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Art Acknowledged and Disregarded: Art and Its National Context at St St. Cloud State University theRepository at St. Cloud State Culminating Projects in History Department of History 12-2012 Art Acknowledged and Disregarded: Art and Its National Context at St. Cloud State University Krista L. Lewis St. Cloud State University, [email protected] Follow this and additional works at: https://repository.stcloudstate.edu/hist_etds Part of the Cultural History Commons Recommended Citation Lewis, Krista L., "Art Acknowledged and Disregarded: Art and Its National Context at St. Cloud State University" (2012). Culminating Projects in History. 1. https://repository.stcloudstate.edu/hist_etds/1 This Thesis is brought to you for free and open access by the Department of History at theRepository at St. Cloud State. It has been accepted for inclusion in Culminating Projects in History by an authorized administrator of theRepository at St. Cloud State. For more information, please contact [email protected]. ART ACKNOWLEDGED AND DISREGARDED: ART AND ITS NATIONAL CONTEXT AT ST. CLOUD STATE UNIVERSITY by Krista Lewis B.A., Drexel University, Philadelphia, 2008 A Thesis Submitted to the Graduate Faculty of St. Cloud State University in Partial Fulfillment of the Requirements for the Degree Master of Arts St. Cloud, Minnesota December, 2012 This thesis submitted by Krista Lewis in partial fulfillment of the requirements for the Degree of Master of Arts at St. Cloud State University is hereby approved by the final evaluation committee. Chairperson Dean School of Graduate Studies ART ACKNOWLEDGED AND DISREGARDED: ART AND ITS NATIONAL CONTEXT AT ST. CLOUD STATE UNIVERSITY Krista Lewis Existing histories of St. Cloud State University pay little attention to art and its place at the school. Given that the university is currently home to an accredited art program, and a rather large collection of art, recognition of the contribution art has made to the school is overdue. Delving into records, one finds that art played a role in the curriculum and mission of the institution from its very beginning as a normal school. Though not always strong or valued, it grew with the school nonetheless. Examining this role as it relates to developments with art regionally and nationally reveals that the school’s experience often paralleled these broader trends. Early on, at St. Cloud and elsewhere, art was often associated with the elite. If it made it into the schools, it was largely seen as a supplementary tool to teaching and most useful only in conjunction with other subjects. The school eventually acknowledged the value of art appreciation and worked to instill this in its students through a collection of reproductions and a lively discourse on art. Art advocates elsewhere worked heartily to dispel the elitist association and develop an appreciation of art apart from its practical value among the public and within the government. As the school grew to serve more than future teachers, art slowly asserted a more independent place on campus. Similarly, arts organizations geared toward the general public began to appear in Minnesota and the federal government established support with the New Deal. This pace exploded during the 1960s, as the school experienced overwhelming change and growth. The art program expanded spectacularly, bringing in faculty who earnestly worked toward building a collection of original artworks. The art department’s focus also began to turn from art teachers to artists. Inadequate facilities and equipment plagued the program as consequences of such growth. Nationally, after struggling for decades to pass arts legislation, the National Endowment for the Arts was created in this period, allowing arts support to grow as never before. This also brought consequences, as economic and cultural challenges forced advocates to prove the worth of art and the agency. As growth slowed at St. Cloud, art on campus faced similar challenges and the program adjusted to meet the diversifying needs of its students. iii Today, though art is accepted at the University, the struggle to maintain an adequate level of support remains. Month Year Approved by Research Committee: Mary Wingerd Chairperson iv ACKNOWLEDGMENTS Special thanks must go to all those who had a hand in making this thesis possible: Charlie Crane, Jim Crane, TyRuben Ellingson, Melissa Gohman, Lynn Metcalf, Mac Meyers, Maureen O’Brien, David Sebberson, Ted Sherarts, Mark Springer, Tom Steman, Merle Sykora, Margaret Vos, and Mary Wingerd. I greatly valued their time, help, and insights. v TABLE OF CONTENTS Page LIST OF FIGURES .................................................................................................... ix INTRODUCTION ...................................................................................................... 1 Chapter I. ESTABLISHING A PRACTICAL PLACE FOR ART ................................. 6 Location Matters ................................................................................ 6 Why Education, Why Art Education ................................................. 11 The Role of Women ........................................................................... 19 Art Curriculum and Discourse at the Third State Normal School ..... 21 Art Discourse in the Nation ............................................................... 27 Dollars and Cents ............................................................................... 30 Art for Life and Civilization .............................................................. 33 II. DEVELOPING AN APPRECIATION OF ART ........................................... 46 New Territory ..................................................................................... 47 Making a Case for Art in Education .................................................. 54 Art and the Government: Part I .......................................................... 59 War and Stasis .................................................................................... 62 The Difficulty with Art Education ..................................................... 64 vi Chapter Page Art and the Government: Part II ........................................................ 66 In Defense of Art Education .............................................................. 71 Expanding Art on Campus and in the Community ............................ 74 III. A CHANGING ENVIRONMENT FOR ART ............................................... 86 Boom Times on Campus .................................................................... 87 Fighting for Attention ........................................................................ 91 Original Art, New Opportunities, and Old Challenges ...................... 93 The Challenges of Accelerating Change and Growth ........................ 106 The Struggle to Gain and Maintain Positive Status ........................... 112 The Arts Reach a National Milestone ................................................ 116 IV. ART ACKNOWLEDGED AND DISREGARDED ...................................... 125 Finally a Home ................................................................................... 126 Setbacks ............................................................................................. 134 Art in the Community ........................................................................ 136 National Developments ...................................................................... 140 Spotlight on Art .................................................................................. 144 Building Appreciation and Support ................................................... 148 Clash of Culture ................................................................................. 153 V. STRIVING FOR MATURITY ....................................................................... 161 vii Chapter Page Culture Clash at Home ....................................................................... 162 Seeds of Progress and Doubt ............................................................. 169 The Culture Clash Ends ..................................................................... 173 A City Looking to the Future ............................................................. 175 A New Era of Appreciation and Challenges ...................................... 177 CONCLUSION ........................................................................................................... 184 BIBLIOGRAPHY ....................................................................................................... 188 viii LIST OF FIGURES Figure Page 1. Corridor, Old Main Building, 1904 ............................................................. 44 2. Watercolor sketch of the Winged Victory of Samothrace, 1936 ................. 45 3. Students standing in front of the Winged Victory of Samothrace, 1945 ..... 45 4. Untitled. Woodcut print created by Bill Ellingson, 1966 ........................... 84 5. Untitled. Woodcut print created by Bill Ellingson, 1966 ........................... 85 6. Hot Dog! Silkscreen print created by Gail Bamber, ca. 1970s .................. 124 7. Moonwalker. Created by Nasser Pirasteh, 1998 ......................................... 159 8. Hands in Harmony. Created by Nasser Pirasteh, 1993 .............................. 160 9. An Awkwardness. Photograph created by Aremy McCann, 2010 .............. 183 ix INTRODUCTION “You have often observed in the hall near the door of the business office, the bronze tablet on which is inscribed Lincoln’s Gettysburg Address. Do you, however,
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