggling to accept art's value in education, it's a brilliant idea. Make art relative to the individuals you seek to teach and watch the doors of acceptance swing open!