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By: Karen O'Lone-Hahn,
on 9/5/2015
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Please forgive me while I stand on my soap box for a bit today.
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| I never wear shoes like this but maybe I should :0) |
It's that time of year again. Your kids have either already started back to school or they will be there shortly. Does your child's school still have an art program? More and more schools across the nation are eliminating arts and music programs. If they replace them with anything at all it is sometimes with pseudo art instruction performed by an unqualified classroom teacher.
That statement is not meant to disparage classroom teachers, it is just that they are not trained arts specialists. The major justification for ending arts programs is almost always budget. School districts are constantly complaining that they don't have a enough money for basic programs, so first on the chopping block is usually what administrators and parents see as the most extraneous and unnecessary programs- art and music.
Here are some of the common myths and justifications for deeming art as unnecessary and thereby eliminating it.
Every child is not a talented artist
Every child is not going to be an artist
Training children in the arts has no application to real world (job) success
Art is meant to help children "express themselves"
Here is what arts education really gives to your kids:
The number one most valuable thing that art education provides to your child:
It teaches them to THINK critically and innovate. It teaches them to TAKE RISKS and to see the BIG PICTURE.
Making art is not just about making pretty things or providing some slapdash approach to "self expression" devoid of rules and structure. There are rules in art- Elements and Principals of Design- which provides a framework for making good art and once understood, provides a vehicle for creating good art while breaking those rules and learning to innovate.
Art history provides a cultural framework and point of reference for history and innovation throughout time. Children without skill in creating art are still given an understanding of the cultural heritage of art, get exposed to great thinkers and artistic creators (ex. Picasso, Matisse) who broke from the mold of realistic art making to devise a new way of SEEING and creating.
Art is not always about the end product. The value of art education is more in the processes of creating art and learning about it than in the outcome of making a pretty picture.
Most other disciplines only work on finding right or wrong answers. There is no room for thinking out of the box or for creating a new paradigm. Children who are only being educated in these limiting disciplines will grow to only seek the correct (predetermined) answer, never being able to consider another option and will accept as irrefutable that which is spoon fed to him as fact.
We need to keep raising generations of Picasso's, Da Vinci's, Van Gogh's, Louise Nevelsons and even more Andy Warhol's, whose art was not just pictures of Campbell Soup cans, but a shrewd commentary on our massed produced society as a whole, a concept seen through an artists ability to view "the big picture."
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| Louise Nevelson |
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| Louise Nevelson- Royal Tide IV-Assemblage |
The world needs both kinds of thinkers, both right brain and left. Here is a perfect example:
Steve Wozniak, a left brain tech head computer guy who, left on his own would probably have had his own small company or gone to work for IBM or Microsoft or Oracle or any other computer giant out there at the time.
Steve Jobs, a hippy dippy, right brain college drop out with an understanding of business,training in art and a devoted sense and love for beauty and good design.
It is the combination of these two very different types of talents that brought us all of the elegant and beautiful Apple computer products which many of us enjoy and other companies try to emulate.
The marriage of these two divergent genius brains resulted in something of a lightening strike which created (in my opinion) one of the greatest tech companies ever.
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| Steve Jobs (standing) and Steve Wozniak (at keyboard) |
Is your kid going to be the next Steve Jobs or Picasso or Frida Kahlo? Maybe not. If given the benefit of a meaningful art education, what they can be is a well rounded human being who can think outside of the box, challenge the status quo, consider various answers to the same problem, create something from nothing, use the tools at hand in new ways and make cross cultural and historical connections.
Oh, and they may come home with a nice painting sometimes, too.
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| Frida and Me- © Karen O'Lone-Hahn |
The Big Andy Warhol Foundation Sell Off:
jockohomo:
“The Warhol Foundation announced this month that it had settled a deal with Christie’s to liquidate all of its remaining art holdings, aiming to raise money for more grants. Christine J. Vincent assesses Warhol’s philanthropic legacy. [The Art Newspaper]” via Art Fag City.
In 1968, film maker and pop art legend Andy Warhol memorably stated: ‘In the future, everyone will be famous for fifteen minutes’.
I can clearly remember him saying these words. I was only twenty-four at the time, fresh out of the British Army’s Royal Corp of Signals, and steeped in the pop music culture of the era. And whilst not totally buying into the everyone part of Andy’s statement, there was still enough naïve hope burning inside of me to imagine that I might even yet fulfil my long held ambition of playing cricket or football for England. After all, the only missing ingredient as far as I could see was finding the right coach. Somewhere, there had to be a life-changing guru who was capable of bringing out the deeply hidden, international-standard sporting talent I’d surely been born with.
Where’s a Mystic Guru When You Need One?
Sadly, unlike the Beatles, whose association with a certain Maharishi Yogi the year before is alleged to have inspired several of the songs on the group’s White Album, no magical guru was destined to appear for me at this stage. It transpired that my turn for fleeting fame didn’t eventually come around until 1999, by which time you can’t blame me for having cooled somewhat in my belief of Mr Warhol’s theory. I mean, thirty-one years had passed by. Exactly how long was the queue at the ‘Make Me Famous’ desk in my little neck of the woods for crying out loud?
The truth is, I’d spent nearly three miserable years amongst the ranks of the unemployed during the recession of the early 1990s. With absolutely no educational or professional qualifications to my name and my fiftieth birthday party looming large on the horizon, any future employment of worth (let alone fame and fortune) appeared to be about as likely as wind-up gramophones and 78rpm records making a comeback. In fact, the only thing that kept me going through this dark period was writing a minimum of one thousand words a day on my latest novel. To heck with gurus, maybe it was to be some smart publisher who would eventually come riding to my rescue.
Yea, in my dreams!
The Oldest Schoolboy in Town
But then came a remarkable turnaround. In a last-ditch effort to get somewhere I applied to return to full-time education. And that’s when those early novels I’d written really did pay off. With nothing else to back up my suitability for this scholastic adventure, it was these manuscripts that turned out to be the keys to the college. As my only references, they certainly seemed to impress the right people, and in 1995 I began a two-year Higher National Diploma course in advertising copywriting. If I remember correctly, the average age of my class was just under twenty.
Welcome to the World’s Most Famous Advertising Agency
Right at the start of my college days I was told that: “Major league advertising is a young person’s business George, and however well you may do on this course, no big London agency will ever employ you.” This wasn’t meant as a put-down, just a realistic assessment of my post-graduation possibilities. I didn’t care. I’d started out not daring to hope for anything more than a job at a small provincial agency anyway. Even so, when a two-week work experience placement at the world’s most famous advertising agency, Saatchi & Saatchi, was offered, I grabbed it with both hands. OK, it might not lead to that desperately needed job, but I was going to make darn sure they noticed me. I remember writing nineteen radio ads in one day for a pharmaceutical product. None of these were ever used. But then the impossible happened. After my two-week stay there had been extended to three, out of the blue, I found myself more shook up than Elvis had ever been when the Creative Director offered me a full-time job as a copywriter. That is, if I wanted it.
Were they joking? If I wanted it? You could bet your house, your car, and even your favourite Disney character’s life that I did.
It’s Better Late Than Never, Andy
Six months or so after starting at Saatchi, the British media managed to get a handle on my story. And how, because I’d spent the last of my money on the train fare to London at the start of my work experience, I’d been forced to spend a few nights sleeping rough on the streets of London. Of course, the agency knew nothing about this at the time. To the TV, radio and press people however, this was a Cinderella type story that ran for several weeks.
Following the publication of my first novel, and with a good bit of help from my employers, I even managed a second bite of the fame cherry in 2000. But far more than anything I did myself, the magic of Saatchi’s name was what really created the headlines. I benefited enormously from the association. No wonder I love the fabulous TV series Mad Men.
I’d finally experienced my fifteen minutes of fame – twice over in fact. So Mister Warhol was right all along. Thanks for keeping me going Andy.
* * *
George Stratford’s latest novel, Buried Pasts, has recently been released by GMTA Publishing as both a paperback and electronically. The kindle version of this book has already been downloaded well over seven thousand times in the USA alone. In an official review, the much-respected publication, Publishers Weekly, described the story as: “A page-turner that blends suspense with a cast of characters who genuinely care for each other. It’s an engaging and satisfying novel for fans of adventure stories with a heart.”
Want to dig a little deeper? You can see other reader’s reviews, and get to read the opening three chapters of Buried Pasts for free on Amazon.com. Here is the link to use: http://goo.gl/czR3T About the book: Personal demons can be a killer
Even after eighteen years, Canadian pilot Mike Stafford still carries a powerful sense of guilt over the death of his best friend during a huge RAF bombing raid to Berlin in 1944. He eventually returns to England for an inaugural squadron reunion full of apprehension over what the visit may produce.
Siggi Hoffman, then a young German girl of twenty, also has terrible memories of a personal loss from that same wartime night. She too is unable to forget. Nor has she ever been able to forgive.
When fate throws these two together in a small north Yorkshire town during the summer of 1962, the past collides devastatingly into the present. And all the time, lurking ominously in the background, is an unknown enemy intent on extracting violent revenge. Personal demons are only one of the many problems that must now be overcome when Stafford and Siggi find themselves fighting to survive.
As long buried secrets are finally revealed, events reach a literally explosive conclusion.
PUBLISHERS WEEKLY REVIEW:'This page-turner blends suspense with a cast of characters who genuinely care for each other. It’s an engaging and satisfying novel for fans of adventure stories with a heart.'
If you enjoyed this article, you may like to know that George has also written a full novel length account of his time spent at Saatchi & Saatchi and in the media spotlight. What’s more, for a limited period, GMTA Publishing is offering a free kindle download of this light-hearted memoir to every reader who purchases a copy of Buried Pasts.
My favourite art museum has to be Rodin’s.
The gardens are spectacular and the statues powerful.
I’d say he was depressed with the human condition – man’s capacity for sin, suffering, thinking … but then there is philosophy with his masterpiece – The Thinker and …..the KISS.
Love, passion, the embrace – ahhhhhh!
From the sublime to the ridiculous – Rodin to The Pompadou Cetre for Contempory Art.
The Centre is a modern masterpiece of tubes and contemporary design. Inside is the obligatory white space and terrible installations. But then there was a Warhol and views to die for of Paris.
Paris is definitely a grand city with palaces, bridges, Arc de Triomphe Les Invalides … memorials to Napoleon and heroes of the past.
By:
TCBR,
on 6/8/2012
Blog:
The Children's Book Review
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By Nicki Richesin, The Children’s Book Review
Published: June 8, 2012
Caroline Grant's sons reading.
We’re very pleased to share Caroline Grant’s Five Family Favorites with you. We’ve been reading her delightful food stories and recipes on her blog Learning to Eat for years. And we’re eagerly awaiting the forthcoming book based on it, The Cassoulet Saved Our Marriage: True Tales of Food, Family, and How We Learn to Eat. Caroline is editor-in- chief of Literary Mama, a fantastic magazine and resource for mothers to return to for inspiration. She’s also the editor of another fascinating anthology Mama, PhD. Thanks to Caroline and her family for sharing their favorite books with us. They have made us hungry for more!
By Maurice Sendak
In the Night Kitchen is the book my sons and I comforted ourselves with when we heard the sad news of Maurice Sendak’s death last month. This quirky story, frequently banned because Mickey slips out of his pajamas and frolics naked in his dreams, is a terrific fantasy of independence and cake baking. We love the bold illustrations and the comic book look of the book, the inventiveness of buildings topped with egg beaters and juicers, and the subway train that looks like a loaf of bread, but most of all, we love that Mickey can stretch bread dough into an airplane and fly wherever he wants until, having fetched the baker’s milk, he slides gently back home and safely into bed.
Ages 3-6 | Publisher: HarperCollins | 1970 | Caldecott Honor, 1971
By Eric Carle
Everyone knows Eric Carle’s wonderful The Very Hungry Caterpillar, but our very favorite Eric Carle book is Pancakes, Pancakes!, in which a boy named Jack asks his mother for pancakes. “I am busy and you will have to help me,” his mother says, a line that sets Jack off on a gentle adventure. One by one, his mother names the ingredients needed and Jack gathers them: he cuts and threshes wheat; grinds the wheat into flour; milks the cow and churns the milk into butter; feeds the hen so she’ll lay an egg; cuts wood for the fire; and finally, steps down into their cool cellar for some jam. I love that Jack’s mother doesn’t drop everything to cook for h
By: Lauren,
on 7/15/2010
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Today marks the would-be 404th birthday of prolific Dutch painter/etcher Rembrandt Harmensz van Rijn, who was born in Leiden in 1606, and passed away in Amsterdam on October 4, 1669.
Cynthia Freeland is Professor of Philosophy at the University of Houston. Her most recent book is Portraits and Persons, and in the excerpt below, she considers Rembrandt’s many self-portraits, and speculates as to why he was so attracted to this art form.
Rembrandt was a particularly prolific self-portrait artist. Susan Fegley Osmond informs us that,
he depicted himself in approximately forty to fifty extant paintings, about thirty-two etchings, and seven drawings. It is an output unique in history; most artists produce only a handful of self-portraits, if that. And why Rembrandt did this is one of the great mysteries of art history.
There are numerous speculations about Rembrandt’s preoccupation with self-portraiture. “From youth to old age, Rembrandt scrutinized himself before the mirror, painting, etching, and drawing his changing physique and physiognomy as well as the varying psychological states that reflected the fluctuating fortunes of his life.”
A first concern that seems evident in these works, as with the previous artists I discussed, is Rembrandt’s social status and his identity as a gentleman. This concern shows up in his elegant garb, cloaks, hats, armor, and even in the poses in some of the images. Along with this is a concern with his artistic status and success.
Another conjectures about at least some of the images is that they are studies for paintings. Rembrandt used himself because he was a cheap, readily available model when he was planning certain sorts of composite history paintings or biblical portraits. This might account for the self-portraits showing extreme facial expressions, ones for instance where he is laughing or fearful. But these may also have been examples of a genre called “tronies” which were popular at the time and had a good market.
At a deeper level, we can sense that Rembrandt is seeking to formulate and reveal a conception of his own psychological identity, the unique person that he was. This fits with the view expressed by Arthur Wheelock Jr., who notes:
[Rembrandt] was a singularly complex individual, who from an early age seems to have fostered the image that he was different from other men, and that neither his talent nore his success depended upon others or upon the good fortune that came his way.
Wheelock later comments,
Rembrandt’s earliest self-portraits are of particular interest because they demonstrate that the myth of Rembrandt as isolated genius did not first emerge in the Romantic era…but was fostered and developed by the artist himself.
Along these lines, art historians compare Rembrandt to more recent artists who have used the self-portrait as a form of experimenting with self-formation by trying on various identities (Rembrandt as the Andy Warhol of the seventeenth century!).
Like Cézanne more than two centuries later, Rembrandt employed the self-portrait as part of an effort to fashion the self, a s
By:
Mark G. Mitchell,
on 5/22/2009
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Jon Gnagy was the first artist to draw pictures on television, and I was there! I mean, in front of the TV screen. I may not have been in school yet.
“We would both watch him and be spellbound,” my mother tells me.
Shadows and shading, the cube, the ball, the cylinder and the cone…
The lessons were simple, though dazzling as magic tricks for the millions of children who watched him.
Andy Warhol learned to draw from him, or so he said.
“Mr. Gnagy, who was self-taught, was an advertising art director in New York before offering weekly art courses on television in 1946. His NBC-TV program was called ”You Are An Artist.” He switched to CBS-TV in 1950,” reported the New York Times in his obituary.
He passed away on March 7, 1981 at the age of 74.
A plain-talking midwesterner, the son of Hungarian – Swiss Mennonites, Gnagy did attend some evening classes at the Kansas City Art Institute as a young man. He became a company art director who won prizes for his paintings and poster designs.
There’s a wonderful (2006) article about him at the Dali House blog by crackerjack arts writer and journalist Paul Dorsey.
Gnagy was not paid anything for the 700 telecasts he did over 14 years at the CBS and NBC networks, Dorsey says. His revenue came from royalties on the sales of millions of his art sets, “The John Gnagy Learn to Draw Outfit.”
I finally became the proud owner of one of these, at the age of six or seven. The kit had gray pastels to go with the black (and white) pastels and charcoal. The gray pastels were for stuff like shadows. That seemed terribly interesting and sophisticated to me.
Alas, I lacked the concentration to stay with most of his exercises. His subjects — barns in the woods and vegetable-filled baskets on toolshed tables — seemed a little overwhelming and hard. (I’d never be as good as him.) But, oh, how the thought of those lessons tantalized.
Maybe I should find another Learn to Draw set. (You can still buy them!)
Really buckle down this time.
Because it’s never too late to ponder the cube, the ball, the cylinder and the cone – ahh, and those marvelous snow shadows.
* * * * *
Mark Mitchell, the host of “How To Be A Children’s Book Illustrator” is blogging tonight because he’s so behind in writing Session #12 of his course.
Great post Mark! I love watching these kinds of videos. I can only imagine how exciting it was to watch him back then! Thanks for posting the video!
JP
Thank you, JP!
Yeah, I love these kinds of demo videos, too.
I wish I had time to watch all the painting videos by guys like Bob Ross.
To me, these have all the suspense of watching someone walk a tightrope without a net. Extreme Sports.
Gnagy pioneered the genre for TV. I first saw him when I was about 3 and stayed a fan for years after that.