National Art Education Association

Art Museum News and NotesAuthor(s): Burt WassermanSource: Art Education, Vol. 16, No. 4 (Apr., 1963), pp. 18-20Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190446 .

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rather than encourage methods of motivation which stress the objective techniques. The future teacher of art should learn from experience, not from tech- niques unrelated to the art process. And in order to justify the artist (subjective) approach, the future teacher must "live" the art process during institutional training so that preparation is at its maximum at the moment the subjective transmission is in opera- tion.

An increase in art processes dealing specifically with life experiences rather than abstract design projects and a decrease in general educational techniques would be the most beneficial way toward the prepara- tion of subjective art educators and potential artists.

rather than encourage methods of motivation which stress the objective techniques. The future teacher of art should learn from experience, not from tech- niques unrelated to the art process. And in order to justify the artist (subjective) approach, the future teacher must "live" the art process during institutional training so that preparation is at its maximum at the moment the subjective transmission is in opera- tion.

An increase in art processes dealing specifically with life experiences rather than abstract design projects and a decrease in general educational techniques would be the most beneficial way toward the prepara- tion of subjective art educators and potential artists.

Even if potential artistry remains latent, the subjec- tive experience draws the student closer to a true appreciation of the art form. Let the student fail in his attempt to create instead of promoting courses in "good taste" and art appreciation in the hope that such a substitution will lead to a faithful and appre- ciative society. True appreciation will emerge through participation in the art process. If one fails at this, the best to expect is a sympathetic society, and sym- pathy is less than tolerance.

Unless the creative spark ignites or at least smold- ers, the student of art will remain outside the art experience, always wondering if creation could not some day be part of his nature.

Even if potential artistry remains latent, the subjec- tive experience draws the student closer to a true appreciation of the art form. Let the student fail in his attempt to create instead of promoting courses in "good taste" and art appreciation in the hope that such a substitution will lead to a faithful and appre- ciative society. True appreciation will emerge through participation in the art process. If one fails at this, the best to expect is a sympathetic society, and sym- pathy is less than tolerance.

Unless the creative spark ignites or at least smold- ers, the student of art will remain outside the art experience, always wondering if creation could not some day be part of his nature.

BURT WASSERMAN/

art museum news and notes

BURT WASSERMAN/

art museum news and notes

A New Resource for Art Educators

A display illustrating "Sources of Design" opened recently in a row of newly renovated galleries in the Cooper Union Museum, Third Avenue and Seventh Street, New York City. The exhibition is free to the public and may be seen on weekdays from 10 A.M. to 5 P.M. and until 9 P.M. on Tuesdays and Thursdays.

Scores of rare decorative objects from the Mu- seum's collections have been grouped to reflect factors that have influenced design in various art forms

through the centuries. Among the factors illustrated are materials, techniques, structure and function, and

symbolic use of forms found in nature.

In the materials section, contrasting designs in

metal, glass, wood, porcelain, and fabric show how the strength, softness, pliability, or texture of the material has suggested the design of the object itself.

Similarly, the section on techniques shows how dif- ferent methods of weaving threads, glazing clay, or

shaping metal have led to variations in design. An- other section illustrates how the function and con- struction of a variety of objects have affected their

shape and ornamentation. Finally, a section on na- tural forms demonstrates the symbolic use of clouds, shells, flowers, and other forms in the creation of

widely varied designs. The objects represent centuries of creative design.

Textiles range from pre-Columbian weavings of Peru to contemporary fabrics from Africa. Glass objects

Burt Wasserman is Associate Professor of Art at Glassboro State College, Glassboro, New Jersey.

A New Resource for Art Educators

A display illustrating "Sources of Design" opened recently in a row of newly renovated galleries in the Cooper Union Museum, Third Avenue and Seventh Street, New York City. The exhibition is free to the public and may be seen on weekdays from 10 A.M. to 5 P.M. and until 9 P.M. on Tuesdays and Thursdays.

Scores of rare decorative objects from the Mu- seum's collections have been grouped to reflect factors that have influenced design in various art forms

through the centuries. Among the factors illustrated are materials, techniques, structure and function, and

symbolic use of forms found in nature.

In the materials section, contrasting designs in

metal, glass, wood, porcelain, and fabric show how the strength, softness, pliability, or texture of the material has suggested the design of the object itself.

Similarly, the section on techniques shows how dif- ferent methods of weaving threads, glazing clay, or

shaping metal have led to variations in design. An- other section illustrates how the function and con- struction of a variety of objects have affected their

shape and ornamentation. Finally, a section on na- tural forms demonstrates the symbolic use of clouds, shells, flowers, and other forms in the creation of

widely varied designs. The objects represent centuries of creative design.

Textiles range from pre-Columbian weavings of Peru to contemporary fabrics from Africa. Glass objects

Burt Wasserman is Associate Professor of Art at Glassboro State College, Glassboro, New Jersey.

include a centuries-old Persian water sprinkler and a fantastic bird cage made in Italy two years ago. Drawings and prints vary from a rare fifteenth cen- tury architect's drawing for a Gothic steeple to a twentieth century lithograph by Marcel Duchamp. Ceramics, metalwork, and furniture of many styles and periods are displayed.

The "Sources of Design" galleries complement a parallel display, "Elements of Design," which illus- trates the importance of form, line, color, and texture in design. The two installations are semipermanent and will be used extensively by students and practi- tioners in design. The Cooper Union Museum has been developed since 1897 as the nation's first museum devoted to the study and display of design in the decorative arts.

Reference Catalog Now Available

Extensively illustrated and with text by Allen S. Weller, dean of the University of Illinois College of Fine and Applied Arts, a two-volume boxed set of books edited by Lee Nordness titled Art: USA: Now, is now available through bookstores and book dealers here and abroad.

One-hundred-and-two contemporary American painters are listed in the publication. Each artist is featured in a six-page description that includes name, a large portrait, candid photographs of each at work, a large full-color reproduction of a recent work, black- and-white reproductions of various examples of early works to show each artist's development, a biography, and artist's statement of art theory and purpose.

include a centuries-old Persian water sprinkler and a fantastic bird cage made in Italy two years ago. Drawings and prints vary from a rare fifteenth cen- tury architect's drawing for a Gothic steeple to a twentieth century lithograph by Marcel Duchamp. Ceramics, metalwork, and furniture of many styles and periods are displayed.

The "Sources of Design" galleries complement a parallel display, "Elements of Design," which illus- trates the importance of form, line, color, and texture in design. The two installations are semipermanent and will be used extensively by students and practi- tioners in design. The Cooper Union Museum has been developed since 1897 as the nation's first museum devoted to the study and display of design in the decorative arts.

Reference Catalog Now Available

Extensively illustrated and with text by Allen S. Weller, dean of the University of Illinois College of Fine and Applied Arts, a two-volume boxed set of books edited by Lee Nordness titled Art: USA: Now, is now available through bookstores and book dealers here and abroad.

One-hundred-and-two contemporary American painters are listed in the publication. Each artist is featured in a six-page description that includes name, a large portrait, candid photographs of each at work, a large full-color reproduction of a recent work, black- and-white reproductions of various examples of early works to show each artist's development, a biography, and artist's statement of art theory and purpose.

ART EDUCATION ART EDUCATION 18 18

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Dean Weller's extensive text reports authoritatively on the American art scene. He states, "We can hardly expect works of art always to be easy to understand in a world in which there is no longer anything easy to understand. .... The art of our times is an expression of the meaning and the character of the artists who have created it, but beyond this it is a source of self-knowledge and of understanding for all."

Almost all the artists in Art: USA: Now have been represented in the University of Illinois Krannert Art Museum exhibits. Thirty-four works by as many lead- ing contemporary artists in the book are in the Uni- versity's permanent collection.

Printed in Switzerland, the book has been praised for the fidelity of the colored photographs and for the unusual six-page sections, defined as monograph concepts, devoted to each artist. In addition to the English text, editions will appear in French, German, and Italian.

The original of each artist's recent painting that has been printed in full color in the books is owned by S. C. Johnson and Son, Inc., Racine, Wisconsin. H. F. Johnson, chairman, early last year commissioned Lee Nordness, New York gallery dealer, to purchase a major work from each artist to be represented in the Nordness volumes.

The 102 paintings have been assembled by the Johnson Company in a traveling exhibition "as an experiment by a business firm in international rela- tions on a people-to-people level."

Premiere showing of the exhibit was in Milwaukee last September, after which the collection began a five-year international tour. A series of American exhibits will follow the European trip.

Shows Worth Seeing Recent sculpture by Herbert Ferber will be on view

through April 20th at the Andre Emmerich Gallery (New York City). This exhibition by one of the pioneer abstract expressionist sculptors of the New York school will coincide with the major retrospective exhibition of his work which has been touring the country and which will be on exhibit at the Whitney Museum (New York City), during this month and May.

"Glass: Ancient and Early American" is the title of an exhibition now up at the Walker Art Center in Minneapolis. The show of historical examples of Ancient Syrian and Egyptian glass and Early Ameri- can glass illustrates the consistency in glass-producing techniques over a 2000-year period. Specimens from the T. B. Walker Collection and the collection of Mrs. Archie D. Walker will be on view through May.

The Makler Gallery of Philadelphia is presenting

water colors and oils by Milton Avery during the month of April. Next month the gallery will offer visitors oils, graphics, and ceramics by James Brew- ton. The Philadelphia Print Club, a few doors down from the Makler Gallery on Latimer Street, is always worth a look-in. You never know whom you will bump into there-maybe Hayter or Miro. The creepy, musty old gallery of the Print Club is uncanny for its ability to attract the interests of printmakers from all over the globe.

Work by artists and craftsmen of Western Europe may be seen until April 22 at the Colorado Springs Fine Arts Center. Simultaneously, the Center is also presenting water colors by John Edward Thompson until the end of April.

New ideas and trends in the water color medium will be illustrated in the twenty-second International Water Color Biennial to be shown at the Brooklyn Museum (New York) until April 28th. This major exhibition includes 166 works by 132 living artists.

As in previous years, two countries besides the United States have been chosen to participate in the show. This year, Sweden and Yugoslavia have been selected, both for the first time since the inauguration of the series in 1921. "These two countries have been selected," Axel von Saldern, curator of paintings and sculpture, states, "because they both show in their art fruitful and creative ideas that contrast favorably with those found in our own country. Without a long established tradition in this particular medium, they nevertheless demonstrate aptly the countless possibili- ties of expression inherent in the water color technique that are available to the creative artist."

"Classical America 1815-1845," will be the Newark (New Jersey) Museum's major exhibition for the spring of 1963, presenting the many styles in the decorative and fine arts that prevailed during the formative period of our country. The exhibition will open April 22 and will continue on view until Sep- tember. Admission to the Museum and to the exhi- bition is free.

Included in "Classical America" will be hundreds of examples from this unique and unusual period in our country's history: furniture, silverware, glass, ceramics, hardware (stoves, lamps, clocks, etc.), paint- ings, drawings, and sculpture.

This will be the first time that an institution has attempted to document and interpret the styles, whims, and fancies of a period that has only recently been recognized as distinctive in its style. The Newark Museum has chosen to show the full flower- ing of the period, from the closing of the Federal era to the entrance of Victorianism.

Throughout April and until May 5th, the Art Gallery of the Old State Capitol building in Baton

APRIL 1963 19

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Rouge will present the Louisiana College Art Students Exhibition. The show features student work from various college and university art departments through- out the state. This is no competition show. Each de- partment represented has its students' work displayed in its own unit.

New York's Newest Museum Building The Jewish Museum (New York City) has moved

to new quarters. Located at 1109 Fifth Avenue (at 92nd Street), the three-story structure is of reinforced concrete with an entrance courtyard. The new build- ing adjoins the old museum.

The Museum was originally established at the Jewish Theological Seminary of America to house an important collection of Jewish ceremonial objects. Initial expansion occurred 16 years ago when Mrs. Felix Warburg's gift of her family mansion estab- lished the Museum at its present location. The addi- tional space allowed for temporary exhibitions of paintings, sculpture, and decorative arts. In 1956, the need for ritual items of artistic caliber for use in the contemporary synagogue and home led to the estab- lishment of the Tobe Pascher Workshop for the design of modern ceremonial objects. A sculpture garden ad- joining the Museum was added in 1959.

In its expanded facilities and under its new direc-

Rouge will present the Louisiana College Art Students Exhibition. The show features student work from various college and university art departments through- out the state. This is no competition show. Each de- partment represented has its students' work displayed in its own unit.

New York's Newest Museum Building The Jewish Museum (New York City) has moved

to new quarters. Located at 1109 Fifth Avenue (at 92nd Street), the three-story structure is of reinforced concrete with an entrance courtyard. The new build- ing adjoins the old museum.

The Museum was originally established at the Jewish Theological Seminary of America to house an important collection of Jewish ceremonial objects. Initial expansion occurred 16 years ago when Mrs. Felix Warburg's gift of her family mansion estab- lished the Museum at its present location. The addi- tional space allowed for temporary exhibitions of paintings, sculpture, and decorative arts. In 1956, the need for ritual items of artistic caliber for use in the contemporary synagogue and home led to the estab- lishment of the Tobe Pascher Workshop for the design of modern ceremonial objects. A sculpture garden ad- joining the Museum was added in 1959.

In its expanded facilities and under its new direc-

Rouge will present the Louisiana College Art Students Exhibition. The show features student work from various college and university art departments through- out the state. This is no competition show. Each de- partment represented has its students' work displayed in its own unit.

New York's Newest Museum Building The Jewish Museum (New York City) has moved

to new quarters. Located at 1109 Fifth Avenue (at 92nd Street), the three-story structure is of reinforced concrete with an entrance courtyard. The new build- ing adjoins the old museum.

The Museum was originally established at the Jewish Theological Seminary of America to house an important collection of Jewish ceremonial objects. Initial expansion occurred 16 years ago when Mrs. Felix Warburg's gift of her family mansion estab- lished the Museum at its present location. The addi- tional space allowed for temporary exhibitions of paintings, sculpture, and decorative arts. In 1956, the need for ritual items of artistic caliber for use in the contemporary synagogue and home led to the estab- lishment of the Tobe Pascher Workshop for the design of modern ceremonial objects. A sculpture garden ad- joining the Museum was added in 1959.

In its expanded facilities and under its new direc-

tor, Alan R. Solomon, the Museum will continue to function as the major Western repository of Jewish ceremonial objects and other historical Judaica in the fine and applied arts, enlarging its exhibition ac- tivities in this area and adding a new emphasis on the archeology of the biblical world. As a further contribution to the cultural life of the community, the Museum will undertake a general art program, em- phasizing the work of younger or otherwise unrecog- nized artists who contribute to what is vital and in- fluential in the contemporary art world.

The new hours of the Museum are 12 noon-5 P.M., Monday to Thursday; 11 A.M. to 6 P.M. on Sunday. The Museum will also be open to the public every Thursday evening from 7 P.M. to 9 P.M. Admission is free.

tor, Alan R. Solomon, the Museum will continue to function as the major Western repository of Jewish ceremonial objects and other historical Judaica in the fine and applied arts, enlarging its exhibition ac- tivities in this area and adding a new emphasis on the archeology of the biblical world. As a further contribution to the cultural life of the community, the Museum will undertake a general art program, em- phasizing the work of younger or otherwise unrecog- nized artists who contribute to what is vital and in- fluential in the contemporary art world.

The new hours of the Museum are 12 noon-5 P.M., Monday to Thursday; 11 A.M. to 6 P.M. on Sunday. The Museum will also be open to the public every Thursday evening from 7 P.M. to 9 P.M. Admission is free.

tor, Alan R. Solomon, the Museum will continue to function as the major Western repository of Jewish ceremonial objects and other historical Judaica in the fine and applied arts, enlarging its exhibition ac- tivities in this area and adding a new emphasis on the archeology of the biblical world. As a further contribution to the cultural life of the community, the Museum will undertake a general art program, em- phasizing the work of younger or otherwise unrecog- nized artists who contribute to what is vital and in- fluential in the contemporary art world.

The new hours of the Museum are 12 noon-5 P.M., Monday to Thursday; 11 A.M. to 6 P.M. on Sunday. The Museum will also be open to the public every Thursday evening from 7 P.M. to 9 P.M. Admission is free.

To Show Your Creative Work Sixth Chautauqua Exhibition of American Art (oil,

water color, casein, pastel, and mixed media) July 1-23. Work due April 22-26. Write for prospectus and entry forms to:

Chautauqua Art Association, Box 117

Chautauqua, New York (Open to residents of all states)

To Show Your Creative Work Sixth Chautauqua Exhibition of American Art (oil,

water color, casein, pastel, and mixed media) July 1-23. Work due April 22-26. Write for prospectus and entry forms to:

Chautauqua Art Association, Box 117

Chautauqua, New York (Open to residents of all states)

To Show Your Creative Work Sixth Chautauqua Exhibition of American Art (oil,

water color, casein, pastel, and mixed media) July 1-23. Work due April 22-26. Write for prospectus and entry forms to:

Chautauqua Art Association, Box 117

Chautauqua, New York (Open to residents of all states)

books in review books in review books in review

The Book of Signs. Rudolf Koch, New York, Dover Publications, Inc., 1930, 104 pages, $1.00. The Book of Signs by Rudolf Koch ( a paperback)

is a handy resource booklet in the area of line symbolism. It contains approximately 500 signs- each about two inches square-usually six to the page. Most of the signs presented are from Early Christian and Medieval sources, but some can be traced back to an earlier period. The book is well organized and documented, although perhaps difficult to read since it is printed in German Manuscript type.

It is subdivided into sections as follows: General Signs, the Cross, Monogram of Christ, Other Christian Signs, Monograms of Medieval Church and State Leaders, Stone Mason Signs, the Four Elements, Astro- nomical Signs, Botanical Signs, Chemical Signs, House and Holding Marks, Miscellany, and Runes. Each sign is briefly described as to origin and meaning.

The Book of Signs. Rudolf Koch, New York, Dover Publications, Inc., 1930, 104 pages, $1.00. The Book of Signs by Rudolf Koch ( a paperback)

is a handy resource booklet in the area of line symbolism. It contains approximately 500 signs- each about two inches square-usually six to the page. Most of the signs presented are from Early Christian and Medieval sources, but some can be traced back to an earlier period. The book is well organized and documented, although perhaps difficult to read since it is printed in German Manuscript type.

It is subdivided into sections as follows: General Signs, the Cross, Monogram of Christ, Other Christian Signs, Monograms of Medieval Church and State Leaders, Stone Mason Signs, the Four Elements, Astro- nomical Signs, Botanical Signs, Chemical Signs, House and Holding Marks, Miscellany, and Runes. Each sign is briefly described as to origin and meaning.

The Book of Signs. Rudolf Koch, New York, Dover Publications, Inc., 1930, 104 pages, $1.00. The Book of Signs by Rudolf Koch ( a paperback)

is a handy resource booklet in the area of line symbolism. It contains approximately 500 signs- each about two inches square-usually six to the page. Most of the signs presented are from Early Christian and Medieval sources, but some can be traced back to an earlier period. The book is well organized and documented, although perhaps difficult to read since it is printed in German Manuscript type.

It is subdivided into sections as follows: General Signs, the Cross, Monogram of Christ, Other Christian Signs, Monograms of Medieval Church and State Leaders, Stone Mason Signs, the Four Elements, Astro- nomical Signs, Botanical Signs, Chemical Signs, House and Holding Marks, Miscellany, and Runes. Each sign is briefly described as to origin and meaning.

In my opinion, it is a valuable reference and all students of design should have it in their library.

Dana Johnson, Memphis State University, Mem- phis, Tennessee.

French Tapestry, by R. A. Weigert, Newton, Mass., Charles T. Branford Co., 1962. 214 pages, price $14.50. French Tapestry, by R. A. Weigert of the Biblio-

theque Nationale in Paris, is a concise and most com- plete study of the finest tapestries of France, the people who produced them, and the techniques employed in their production. No attempt is made to instruct the reader in the techniques of tapestry-making, but rather to familiarize him with methods as an aid to understanding the history of tapestry in France. The volume is well illustrated with examples from the royal factories of Gobelin, Beauvais, and Aubusson

In my opinion, it is a valuable reference and all students of design should have it in their library.

Dana Johnson, Memphis State University, Mem- phis, Tennessee.

French Tapestry, by R. A. Weigert, Newton, Mass., Charles T. Branford Co., 1962. 214 pages, price $14.50. French Tapestry, by R. A. Weigert of the Biblio-

theque Nationale in Paris, is a concise and most com- plete study of the finest tapestries of France, the people who produced them, and the techniques employed in their production. No attempt is made to instruct the reader in the techniques of tapestry-making, but rather to familiarize him with methods as an aid to understanding the history of tapestry in France. The volume is well illustrated with examples from the royal factories of Gobelin, Beauvais, and Aubusson

In my opinion, it is a valuable reference and all students of design should have it in their library.

Dana Johnson, Memphis State University, Mem- phis, Tennessee.

French Tapestry, by R. A. Weigert, Newton, Mass., Charles T. Branford Co., 1962. 214 pages, price $14.50. French Tapestry, by R. A. Weigert of the Biblio-

theque Nationale in Paris, is a concise and most com- plete study of the finest tapestries of France, the people who produced them, and the techniques employed in their production. No attempt is made to instruct the reader in the techniques of tapestry-making, but rather to familiarize him with methods as an aid to understanding the history of tapestry in France. The volume is well illustrated with examples from the royal factories of Gobelin, Beauvais, and Aubusson

ART EDUCATION ART EDUCATION ART EDUCATION 20 20 20

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