Adult Art Education Issue || A Look at Adult Education and Art

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<ul><li><p>National Art Education Association</p><p>A Look at Adult Education and ArtAuthor(s): Walter M. JohnsonSource: Art Education, Vol. 15, No. 8, Adult Art Education Issue (Nov., 1962), pp. 11-13Published by: National Art Education AssociationStable URL: .Accessed: 10/06/2014 02:51</p><p>Your use of the JSTOR archive indicates your acceptance of the Terms &amp; Conditions of Use, available at .</p><p> .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact</p><p> .</p><p>National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to ArtEducation.</p><p> </p><p>This content downloaded from on Tue, 10 Jun 2014 02:51:27 AMAll use subject to JSTOR Terms and Conditions</p><p></p></li><li><p>Town and Country Art Show-UNIVERSITY OF ILLINOIS </p><p>WALTER M. JOHNSON </p><p>A look at adult education and art The purpose of this article is to give attention to </p><p>the responsibilities which some institutions of higher learning have accepted in the continuing education programs in art, to give special attention to the work of the University of Illinois as one example of a state university with an expanding extension program in art, and to reflect briefly upon the motivations and needs of the individuals who are students or par- ticipants in these programs. </p><p>I recently completed a survey of art education in the adult education programs of 34 state-supported universities and colleges in 15 midwestern states. Four of these institutions have mature, well-developed pro- grams as is evident by the number and variety of credit and non-credit courses or workshops in art, the use of various media of communication, and the </p><p>structured planning. Three have no programs; 24 have programs in various stages of development. </p><p>The survey embraced a review of the historical </p><p>background, organization, financial support, and re- sources, subject matter, class locations, class size, en- rollment factors, projected goals and unmet needs of the programs. Representatives of the institutions seemed interested and eager to share and exchange information. </p><p>The general findings of the study are subjective and indicate the following: </p><p>The review of the historical background suggests that adult art programs in state supported institu- tions are a relatively recent development in adult education. They result from the needs and requests of the people of the states. An increasing number of these institutions are providing opportunities for creative art experiences. A few are consciously rec- ognizing obligations and are structuring for the future. Others are meeting present demands but are projecting no formal planning for the future. The </p><p>Dr. Walter M. Johnson is Associate Professor of Architectural Drawing, Department of Archi- </p><p>tecture, College of Fine and Applied Arts, Uni- </p><p>versity of Illinois </p><p>NOVEMBER 1962 11 </p><p>This content downloaded from on Tue, 10 Jun 2014 02:51:27 AMAll use subject to JSTOR Terms and Conditions</p><p></p></li><li><p>adult art UNIVERSITY OF ILLINOIS </p><p>opportunities offered include credit and non-credit courses, institutes, short courses, and workshops. The presentation media seem to increase as the </p><p>programs mature with more programs making more use of exhibits, television, radio, community art </p><p>groups, and newsletters. </p><p>Subjects range from a few to a multiplicity of "courses." These correspond closely with those of- fered on the home campus in the regular art cur- riculum. Most are offered in a studio-laboratory set- </p><p>ting. Credit and non-credit courses are available. </p><p>Usually credit courses are on the undergraduate level; however, some institutions consider offering a few courses on a graduate level. Subject matter is geared, with rare exceptions, to the needs and </p><p>abilities of the non-art major or non-professional artist. Staff is recruited chiefly from the professional art staff regularly employed by the institution. There are considerable differences among the institutions regarding the manner of assignment, compensa- tion, and definition of job responsibility. For ex- ample, some consider this work as a full-time or part-time assignment, with compensation as all or part of the regular salary. There are others, how- ever, who consider the assignment to the extension classes as an overload for which there is addi- tional compensation. Class locations vary according to community re- quests and the planning structure. Most of the classes are held in communities away from the cen- tral campus, sometimes as far as a hundred or more miles. Physical facilities usually are determined by the group making the request. Sometimes they are located in the community schools, a recreation cen- ter, an art club studio, or other facility. Class size usually is limited. Student supplies are secured in various manners. Most institutions pro- vide them to the students in class, in return for a stated fee or at cost. This is necessary since so many classes are located in communities without art supply resources. New institutions require pre- registration, although all representatives replying to this point felt that such was needed in order to plan adequate space, staff, and supplies. Student enrollment analysis seems to indicate that the amount of previous education of students was definitely correlated with the prerequisites of the actual course. Ages ranged from the late teens to over 80 years of age, with the largest number of students in the 40- to 60-year-old group. Women comprised three-fourths of those enrolled. Motiva- tion seemed centered in two forces: the personal need for self-expression, and the desire to learn skills in order to teach others. The institutions with these developing adult educa- tion programs in art all seemed to share similar goals: to increase the number, variety, and caliber of the courses, workshops, and institutes in ac- cordance with the demand; and to develop addi- tional ways of serving the general public through short courses, lectures, art shows, radio, and tele- vision. The representatives seem to believe that the pro- grams develop from the impetus of public demand. The latter arises from the expressed needs of in- dividuals for creative outlets, the practical needs of teachers and community group and recreational leaders, and the wish to have positive ways of using leisure time. Residents of rural areas seem to have </p><p>12 ART EDUCATION </p><p>This content downloaded from on Tue, 10 Jun 2014 02:51:27 AMAll use subject to JSTOR Terms and Conditions</p><p></p></li><li><p>great interest in the art offerings sponsored by the state colleges and universities. The unmet needs of the programs are reflected in the representatives diversified responses. These are difficult to classify. Most prominent were the prac- tical concerns for lack of staff, space and financial resources. Others were concerned with administra- tive disinterest. Some philosophized concerning the place of art education in a materialistic society. Several expressed concern that, in the pressures for scientific and materialistic achievement, the impor- tance of creative art experiences would be minim- ized unless those administratively responsible for adult education support the inclusion of creative art opportunities in the programs. It is difficult to evaluate the over-all findings. The </p><p>adult art UNIVERSITY OF ILLINOIS </p><p>above comments are based upon a mass of factual detail. They reflect, also, the subjective impressions such as one receives in the interview situation when men and women enthusiastic and challenged by their work bring to light their interest and planning which is not measurable in a factual documentation. </p><p>One of the valuable personal experiences of the sur- vey was the privilege of sharing the similarity of the beginning, motivations, and needs of all students; the mutual goals of staffs; and the special blossoming of different programs. </p><p>It would be- a mistake to underestimate the signifi- cance of these various art extension classes, work- </p><p>shops, short courses, and projects. Certainly interest of adults in these experiences is high if enrollment in the adult education programs in art in our high schools, colleges, and universities are an indication. The importance of the opportunities for self-expres- sion, and the attendant recognition for the individual is immeasurable. The significance for the families and communities is important too. This is made evident </p><p>repeatedly by the encouragement given by individuals, the cooperation of local representatives of a com- </p><p>munity in making physical facilities available, the attendance at exhibits, and the interest of the press. </p><p>It would seem wise that all those interested in the </p><p>challenge of the adult education programs, with spe- cific reference to the creative arts, should examine for themselves the opportunities offered by the tax-sup- ported institutions of higher learning in his own state. </p><p>It would seem that four factors influence the con- tribution of a state university's or college's contribu- tion to adult education in art: </p><p>1. There is the self-recognized need of individuals or groups for creative art experiences. </p><p>2. There should be a group or a community recog- nition of these needs and the subsequent in- terest and ability to seek and use professional assistance. </p><p>3. There must be the resources and interests with- in the institution of higher learning adequate to meet the requests. </p><p>4. There should be structured leadership within the institution to evaluate the meaning of these requests, assess present programs, and to plan for the future. </p><p>The hope of our communities is that the human be- </p><p>ing, as he searches for ways of self expression, fulfil- ment, and recognition will find acceptable ones. Op- portunities for our children, families, and neighbors increase in proportion to our own. The future of our society lies in our abilities to live creatively for the betterment of life. </p><p>This content downloaded from on Tue, 10 Jun 2014 02:51:27 AMAll use subject to JSTOR Terms and Conditions</p><p></p><p>Article Contentsp.11p.12p.[13]</p><p>Issue Table of ContentsArt Education, Vol. 15, No. 8, Adult Art Education Issue (Nov., 1962), pp. 1-31Front Matter [pp.1-3]Art in Action: The Wisconsin Idea [pp.4-7]Adult Art Education: Pasadena City Schools [pp.7-10]A Look at Adult Education and Art [pp.11-13]The Arts at Wingspread [pp.14-15]Looking at Modern Paintings [pp.15-17]Double Image Slide Projection Technique [pp.17-28]Art Museum News and Notes [pp.20-21]News of the Profession [pp.22-27]Back Matter [pp.29-31]</p></li></ul>


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