Feminist Perspective In The K-12 Art Education Curriculum

1. The culture of art students is diverse and always changing. Once, it was an exclusive club reserved for those who could afford to toil away in expensive private art schools in Europe. Now, it is accessible to almost everyone attending college.

Many African American, Latin American, Asian American, and Native American women have participated in movements to overcome racism and gain recognition of their ethnic histories and identities. Some of these women focus on the cultural and economic problems of women of color. As women’s studies have become established on college campuses, new generations of writers, researchers, and students have developed their own definitions of and approaches to feminism.

Prehistoric and ancient artists represent men and women in various ways and the works of art tell an altered story, which reinforces old-fashioned gender roles. Additionally, representations of prehistoric and ancient genders illustrate the social standards of their specific periods. The views of gender presented by the works of art are still recognizable, despite all individual’s current sensibilities and views today. An individual’s contemporary view is of gender and gender rules illustrates the significant social progress that the human culture has made. Although the Woman of Willendorf and Kouros/Statue of standing Youth artworks were created at different times, the genders can still easily be depicted within the artwork.

Hull and Barbra Smith provided four issues that seem important for a consideration of the politics of Black women’s studies: “(1) the general political situation of Afro-American women and the bearing this has had upon the implementation of Black women’s studies; (2) the relationship of Black women’s studies to Black feminist politics and the Black feminist movement; (3) the necessity for Black women’s studies to be feminist, radical and analytical; and (4) the need for teachers of Black women’s studies to be aware or our problematic political positions in the academy and of the potentially conditions under which we must work” (Hull, Smith 187). These concepts are stepping stones to developing a better image for African American females. If society applied these, women would have a more even-chance to pursue what they believe in.

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

In an attempt to prepare the art educator to the paradigm shift in classroom and develop a cohesive curriculum this would comprise the needs of the students and teachers to think about cultures different from their own. While I admire McFee’s interest in cultural diversity and the plight of African Americans. However, her essay is written from a privileged White middle-class perceptive with about her understanding of African Americans. How does McFee identify six major areas of social change in America of the sixties? More importantly, how does the stereotypes of African Americans influence art, education, and society?

I fell in love with methodologies of art history. I felt empowered in that, through my own interpretations, I could attach words and meaning to objects. My study of art history reached a turning point when, in 2012, I took a class entitled Identity in a Post-Identity Art World: Gender, Race, Sexuality, and Trans/Nationality, 1990 to the Present. The course endowed me with another lens with which to examine works and, more importantly, shed light on representations of marginalized identities. As a result, I was introduced to the writings of Judith Butler and Simone de Beauvoir, both seminal theorists who inspired my own analyses. I enjoyed every minute of conducting research and forming arguments to support my claims. Ultimately I was interested in developing my understanding of issues in contemporary art further and sought to accomplish this by engaging with a larger

The paintings and sculptures that first appear as a general and social commentary on the depiction of African Americans in the 18th and 19th century art canon, painted by contemporary artist Titus Kaphar, have given a voice to Black figures in the historical and artistic context. In The Preacher 's Wife (2010), a painting part of the ‘Classical Disruption’ exhibition, Kaphar seeks to explore the role of black women and their misrepresentation in the 18th and 19th art historical trajectories. Recreating paintings by great American artists such as Copley and Eakins, Kaphar reconstructs social and historical narratives (Berzon). While maintaining a common denominator throughout his works, Kaphar’s art has been recognized for inserting African Americans in paintings and telling the narrative of their absence and exclusion from the art historical canon. A graduate of Yale Art School, Kaphar also credits the contemporary style of his art to his studies at De Anza College in Cupertino where he took an African American Literature class that introduced to the art of the Harlem Renaissance with Omonike Weusi Puryear. Yale and De Anza College, collectively, contributed to the way Kaphar gives form and authority not only to black men, but also to the women who have been objectified or erased altogether from the art historical canon (Frank).

Art is defined as an expression of a persons beliefs, ideas, imagination, and character. In this class, we learned that the many forms of art could be a reflection of a persons emotions or a time period by using naturalism, idealism, or abstract themes. During the 1920’s, an era known as the Harlem Renaissance defined black culture and changed entertainment around the world. The black community used art such as music, literature, and paintings to express social freedom. Artist such as Jacob Lawrence, Langston Hughes, and Duke Ellington used their art as a form of therapy and communication to share the life of an African American in White America. This phenomenon created culture pride within the community. Their art is significant to

In an effort to change this objectification, O’Grady suggests that female artists must begin to reconstruct the subjectivity of black female subjects in art. They should reclaim the black female body as something to embrace and admire rather than just glance over. It is a slow and steady process but a necessary one. Furthermore, she strongly argues that the artist must do so even if her audience is uncomfortable with it because it is the best method to deconstruct a pre-existing idea of the black female subject.

Many cultures have a unique art form for representing their identity. These arts trace a history and a set of people. Because of slave trade, many African Americans lost a form of themselves. Like a victim under hypnosis, were instilled the values that weren’t part of their basic nature. Because these values were drained, the fear that cast it way into the hearts of the oppressed only sort a means of survival. Art has influenced many movements African Americans have taken to sort out an array of scrambled identities and mislead truths. Art is the means by forming an opinion of oneself and directing its visuals for personal or cultural influence. However, to start on a journey without an identity; is to

Over three decades, art programs have been on the decline, because of budget cuts and the general thought of art being a privilege and not a necessity when it comes to the classroom. (Smith.) In fact, it has almost set a chain of continuous reaction. The children in the 1970s and 80s who were not exposed to art during class time are now adults who probably do not appreciate art today. And, if they themselves are involved in the education system, do not see art as an importance to the education of children today. In the article Why Arts Education Is Crucial, and Who 's Doing It Best Sandra Ruppert, Director of the Arts Education Partnership (AEP), a national coalition of arts, business, education, philanthropic, and government

Throughout history many artistic works have been deemed "great" and many individuals have been labeled "masters" of the discipline. The question of who creates art and how is it to be classified as great or greater than another has commonly been addressed by scholars and historians. The last quarter of the 20th century has reexamined these questions based on the assertions that no women artists have ever created or been appreciated to the level of "greatness" that perpetually befalls their male counterparts. The position that society has institutionalized on women as unable to be anything but subordinate and unexpressive is a major contributor to this claim. Giving a brief history of gender discrimination in the art

During the early twentieth century, art education was seen as unproductive and more often not cost effective. However, in the 1950’s opinions about art education made a drastic change as Americans craved more self-expression. Art education began to flourish as the importance of art involvement became known (DeHoyas).

The area of art is popularly known for heightening emotions, challenging stereotypes, and ultimately providing insights into how individuals view the surrounding world. The artist and the observer time and time again see pieces in overwhelmingly different ways. Individuals may wonder why this is so. What could possibly create such a drastic change from one perspective to another? When it comes down to it, experiences are the answer. The artist and the observer have different