DOCSLIB.ORG

Download Issue 43

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Issue 43 Issue 43 / 2019 Notes on Curating www.oncurating.org Revisiting Black Mountain Cross-Disciplinary Experiments and Their Potential for Democratization Contributions by Caroline Adler, Sascia Bailer, Lucy Bayley, Paolo Bianchi, Johanna Bruckner, Annemarie Bucher, Boris Buden, Brandon Farnsworth, Simon Fleury, Jeanne van Heeswijk, Martin Jaeggi, Andres Janser, Gilly Karjevsky, Susanne Kennedy, Ronald Kolb, Ronny Koren, Jochen Kiefer, Steven Henry Madoff, Mieke (Annemarie) Matzke, Daniel Späti, Raqs Media Collective, Dorothee Richter, Olga von Schubert, Bitten Stetter, Cornelia Sollfrank, Asli Uludag Contents Revisiting Black Mountain 2 64 Editorial Ambiguous Dramaturgies Dorothee Richter, Ronald Kolb and Crude Curation Jochen Kiefer 8 An E-mail Conversation on the Background of 67 the Revisiting Black Mountain Project at ZHdK Utopian Form of Communication with Bitten Stetter, Brandon Farnsworth, An Interview with Dorothee Richter, Jochen Kiefer, Martin Jaeggi, Mieke (Annemarie) Matzke, She She Pop Paolo Bianchi asked by Ronald Kolb 73 17 The Infinite Game of Becoming Revisiting Black Mountain × Museum Susanne Kennedy für Gestaltung Zürich Andres Janser 80 “We have created a parody of these 20 austere rituals which didn’t exist Shared Campus in the past”: Revisiting Music Education Daniel Späti Brandon Farnsworth 23 86 Black Mountain: Terra Vague: Pedagogy of the Hinge Against the Ghosts of Land Steven Henry Madoff Johanna Bruckner 35 93 Revisiting Black Mountain College. New Alphabet School Teaching to Transgress (Haus der Kulturen der Welt: 2019–2021) Dorothee Richter Olga von Schubert, Caroline Adler and Boris Buden 48 98 How we live now – Art System, Work Flow “Everyone is just watching and Creative Industries what’s happening…” A collaborative exercise by Sascia Bailer, 50 Lucy Bayley, Simon Fleury, Gilly Karjevsky, Commoning the Institution – or and Asli Uludag to reflect upon our shared How to Create an Alternative (Art School), experiences at Un-Learning Place When “There Is No Alternative.” at Haus der Kulturen der Welt Cornelia Sollfrank 105 54 Jeanne van Heeswijk Emphasizing the “Co”-Factor: Interview by Ronny Koren Practicing, Teaching, and Learning the (Fine) Arts Outside the Curricula 112 Annemarie Bucher Dreams of Equal Division of Toxicity Raqs Media Collective 118 Imprint 1 Issue 43 / December 2019 Editorial Revisiting Black Mountain Editorial Dorothee Richter, Ronald Kolb Experimenting as a form of teaching, democratic coexistence, interdisciplinarity, the self-determination of students and teachers, and working in art and design to develop and reconstruct society: Black Mountain College, founded in 1933, served as a space for artistic and social utopias for two decades and has remained a starting point for discussions on the conditions for successful teaching and research in the arts and design through to today. And as one historical example—in addition to many other pedagogical reform projects—Black Mountain College could, in hindsight, be seen as an education project to enable subjects capable of self-empowerment, of working together in common spaces and inventing new forms through this process. These cross-disciplinary experiments and self-empowering strategies just might be urgently needed in times of so-called Post-Democracy and Post-Facts, which imply a reformulation of the public sphere. Is there a potential in the cultural sphere that might offer a space for democratization? Does the impact of new working methods linked to digital technology drive further interconnections and resources that create other public spheres? Might this be a catalyst for new patterns of a communal exchange? And what does this mean for the teaching and learning of arts and design, for the structures, formats, and content of learning/teaching, for an institution? The symposium “Revisiting Black Mountain College: Cross-Disciplinary Experiments and Their Potential for Democratization (in Times of Post-Democracy)” asked these questions in relation to anti-democratic tendencies in many countries worldwide. How can education still hold up democratic values, while at the same time presumably measuring its success by careers in the market? The symposium—from 25–27 May 2018—was organized by Prof Dr Dorothee Richter in conjunction with the exhibition and event programme “Revisiting Black Mountain” (documented under https://blog. zhdk.ch/revisit) initiated by the Zurich University of the Arts (especially through the now retired Head of the Department of Performing Arts and Film, Hartmut Wickert and the Head of the Department of Cultural Analysis, Christoph Weckerle) under the direction of the “Kollegium Kuration” (Bitten Stetter, Brandon Farnsworth, Dorothee Richter, Jochen Kiefer, Martin Jaeggi, Paolo Bianchi), with the aim of opening up projects from different disciplines, of artistic and research-based practices in equal measure, and the idea that it should be open to the participation of all groups at the university—students, researchers, and lecturers. This new interest in other forms of learning is also connected to the cooperation platform “Shared Campus,” a bold initiative by the ZHdK working together on experimental educational formats at eye level with partner universities from Hong Kong, Kyoto, Singapore, Taipei and London. To work at eye level means that one also has to work on other forms of teaching and learning. In our globalized cultural world, deep cultural knowledge – both locally and globally – is a central requirement for artists and cultural practitioners working in diverse geographical, cultural, and social contexts; therefore, a vibrant network of international practitioners as well as the 2 Issue 43 / December 2019 Editorial Revisiting Black Mountain knowledge and experience necessary for navigating and being aware of such complex situations is a pre-condition in every contemporary cultural practice. The symposium showed connections, interferences, contradictions, confrontations, and dialogues. We invited cross-disciplinary radical cultural practitioners as well as educators specifically interested in educational experiments. The invited speakers from various disciplines presented diverse formats of engaging with educational methods: Bernard Stiegler (philosopher), Alfredo Jaar (artist), Hongjohn Lin (curator), Susanne Kennedy (choreographer), Steven Henry Madoff (author, curator), Lisette Smit (curator), Raqs Media Collective (artists, curators), and Jeanne van Heeswijk (artist, activist) with lecturers (designers, musicians, theoreticians, curators) of the ZHdK, including: Swetlana Heger (artists), Dorothee Richter (curator, author), Gerald Raunig (theoretician), Nina Bandi (theoretician), Sabine Harbeke (drama- turge), Brandon Farnsworth (musician), Annemarie Bucher (artist), Daniel Späti (designer), and Cornelia Sollfrank (artist). This issue brings together contributions from participants of the conference and adds further contributions by Andres Janser, Olga von Schubert, Caroline Adler, Boris Buden, Lucy Bayley, Sascia Bailer, Simon Fleury, Gilly Karjevsky, Asli Uludag, and Mieke Matzke. The interview by Ronald Kolb with Bitten Stetter, Brandon Farnsworth, Dorothee Richter, Jochen Kiefer, Martin Jaeggi, and Paolo Bianchi—all professors or lecturers at the Zurich University of the Arts—provides an internal perspective of today’s curriculum-based universities in relation to an education model like Black Mountain College—which can be seen as the opposite. The contribution by Andres Janser introduces the exhibition REVISITING BLACK MOUNTAIN × MUSEUM FÜR GESTALTUNG ZÜRICH, he curated at Museum für Gestaltung Zürich, which ran in parallel to the project, and gave historical insights into Black Mountain College. Daniel Späti presents the cooperation platform Shared Campus, a ZHdK initiative for international education formats launched by eight arts institutions. Steven Henry Madoff ’s contribution Black Mountain: Pedagogy of the Hinge gives thorough insights into the history of Black Mountain College and its migratory background and describes the form of the college as a formless network or assemblage. Dorothee Richter follows the argument related to a renewed interest in other forms of knowledge production—as seen in Black Mountain College—in our contemporary society in her contribution Teaching to Transgress. She connects John Dewey’s educational theory with Fluxus’ Robert Filliou, bell hooks, and Jacques Rancière’s and Jacques Derrida’s theories. Commoning the Institution–or How to Create an Alternative (Art School), When “There Is No Alternative,” the contribution by Cornelia Sollfrank, brings the “Com- mons” into an educational framework and discusses it with the example of the ERG Saint-Luc Graphic Research School. 3 Issue 43 / December 2019 Editorial Revisiting Black Mountain In Emphasizing the “Co”-Factor: Practicing, Teaching, and Learning (Fine) Arts Outside the Curricula, Annemarie Bucher discusses alternative formats of teaching outside of an institutional framework. The contribution tells us about methods Bucher created in FOA-FLUX, an art and education project founded by Dominique Lämmli and her. In his text, Ambiguous Dramaturgies and Crude Curation, Jochen Kiefer looks into theater practices and fine arts-related curating—their similarities, their differences, and their overlaps, and what they can tell us about education practice. The interview with Mieke Matzke (member of She She Pop) by Dorothee Richter pursues the question of what the cross-genre and experimental teaching of Black Mountain
Load more

Recommended publications
  • Leap Before You Look: Black Mountain
    Reviews 1. Exhibition travelled to LEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933–1957, the Hammer Museum, Los Angeles, CA INSTITUTE OF CONTEMPORARY ART, BOSTON, 10 OCTOBER 2015– (21 February–15 May 24 JANUARY 20161 2016) and the Wexner Center for the Arts, Columbus, Ohio (17 Reviewed by Johanna Gosse, Columbia University September 2016– 1 January 2017). What is an exhibition? Is it a machine for generating experience? Or rather, is it a specific medium, equipped with its own inherent logic, or to borrow Clement Greenberg’s famous phrase, a ‘unique and proper area of compe- tence’? Leap Before You Look: Black Mountain College, 1933–1957, organized by the Institute of Contemporary Art (ICA) in Boston, offers an opportunity to reconsider what an exhibition is, and, more to the point, what it can be expected to do. Black Mountain College was a short-lived experiment in liberal arts educa- tion located near Asheville, North Carolina. Though the school shut down in 1957, it has since achieved mythical status as a home-grown American avant- garde utopia. During its near quarter-century of existence, the College was host to catalytic encounters between an international cast of artists, writers and thinkers, many of whom influenced or directly participated in what Allan Kaprow called ‘the alchemies of the 1960s’ (1958). As a result, the name ‘Black Mountain’ refers not so much to a specific time and place or cohesive style, but rather, to an illustrious list of faculty and alumni who collectively have exerted a disproportionate influence on post-war American art. Beyond its influential diaspora, the College’s broader legacy (and its persistent utopian myth) is rooted in the communal ethos and intersecting practices that char- acterized campus life: experiential learning, interdisciplinary collaboration, the work programme, direct democracy, and the opportunity to create art in relative freedom from market pressures.
    [Show full text]
  • Black Mountain College As a Form of Life Lyubov Bugaeva
    BLACK MOUNTAIN COLLEGE AS A FORM OF LIFE Education as Experience Lyubov Bugaeva Saint-Petersburg State University [email protected] Pragmatist ideas that were shaped and employed in unique practices of teaching and organizing students’ life ABSTRACT: The paper focuses on a unique experiment in in Black Mountain College came from several sources – education that was realized in Black Mountain College (North Carolina) in 1933–1957 and seeks to find answers directly from John Dewey’s writings, and indirectly chan- to a number of questions. What connects the notions of neled through John Andrew Rice and Josef Albers. In the democracy, education, and the arts? To what extent is Dewey’s version of pragmatism, known as instrumental- 1930s John Dewey visited the College on several occa- ism, applicable to education in the arts? And finally, what sions. In 1936 he was elected a member of the Advisory makes Black Mountain College a revolutionary experiment in education, the importance and memory of which con- Council of Black Mountain College and served for three siderably outlasts its less than a quarter of a century exist- years, and in 1939 was re-elected for the next term. The ence? library comprised many of Dewey’s writings donated by Keywords: Black Mountain College, John Andrew Rice, the author during his visits. Dewey attended classes, Joseph Albers, John Dewey, progressive education, art, advised on the curriculum, and enjoyed formal and democracy, democratic man informal communication with students and faculty, who had meals and extracurricular activities together. In a “The democratic man, we said, must be an artist” letter to Myrtle B.
    [Show full text]
  • Josef Albers: Josef Albers: to Open Eyes Para Abrir Ojos
    BRENDA DANILOWITZ BRENDA DANILOWITZ Josef Albers: Josef Albers: To Open Eyes Para abrir ojos To coincide with an exhibition of Josef Albers’s Para corresponder con la apertura de una exhibi- paintings opening at the Chinati Foundation ción de pinturas de Josef Albers en la Fundación in October 2006, the following pages feature Chinati este octubre, incluimos a continuación un an excerpt from Brenda Danilowitz’s essay in extracto del libro Josef Albers: To Open Eyes por Josef Albers: To Open Eyes, a study of Albers Brenda Danilowitz, un estudio de Albers como as teacher, and essays on the artist written by maestro, y ensayos sobre el artista escritos por Donald Judd over a 30-year period. Donald Judd a lo largo de treinta años. At the very moment Josef and Anni En el preciso momento cuando Josef y Albers found themselves unable to Anni Albers ya no podían imaginar su imagine their future in Germany, the futuro en Alemania, llegó la oferta de offer of a teaching position at Black una cátedra en la Universidad Black Mountain College arrived. This sur- Mountain. Esta sorprendente invitación, prising invitation, which came in the en forma de un telegrama mandado form of a telegram from Philip John- por Philip Johnson, director del nuevo son, then head of the fledgling de- Departamento de Arquitectura y Diseño partment of architecture and design del Museo de Arte Moderno de Nueva at New York’s Museum of Modern York, fue una consecuencia fortuita de Art, was an unintended consequence tres acontecimientos: la dimisión de of three events: John Andrew Rice’s John Andrew Rice de Rolins College en resignation from Rollins College in Winter Park, Florida, los concomitantes Winter Park, Florida; the attendant despidos y dimisiones solidarias de un dismissals and sympathetic resigna- grupo de colegas de Rice, y el estable- the curriculum] was natural to me.
    [Show full text]
  • An Oral Interpretation Script Illustrating the Influence
    379 AN ORAL INTERPRETATION SCRIPT ILLUSTRATING THE INFLUENCE ON CONTEMPORARY AMERICAN POETRY OF THE THREE BLACK MOUNTAIN POETS: CHARLES OLSON, ROBERT CREELEY, ROBERT DUNCAN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By H. Vance James, B.A. Denton, Texas August, 1981 J r James, H. Vance, An Oral Interpretation Script Illustrating the Influence on Contemporary American Poetry of the Three Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan. Master of Science (Speech Communication and Drama), August, 1981, 87 pp., bibliography, 23 titles. This oral interpretation thesis analyzes the impact that three poets from Black Mountain College had on contemporary American poetry. The study concentrates on the lives, works, poetic theories of Charles Olson, Robert Creeley, and Robert Duncan and culminates in a lecture recital compiled from historical data relating to Black Mountain College and to the three prominent poets. @ 1981 HAREL VANCE JAMES All Rights Reserved TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . iv Chapter I. INTRODUCTION . 1 History of Black Mountain College Purpose of the Study Procedure II. BIOGRAPHICAL INFORMATION . 12 Introduction Charles Olson Robert Creeley Robert Duncan III. ANALYSIS . 31 IV. LECTURE RECITAL . 45 The Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan "These Days" (Olson) "The Conspiracy" (Creeley) "Come, Let Me Free Myself" (Duncan) "Thank You For Love" (Creeley) "The Door" (Creeley) "Letter 22" (Olson) "The Dance" (Duncan) "The Awakening" (Creeley) "Maximus, To Himself" (Olson) "Words" (Creeley) "Oh No" (Creeley) "The Kingfishers" (Olson) "These Days" (Olson) APPENDIX .
    [Show full text]
  • The Pennsylvania State University the Graduate School
    The Pennsylvania State University The Graduate School College of Arts and Architecture PLANTAE, ANIMALIA, FUNGI: TRANSFORMATIONS OF NATURAL HISTORY IN CONTEMPORARY AMERICAN ART A Dissertation in Art History by Alissa Walls Mazow © 2009 Alissa Walls Mazow Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2009 The Dissertation of Alissa Walls Mazow was reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Adviser Chair of Committee Brian A. Curran Associate Professor of Art History Richard M. Doyle Professor of English, Science, Technology and Society, and Information Science and Technology Nancy Locke Associate Professor of Art History Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School. ii Abstract This dissertation examines the ways that five contemporary artists—Mark Dion (b. 1961), Fred Tomaselli (b. 1956), Walton Ford (b. 1960), Roxy Paine (b. 1966) and Cy Twombly (b. 1928)—have adopted the visual traditions and theoretical formulations of historical natural history to explore longstanding relationships between “nature” and “culture” and begin new dialogues about emerging paradigms, wherein plants, animals and fungi engage in ecologically-conscious dialogues. Using motifs such as curiosity cabinets and systems of taxonomy, these artists demonstrate a growing interest in the paradigms of natural history. For these practitioners natural history operates within the realm of history, memory and mythology, inspiring them to make works that examine a scientific paradigm long thought to be obsolete. This study, which itself takes on the form of a curiosity cabinet, identifies three points of consonance among these artists.
    [Show full text]
  • Download This PDF File
    Studi di estetica, anno XLVII, IV serie, 3/2019 ISSN 0585-4733, ISSN digitale 1825-8646, DOI 10.7413/18258646102 David A. Granger1 The legacy of John Dewey’s Art as experience: from Black Mountain College to “happenings” Abstract This is a companion piece to an article in a previous issue of the journal that offered an overview of the contrasts between John Dewey’s naturalistic aes- thetics, primarily as presented in his classic work Art as experience, and the more formalist aesthetics of art collector, philanthropist and educator Albert Barnes. This contrast was then used to explore and explain their disparate compatibilities and relationships with the pioneering work of the iconic 20th century American artists Thomas Hart Benton and Jackson Pollock. The cur- rent article does the same with respect to the avant-garde art and artistic legacy of the members of the creative community who lived and worked at Black Mountain College in North Carolina. As with the previous article, this examination ultimately underscores both the genuine catholicity of Dewey’s aesthetics and its deep roots in the endless meaning-making possibilities of everyday experience. The article then concludes with a brief discussion of the educational implications of these findings for our thinking about Dewey in the context of art and aesthetic education. Keywords Dewey, Aesthetics, Art education Dedicated to my mother, Julia Merriwether Arnold 1. Introduction There is perhaps no more intriguing aspect of John Dewey’s personal and professional life than his over thirty-year friendship with the in- imitable art collector, philanthropist and educator Albert Barnes.
    [Show full text]
  • Art and Technology Between the Usa and the Ussr, 1926 to 1933
    THE AMERIKA MACHINE: ART AND TECHNOLOGY BETWEEN THE USA AND THE USSR, 1926 TO 1933. BARNABY EMMETT HARAN PHD THESIS 2008 DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON SUPERVISOR: PROFESSOR ANDREW HEMINGWAY UMI Number: U591491 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591491 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 I, Bamaby Emmett Haran, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 ABSTRACT This thesis concerns the meeting of art and technology in the cultural arena of the American avant-garde during the late 1920s and early 1930s. It assesses the impact of Russian technological Modernism, especially Constructivism, in the United States, chiefly in New York where it was disseminated, mimicked, and redefined. It is based on the paradox that Americans travelling to Europe and Russia on cultural pilgrimages to escape America were greeted with ‘Amerikanismus’ and ‘Amerikanizm’, where America represented the vanguard of technological modernity.
    [Show full text]
  • Andy Cumbers Bridget Fowler
    Maud Bracke: Bracke, M. Which socialism, whose détente? West European Communism and the 1968 Czechoslovak Crisis. Central European University Press, Budapest - New York, 2007. Which socialism, whose detente? Translation of this book to appear with Carocci Editore, Rome, 2008. Journal articles Bracke, M. “French perceptions of the Prague Spring: connections, misperception and appropriation”, Europe-Asia Studies , Vol. 60, no. 10, 2008. (forthcoming) Bracke, M. “From the Atlantic to the Urals? French and Italian communism and the question of Europe in the long 1960s”, in Journal of European Integration History , 2007, Vol. 14 nr. 2. Bracke, M. “The 1968 Czechoslovak Crisis: Reconsidering its History and Politics”, European Contemporary History , Cambridge University Press, Vol 12:3, August 2003. ISSN 0960-7773 Bracke, M. “What can the Left learn from 1968? The Czechoslovak crisis, the Left in Western Europe, Revolution and Reform”, Soundings , Lawrence&Wishart, Issue 23, Spring 2003. ISSN 1362-6620, ISBN 0-85315-975-0. Bracke, M., “Proletarian Internationalism, Polycentrism and Autonomy. The changing Perspectives of the Italian and French Communist Parties in the ‘long 1960s’ ” in Bracke, M., Jorgensen, T., West European Communism after Stalinism. Comparative Approaches . EUI Working Paper Series, Florence, 4/2002. Andy Cumbers Recent publications | Cumbers , A. and McMaster, R. in press. Socialism, instrumental valuation and human dignity. Economy and Society . Cumbers , A. Helms, G. and Swanson, K. (2010) Class agency and resistance in the old industrial city. Antipode , v. 42 (1), 46-73. Cumbers , A. Helms, G. and Keenan, M. (2009). Beyond Aspiration: Young People and Decent Work in the De-industrialised City , Discussion Paper, June 2009.
    [Show full text]
  • Print ED356702.TIF
    DOCUMENT RESUME ED 356 702 HE 026 357 AUTHOR Townsend, Barbara K.; And Others TITLE Creating Distinctiveness: Lessons from Uncommon Colleges and Universities. ASHE-ERIC Higher Education Report No. 6, 1992. INSTITUTION Association for the Study of Higher Education.; ERIC Clearinghouse on Higher Education, Washington, D.C.; George Washington Univ., Washington, DC. School of Education and Human Development. SPONS AGENCY Office of Educational Research and Improvement (ED), Washington, DC. REPORT NO ISBN-1-878380-19-2; ISSN-0884-0040 PUB DATE 92 CONTRACT RI88062014 NOTE 110p. AVAILABLE FROMPublications Department, ASHE-ERIC Higher Education Reports, The George Washington University, One Dupont Circle, N.W., Suite 630, Washington, DC 20036-1186 (Single copy prices, including 4th class postage and handling, are $17 regular and $12.75 for members of AERA, AAHE, AIR, and ASHE). PUB TYPE Information Analyses ERIC Clearinghouse Products (071) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS *Colleges; Differences; *Educational Innovation; Governance; Higher Education; *Institutional Mission; Institutional Survival; Models; Organizational Change; *School Based Management; School Policy; *Specialization; Undergraduate Study; *Universities; Values ABSTRACT Distinctive colleges and universities, as opposed to the great majority which fit into a more or less standardized mold, possess a unifying theme or vision which is expressed in all their activities. They often respond to newly emerging societal or community needs unmet by existing colleges and universities; they challenge conventional ideas about higher education and inspire greater engagement by students and faculty in undergraduate education. However, distinctiveness can also limit the institution to a very small market niche as well as sometimes making it more difficult for it to adapt to the changes necessary for survival.
    [Show full text]
  • Rendering Rhythm and Motion in the Art Of
    A Lasting Imprint Rendering Rhythm and Motion in the Art of Black Mountain College Movement and music—both time-based activities—can be difficult to express in static media such as painting, drawing, and photography, yet many visual artists feel called to explore them. Some are driven to devise new techniques or new combinations of media in order to capture or suggest movement. Similarly, some visual artists utilize elements found in music—rhythms, patterns, repetitions, and variations—to endow their compositions with new expressive potency. In few places did movement, music, visual arts, and myriad other disciplines intermingle with such profound effect as they did at Black Mountain College (BMC), an experiment in higher education in the mountains of Western North Carolina that existed from 1933 to 1957. For many artists, their introduction to interdisciplinarity at the college resulted in a continued curiosity around those ideas throughout their careers. The works in the exhibition, selected from the Asheville Art Museum’s Black Mountain College Collection, highlight approaches to rendering a lasting imprint of the ephemeral. Artists such as Barbara Morgan and Clemens Kalischer seek to capture the motion of the human form, evoking a sense of elongated or contracted muscles, or of limbs moving through space. Others, like Lorna Blaine Halper or Sewell Sillman, approach the challenge through abstraction, foregoing representation yet communicating an atmosphere of dynamic change. Marianne Preger-Simon’s drawings of her fellow dancers at BMC from summer 1953 are not only portraits but also a dance of pencil on paper, created in the spirit of BMC professor Josef Albers’s line studies as she simultaneously worked with choreographer Merce Cunningham.
    [Show full text]
  • Finding Black Mountain the Spirit of Progressive Education in the 21St Century
    FINDING BLACK MOUNTAIN THE SPIRIT OF PROGRESSIVE EDUCATION IN THE 21ST CENTURY A Dissertation by JOHN HENSON Submitted to the Graduate School at Appalachian State University in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION December, 2019 Educational Leadership Doctoral Program Reich College of Education FINDING BLACK MOUNTAIN THE SPIRIT OF PROGRESSIVE EDUCATION IN THE 21ST CENTURY A Dissertation by JOHN HENSON December, 2019 APPROVED BY: Dr. Chris Patti, Ph.D Chairperson, Dissertation Committee Dr. Vachel Miller, Ed.D Member, Dissertation Committee Dr. Kim Becnel, Ph.D Member, Dissertation Committee Dr. Vachel Miller, Ed.D Director, Educational Leadership Doctoral Program Dr. Michael McKenzie, Ph.D Dean, Cratis D. Williams School of Graduate Studies Copyright by John Henson 2019 All Rights Reserved Abstract FINDING BLACK MOUNTAIN THE SPIRIT OF PROGRESSIVE EDUCATION IN THE 21ST CENTURY John Henson B.S., Appalachian State University M.Ed., Boston University Ed.D., Appalachian State University Dissertation Committee Chairperson: Dr. Chris Patti This study explores the phenomena of the Black Mountain College Semester (BMCS) as a means to locate the spirit of progressive education in the 21st Century. Through interviews with contemporary faculty who organized and participated in the BMCS, along with document analysis of texts related to the history and legacy of the BMC, this research seeks to identify effective strategies for cultivating innovation, creativity, and community in the classrooms of today and tomorrow. Using a thematic analysis of interviews and historical texts, this study illuminates the values that past and present educators hold as sacred, and the ways in which they put those values into practice in their classrooms.
    [Show full text]
  • Document Resume
    DOCUMENT RESUME ED 380 367 SO 024 584 AUTHOR Harris, Laurie Lanzen, Ed. TITLE Biography Today: Profiles of People of Interest to Young Readers, 1994. REPORT NO ISSN-1058-2347 PUB DATE 94 NOTE 444p.; For volumes 1-2, see ED 363 546. AVAILABLE FROM Omnigraphics, Inc., Penobscot Building, Detroit, Michigan 48226. PUB TYPE Guides Classroom Use Instructional Materials (For Learner) (051) Collected Works Serials (022) JOURNAL CIT Biography Today; v3 n1-3 1994 EDRS PRICE MF01/PC18 Plus Postage. DESCRIPTORS Artists; Authors; *Biographies; Elementary Secondary Education; *Popular Culture; Profiles; Recreational Reading; *Role Models; *Student Interests; Supplementary Reading Materials ABSTRACT This document is the third volume of a series designed and written for the young reader aged 9 and above. It contains three issues and covers individuals that young people want to know about most: entertainers, athletes, writers, illustrators, cartoonists, and political leaders. The publication was created to appeal to young readers in a format they can enjoy reading and readily understand. Each issue contains approximately 20 sketches arranged alphabetically. Each entry combines at least one picture of the individual profiled, and bold-faced rubrics lead the reader to information on birth, youth, early memories, education, first jobs, marriage and family, career highlights, memorable experiences, hobbies, and honors and awards. Each of the entries ends with a list of easily accessible sources to lead the student to further reading on the individual and a current address. Obituary entries also are included, written to prcvide a perspective on an individual's entire career. Beginning with this volume, the magazine includes brief entries of approximately two pages each.
    [Show full text]