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MF01/PC05 Mus Postage. A DOCUMENT RESUME ED 347 098 SO 019 926 AUTHOR Zimmerman, Enid, Ed.; Stankiewicz, Mary Ann, Ed. TITLE Women Art Educators. SPONS AGENCY Association for Research, Administration, Professional Councils & Societies, Reston, Va.; Indiana Univ., Bloomington. Mary Rouse Memorial Fund. PUB DATE Apr 82 NOTE 117p.; For related document, see SO 019 927. PUB TYPE Historical Materials (060) EDRS PRICE MF01/PC05 Mus Postage. DESCRIPTORS Americen IndiEel; *Art Education; *Art Teachers; *Females; Interviews; Primary Sources; Research Problems; Research Tools; *Sex Role; *Sex Stereotypes; *Woeens Studies IDENTIFIERS Boas (Bella); Dix (Marion Quin); Hoffman (Italvina); Minot (Louise); Rouse (Mary Jane); Syracuse University NY ABSTRACT This collection of papers on women art educators reveals the variety of roles played by those women, from anonymous art teachers to leaders in their profession. "Mary Rouse: ?. Remembrance" (G. Hubbard) is a persona/ perspective se Rouse, the development of her aareer, and her considerable impact in the field of art education. "The Search for Mrs. Pteot: An Essay on the Caprices of Historical Research" (R. Saunders) describes the difficult aed time consumino process required to research the history of female educators wilt7 seemed to accept the stereoeyeed role of their era. "Woman, Artist, Art Educator: Professional Image Among Women Art P-Lecatora" (N. Stankiewicz) examines the stereotyped roles of bet;1 women and artists in the lives of three educators at Syracuse University (New YorI0, 1900-1940. "Belle Boas: Her Kindly Spirit Touched All" (E. Zimmerman) recounts the life of this woman who was a transitional figure, both in styles of teaching and in tne role of women as educatore. "Marion Quin Dix: A 'People Picker' a Innovator in American Education" (A. Gregory) is an interview with this leading educator. "Marion Quin Dix: Facilitator, Helper, Motivator, Colleague, and Friend" (3. bausman) is a brief personal recollection of Dix. °What Happened to Malvina Hoffmaer' (E. Zimmerman) discusses the role of the female artist/teacher. "American Indian Women as Art Educators" (L. Zastrow) examines the woman's role as artist and art edeeator apong the Southwest U.S. Indian tribes. "Searching for Women Art Educators of the Past" (M. Stankiewicz) focuses on the problers of historecal research in this field. (PPB) ********************nm**ft****x***************************************** * Reproductions eupplied by EDRS are the best that can be made * * from the original document. * *********************************************************e************* a WCMEN ART EDUCATORS edited by Enid Zimmerman and Mary Ann Stankiewicz sponsored by the Mary Rouse Memorial Fund at Indiana University and the Women's Caucus of the National Art Education Association Indiana University Bloomington, Indiana (2) April, 1982 CONTENTS PAGE INTRODUCTION Enid Zimmerman and Mary Ann Stankiewicz 1 MARY ROUSE: A REMEMBERANCE Guy Hubbard 7 THE SEARCH FOR MRS. MINOT: AN ESSAY ON THE CAPRICES OF HISTORICAL RESEARCH Robert J. Saunders 18 WOMAN, ARTIST, ART EDUCATOR: PROFESSIONAL IMAGE AMONG WOMEN ART EDUCATORS Mary Ann Stankiewicz 30 BELLE BOAS: HER KINDLY SPIRIT TOUCHED ALL Enid Zimmerman 49 MARION QUIN DIX: A PEOPLE PICKER AND AN INNOVATOR IN AMERICAN ART EDUCATION Ann Gregory 59 MARION QUIN DIX: FACILITATOR, HELPER, COLLEAGUE AND FRIEND Jerome J. Hausman 72 WHAT HAPPENED TO MALVINA HOFFMAN? Enid Zimmerman 74 AMERICAN INDIAN WOMEN AS ART EDUCATORS Leona M. Zastrow 88 SEARCHING FOR WOMEN ART EDUCATORS OF THE PAST Mary Ann Stankiewicz 96 dedicated to Mary Jane Rouse Introduction Mary Ann Stankiewicz and Enid Zimmerman When the Women's Caucus of the National Art Education Association (NAEA) set forth its position paper in April, 1976, it sought to support eqpality for women in a variety of ways, including encouraging research about the status of women in art education. The Women's Caucus also perceived itself as a public advocate for the elimination of sex discrimination and stereotyping in the art education profession. t.a have prepared this monograph of selected papers on the history of women art educators as a means of encouraging further historical research about the contributions, status, and role of women in the field of art education. Researching women art educators includes reportinp who they were in the past so that who they are now and who they might be in the future can be assessed. The 1960s witnessed a surge of interest in the women's movement and the beginnings of courses and research in women's studies on university campuses around the country. In the 1970s, there was a plethora of books and articles based on research about women. Virtually ignored by researchers in the past, women became a legitimate focus of numerous studies. Although research about women has been conducted in psychology and education, it has just begun to make an impact on the field of art education. Art education research, despite its reputation for being objective,has sometimes renorted history with bias, often changing or omitting information about women art educators. Many women played major roles in the foundation of art education courses that are familiar today. Their contributions, and the social constraints and obstacles they had to overcome, are important parts of the history of art education. Art educators must begin to challenge the ineouities and stereotypes -2- as they exist in respect to women and replace themwith an awareness that leads to understanding of the past roles of women and their present status in the field. Sound research should provide bases and impetus for change. It is not from opinions, but from conclusions drawn from research, that change should occur. By dedicating this first monograph about women art educators to the late Mary Rouse, a strong, dynamic role model for women art educators is evoked. Guy Hubbard writes about Mary Rouse's contributions to art education as a personal friend and colleague. Hubbard relates that Rouse came to the field of art education later than usual as a non-traditional student returning to school in order to make a career change after divorce. One reality of life for many women art educators is the need to balance personal needs with professional demands. Mary Rouse responded to these sometimes conflicting concerns by becoming an advocate of equal treatment for all, an outstanding researcher, a respected faculty member, and a supportive friend and teacher. Hubbard describes the balance Rouse established between maintaining high standards for research and creating a supportive environment for her students. Hubbard also discusses the importance of June MCFee as a mentor and role model for Rouse. Having experienced a close professional and personal association with McFee, Rouse developed similar bonds with her own students. Rouse's growth as a research oriented art educator is attributed to both a thorough graduate education in research methods and continued professional development through attendance at conferences. Hubbard discusses obstacles and gender stereotypes Rouse faced and how, despite them, she became a prominent art educator. Whereas Mary Rouse exemplifies the woman art educator as researcher and public advocate for art education, earlier women art educators perceived their roles differently. Robert J. Saunders describes how serendipity, tenaciousness, and curiosity lead him to ascertain the identityof a nineteenth century woman art educator. For nearly a century, Ws. Louisa Minothad remained hidden behind the personna of Elizabeth Peabody whileresearchers continued to promul- gate an historical error. Although Saunders uses the story of hissearch for Louisa Minot to make a point aboutaccuracy in historical research, the rediscovery of Mrs. Minot can also be viewedas an example of the role of the woman art educator ir the early nineteenth century. Louisa Minot did nothing that would provoke pu)lic attention; her contributionsto art education were made anonymously, in the case of her writings, andpractically, in the case of her actual teaching experiences. Like many nineteenth centurywomen, Mrs. Minot seems to have accepted the stereotype favored by herera; women were private people contributing to society by nurturingothers in the women's sphere of home and family. Even her art teaching seems to have begunat home with her own children and those of her friends and was later extendedto public school teaching. As Saunders sketches the brief facts of herlife, we see Mrs. Minot, like so many other undocumented art educators,quietly contributing to the field of art education. Mrs. Minot's ghostly imagecan be contrasted with the women art educators, who taught at Syracuse University from1900-1940,presented in Mary Ann Stankiewicz's paper. These Syracuse women appear to fit twostereotypes: the romantic view of artist and the Victorian view ofwoman. In this article, the problem of image among women art educators is discussed and questions about role modelsfor future art educators is raised. None of the Syracuse women madea strong contribution to research in art education and few attended nationalconferences. The lives of Mary Ketcham, Rilla Jackman, and CatherineCondon present models of women art educators that are very different from the modelpresented of Mary Rouse. Yet, some themes are similar in both. Rouse combined personal and professional concerns in her support for students and equal rights for women. Students and faculty in art education at Syracuse combined personal and professional interests
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