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Information to Users INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information C om pany 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313 761-4700 800/521-0600 Order Number 9031153 The utilitarian object as appropriate study for art education: An historical and philosophical inquiry grounded in American and British contexts Sproll, Paul Anthony, Ph.D. The Ohio State University, 1990 Copyright ©1990 by Sproll, Paul Anthony. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 NOTE TO USERS THE ORIGINAL DOCUMENT RECEIVED BY U.M.I. CONTAINED PAGES WITH PHOTOGRAPHS WHICH MAY NOT REPRODUCE PROPERLY. THIS REPRODUCTION IS THE BEST AVAILABLE COPY. THE UTILITARIAN OBJECT AS APPROPRIATE STUDY FOR ART EDUCATION: AN HISTORICAL AND PHILOSOPHICAL INQUIRY GROUNDED IN AMERICAN AND BRITISH CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Paul Anthony Sproll, Cert.Ed., B.A., M.A. ***** The Ohio State University 1990 Dissertation Committee: Approved by Kenneth Marantz Nancy MacGregor Arthur Efland Adviser Department of Art Education Copyright by Paul Anthony Spro 1990 To My Mother, Margaret, & Son Toby ii ACKNOWLEDGEMENTS I wish to record my sincerest appreciation to my adviser Dr. Kenneth Marantz. His letters to me in England, while I was considering mapping a new career path, spoke of the Department of Art Education at The Ohio State University being able to offer me the learning experiences I sought. I was informed that I would be able to select courses from an "extensive menu" of "educational dishes," university wide. I have now created my meal, and feel veritably nourished. I thank Dr. Marantz for his encouragement, and his insightful guidance, throughout my studies. Thanks also go to my Committee members: Dr. Arthur Efland and Dr. Nancy MacGregor. To Professors, Margaret Brand, Donald Duncan, and Noel Mayo, for their valuable support. To Sandra Aska for her assistance with photography. To Roger Williams for a marvelous opportunity to talk with him about his chairs. To Roger Hickey in Brighton, England, for providing me with photographs of his chair sculptures. Further, I wish to recognize the support of three special people, to Cheryl Williams for her friendship and counsel in my "journey" from proposal to defense; to Clark Magruder for his careful editorship and whose presence in the program was a constant iii reminder that careers don't have to come to an end when one reaches 40; and to Jill Markey who was without doubt the best "desk partner" around. I wish also to thank the following for their cooperation: The Institute of Contemporary Art, London; Herman Miller, Inc.; Functional Furnishings, Columbus, Ohio; and the Fergus Jean Gallery, Columbus Ohio. I am also indebted to the following for their generous permission to reproduce images: Blueprint, London Dover Publications Knoll International The Museum of Modern Art, New York The New Yorker Thonet Industries iv VITA 1987 - 1990 ............ Graduate Teaching Associate/ Department of Art Education, The Ohio State University, Columbus, Ohio 1988 ..................... M.A., Art Education The Ohio State University, Columbus, Ohio 1971 - 1986 ............ Head of Art and Design Department, The John F. Kennedy School, Hemel Hempstead, England 1984 - 1985 ............ Visiting Fulbright Art Teacher, Orono High School, Orono, Maine 1980 ..................... B.A., History of Art & Design The Open University, Milton Keynes, England 1968 - 1971 ............ Art Teacher, Oxford School, Oxford 1966 - 1968 ............ Art Master, Lindisfarne College, Ruabon, Wales 1966 ..................... Certificate in Education., Bath Academy of Art, Corsham England FIELDS OF STUDY Major Field : Art Education v TABLE OF CONTENTS DEDICATION ii ACKNOWLEDGEMENTS ........................................... iii VITA ......................................................... v LIST OF PLATES ............................................. ix LIST OF FIGURES ............................................ xi PROLOGUE .................................................... 1 CHAPTER PAGE I. BRITISH GOVERNMENT INTERVENTION IN ART EDUCATION 1832-1854 MATTERS OF TASTE MATTERS OF COMMERCE . 24 1835 Parliamentary Debate: Arts and Manufactures. 24 1835 Select Committee on Arts and Manufactures . 31 The Great Exhibition London 1851 .................. 44 The Exhibition's Legacy: The Victoria and Albert Museum ............................. 70 Notes: Chapter I ..................................... 77 II. AMERICAN ART & INDUSTRY THE PHILADELPHIA CENTENNIAL AND A REPORT TO CONGRESS ........................... 82 The 1876 Philadelphia Centennial Exhibition ..... 85 The Centennial and Art Education .................. 109 Centennial Exhibits and the Smithsonian .......... 112 The Centennial Closes: Outcomes ................... 114 Isaac Edwards Clarke: A Report to Congress....... 120 Drawing in Public Schools: Industry's Handservant ........................................... 124 Isaac Edwards Clarke and "The Democracy of Art" . 132 Notes: Chapter II .................................... 135 III. "UNINTENTIONAL MODERN" MACHINE ART AT THE MUSEUM OF MODERN ART ........................................ 143 Architecture and Design at The Museum of Modern Ar t .................................................... 154 vi A Blue-Ribbon Panel of Judges for Machine Art at M O M A 16 2 Philip Johnson's Exhibition Design ............... 1G8 The Objects: Utility and Aesthetics .............. 170 Notes: Chapter III ................................... 181 IV. ART & EVERYDAY LIFE AMERICAN & BRITISH ART EDUCATION CURRICULA 1920's & 1930's .......................... 187 Bureau of Education: Industrial Education Circulars ............................................. 190 Art Education and Consumerism ..................... 198 The Owatonna Art Education Project ............... 202 British Currents: The Council for Art and Industry ............................................... 223 Notes: Chapter I V .................................... 229 V. THE OBJECT OF UTILITY MATTERS OF PERCEPTION MATTERS OF TASTE*............................................... 235 Matters of Definition ............................... 237 Institutional Forces ................................ 245 Matters of Value ..................................... 252 The Aesthetics of Utility: The Chair ............. 254 Perceptual Gymnastics ............................... 263 The Product Designer as "Artist" .................. 273 The Fine Artist as "Designer" ............... 280 The Promotion Maze ................................... 282 Notes: Chapter V ........................... 305 VI. REFLECTIONS & REDIRECTIONS .......................... 312 Domain Inquiry Model ................................ 322 Let's Look at a Chair ............................... 324 Epilogue ............................................... 347 Notes: Chapter VI .................................... 350 APPENDICES A. Conversation with Artist Roger Williams .......... 357 B. Members: Select Committee on Arts and Manufactures .......................................... 364 C. Witnesses: Select Committee on Arts and Manufactures .......................................... 366 D. Museum of Modern Art, New York: Personnel, Departments of Design ............................... 369 E. Museum of Modern Art, New York: DesignExhibitions 1933-1947 ............................................. 371 vii F. Museum o£ Modern Art, New York: Machine Art Exhibition March 6 to April 30 1934 Examples of Objects Exhibited ................................... 375 G. Industrial Art a National Asset: A Series of Graphic Charts Published by Department of Interior Bureau of Education .............................................. 379 H. Staff of The Owatonna Art Education Project ....... 384 I. Home Report for The Owatonna Art Education Project 386 J. Publications of The Owatonna Art Education Project 388 K. Summer School Enrollment 1935-1936 The Owatonna Art Education Project ..................................... 390 LIST OF REFERENCES 39 2 viii
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