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University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find e good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR 790210a COLLIMS, &FOR & IA CHAM3EKLIN THE SEX—APPROPRIATENESS OF ART ACTIVITY FOR THE FEMALE. THE OHIO STATE UNIVERSITY, PH.D., 1978 University Micrcxilrns International 300 n. zeeb road, ann arb o r, mi 4 8 io e © Copyright by Georgia Chamberlin Collins 1978 THE SEX-APPROPRIATENESS OF ART ACTIVITY FOR THE FEMALE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Georgia Chamberlin Collins, B.A., M.A. The Ohio State University 1978 Reading Committee: Approved By Robert Arnold Rogena Degge Nancy MacGregor Kenneth A. Marantz Adviser Department of Art Education IN MEMORY OF Margaret Gregg Chamberlin, Lillian Bierer Gregg, Kate Bear Bierer. ACKNOWLEDGEMENTS With grateful acknowledgement to Robert Arnold, my advisor, for introducing me to the wonder of contemporary art and for encouraging my independence of thought in this inquiry; to Kenneth A. Marantz for demanding my critical thinking and for encouraging the development of my personal style; and to Rogena Degge, Barbara Groseclose, and Nancy MacGregor for their insights, advice, and kind counsel. Special thanks to Renee Sandell for sharing and supporting my interest in feminist art education; to Beverly Salehi for her help in typing early drafts of this dissertation; to Allan Collins, his computer, and his friends, Brenda and Jill, for producing the final drafts and copy; and to my husband, Clinton Collins, for his continuous support and help in this and other related efforts; and to my children, Gregg, Lynn, and Christine for making it all worthwhile. VITA January 28, 1934...... Born - Twinsburg, Ohio 1952-1955.............. Studio Art major, University of Wisconsin 197 2 ...................... B.A., Art Education, University of Kentucky 1972-1974............... Research Assistant, Teacher Corps, University of Kentucky 197 3 .......... ........... M.A., Secondary Education, University of Kentucky 1974-197 5 ............... Art Teacher, Innisfree School, Lexington, Kentucky 1975-197 6 ............... Instructor, Art Education, University of Kentucky 1976 to present........ Assistant Professor, Art Education, University of Kentucky PUBLICATIONS AND EXHIBITIONS "Reflections on the Head of Medusa." Studies in Art Education, 19_{2 ) , 1978, pp. 10-18. "Considering an Androgynous Model for Art Education." Studies in Art Education, 18J2), 1977, pp. 54-62. "Portrait of the Artist As a Young Woman." Sculpture. An invitational exhibition, Women's Center, Lexington, Kentucky, December 2-4, 1977. "Reflections on the Head of Medusa." Sculpture. Kentucky Women's Art, a juried exhibition, Lexington, Kentucky, May 1977. FIELD OF STUDY Major Field: Art Education iv TABLE OF CONTENTS Page DEDICATION.................................................. ii ACKNOWLEDGEMENTS.......................................... iii VITA......................................................... iv LIST OF TABLES............................................. viii LIST OF FIGURES........................................... viv Chapter I. INTRODUCTION .......................... 1 Intent, Purpose and Premise......... 1 Assumptions............................. 2 Problems................................. 13 Approach and Method................... 18 Chapter by Chapter Prospectus...... 29 List of References.................... 31 II. WAS ART SEX-APPROPRIATE FOR THE FEMALE? 34 Purpose and Tasks of This Chapter.. 34 Why the Past Comes First............. 36 Possible Perspectives on History... 37 Consciousness of History in the Movement............................ 40 History as a Consciousness Raiser.. 46 A Raised Consciousness Values History............................. 51 The Feminist Critique of Art History: The Jansen and Other Related Phenomena........ 56 Overview of Past Female Art Activity............................ 62 The Criteria of Sex-Appropriateness 66 Prehistory......................... 70 Ancient and Classical Civilizations...................... 77 The Middle Ages........................ 78 Renaissance and Baroque Periods.... 82 18th and 19th Centuries ...... 87 v Page Charting the Sex-Approriateness of Art Activity for the Female of the Past........................ 91 Alternative Interpretations of the Past Relationship Between Art and the Female..................... 96 Explanatins for the Past Sex- Inappropriateness of Art for the Female......................... 100 Conditions as Explanation for the Past Sex-Inappropriateness of Art for the Female............ 103 List of References..................... 118 III. IS ART SEX-APPROPRIATE FOR THE FEMALE? 125 Purpose and Tasks of This Chapter.. 125 Political Awareness and Protest in the Present........................ 127 Orientations to Change: Where to Go; How to Get There................. 140 How Change Orientations Relate to Interpretations of the Past and Present........................ 144 Overview of the Sex-Appropriateness of Art for the Female in the Present.............................. 152 Alternative Interpretations of the Present Relationship Between Art and the Female............... 162 Explanations for the Sex-Inappro- priateness of Art for the Female in the Present and Immediate Past................................ 166 Integrationist Explanations for ~ - the Sex-Inappropriateness of Art in the Present............... 167 Separatist Explanations of the Sex- Inappropr iateness of Art for the Female in the Present...... 174 Pluralist Explanatins of the Sex- Inappropr iateness of Art For the Female in the Present....... 178 Issues Raised by the Feminist Critique of the Relationship Between Art and the Female.... 181 List of References..................... 184 vi Page IV. CAN ART BE SEX-APPROPRIATE FOR THE FEMALE? Purpose and Tasks of This Chapter.. 191 The Concept of Feminninity as a Key to the Sex-Inappropriateness of Art for the Female.... 193 Approaching the Concept of Femininity 195 A Thematic Analysis of the Concept of Femininity.............. 199 Particular Meanings of the Concept of Femininity....................... 208 The Relationship Between Femininity and the Female...................... 213 The Relationship Between Femininity and A r t ............................. 228 Relationships Between Femininty and Art: The Feminist Sensibility... 236 The Concept of Femininity and Orientations to Change........... 246 List of References...................... 256 V. SHOULD ART BE SEX-APPROPRIATE FOR THE FEMALE?.................................... 261 Purpose and Tasks of This Chapter... 261 The Ideal of Sex-Appropriateness and the Anticipation of Problems............................. 263 The Principles of Immanence and Transcendence....................... 272 The Masculine and/or Feminine Identification of A r t ........... 286 The Masculine Identification of Art.. 288 The Feminine Identification of Art.. 291 Sexual Identification and the Status of Art................................ 301 Summary and Conclusions.............. 310 List of References...................... 323 BIBLIOGRAPHY............................................... 327 vi i LIST OF TABLES Table Page 1 Evaluation System................................. 94 2 Evaluation System Applied....................... 94 3 Definition and Comparison of the Concepts of Transcendence and Immanence............. 277 vi i i LIST OF FIGURES Figure Page 1 Descriptive Analysis............................... 28 2 Charting Sex-Appropriateness Over Past Time.......................................
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