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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ e w rite r free, 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 comer 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. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 THE INFUSION OF AFRICAN AMERICAN ART FROM EIGHTEEN-EIGHTY TO THE EARLY NINETEEN-NINETIES FOR MIDDLE AND HIGH SCHOOL ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ronald Wayne Claxton, B.S., M.A.E. The Ohio State University 1997 Dissertation Committee: Approved By Dr. Vesta A. H. Daniel, Advisor Dr. Arthur Efiand Advisor Dr. Sidney Walker Department of Art Education UMI Number: 9721083 UMI Microform 9721083 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT In this study I Investigate one middle school art education text, Understanding and Creating Art. by Goldstein, Katz, Kowalchuk, and Saunders (1986) and one high school art education text, A Basic History of Art by Janson and Janson (1992). I use content analysis research methodology to explore the written text for the diverse discourses on African American art and artists from the 1880’s to 1992 In art history. This study focuses on the authors’ sundry Interpretations in which African American art and artists are represented. I Investigated the authors’ descriptions and Interpretations on African American art and artist by probing three key Issue categories such as: 1) historical (style Isms, media, technique and terms), 2) anthropological (cultural diversity, social, culture, difference, race, representation, gender), 3) rhetorical (validation of multicultural views, D.B.A.E., Identifications, description , Interpretation, language assumptions, and attitudes). This study examines key words like realism, cubism, expressionism etc. for historical Issues, key words like minorities, mainstream, dominant, cultural and social for anthropological Issues, and key words like non-Westem, elements of design, race, ethnicity,gender, other, and difference for rhetorical Issues. The context of the authors’ descriptions and Interpretations on all the represented artists within a given chapter, unit, and/or segment becomes the subject under analysis. ii For My Mother, Georgia Louise Claxton 111 ACKNOWLEDGMENTS First and foremost God must be given the most positive praise for blessing me through my successes, trials and tribulations. Secondly I would like to thank Dr. Vesta A.H. Daniel, Dr. Sidney Walker, and Dr. Arthur Efiand for their direction and guidance in my research. Dr. Vesta Daniel was most instrumental in helping me better understand the importance of my research. Her role was vital for she informed me on lectures, artist talks, and multimedia resources that pertained to my topic. Dr. Sidney Walker illuminated areas of research of which I had littler understanding. Thanks to her professional leadership I developed a new knowledge base. Dr. Arthur Efiand’s keen insight with the history of art education and curriculum development motivated me to think and challenge traditional ways of studying art history, disseminating information on art, as well as helping me develop critical thinking skills. I would like to thank my colleagues, Carlyle Johnson, Dr. Charles Janson, Janet Higgins, Marisa Recchia for their kind, consistent mentoring. I would like to thank my best friends, Sam Starks, Bobby Graves, and Craig Spears who gave me an ample supply of positive support. I would like to thank my special friend, Rollin Seward, for reminding me that I am a sensitive and unselfish human being whom loves educating and empowering others. Last but not least I would like to thank my Mother, sisters, and brothers for their presence in my life. My learning experience with them has truly enriched my understanding of family, love, and sacrifice. iv VITA December 10,1959 ........................................Bom - Bloomfield, Kentucky 1982 .................................................................... B.S. Art Education, Western Kentucky University, Bowling Green, Kentucky 1984 ....................................................................MAE. Art Education, Western Kentucky University, Bowling Green, Kentucky 1986 Art Instructor, Middle T ennessee State University, Murfreesboro, Tennessee 1992....................................................................Panel Committee, Tennessee Arts Commission, Nashville, Tennessee 1994................................................................... Graduate Teacher, The Ohio State University, Newark, Ohio 199 4....................................................................One Man Show, Martin Luther King Cultural Arts Center, Columbus, Ohio 199 5....................................................................Assistant Art Professor, Middle Tennessee State University, Murfreesboro, Tennessee FIELDS OF STUDY Major Field: Art Education Studies in Art History and Curriculum VI TABLE OF CONTENTS P a g e Abstract ....................................................................................................................................... ii Dedication.................................................................................................................................. iii Acknowledgments ................................................................................................................... iv Vita............................................................................................................................................... V List of Tables............................................................................................................................. xi List of Illustrations.................................................................................................................. xiii C hapters 1. UNDERSTANDING AFRICAN AMERICAN ART Need for the Study ..............................................................................1 Cultural Difference In Learning .......................................................2 Race and Ethnocentrism in the Art Education Curriculum ........................................................................................... 5 Cultural Perspectives on Aesthetics..............................................6 Historic Perspectives on African Descended Art and Artists................................................................................................... 9 Cultural Variables and Curriculum Development......................................................................................10 The African American Artist: Art and Culture ............................ 12 Statement of the Problem...............................................................14 Related Literature ............................................................................ 15 v ii Purpose of the Study.......................................................................15 Definitions of Terms.........................................................................16 Limitations.........................................................................................17 Summary...........................................................................................17 2. REVIEW OF LITERATURE........................................................................ 19 Defining and Discussing Multicultural Art Education...........................................................................................19 Defining and Identifying Multicultural Education .................... 24 Multicultural Education ....................................................................24 Multiethnic Education ......................................................................28 Educational Psychology.................................................................28 Art Education and Theory.............................................................. 29 African American Art History.........................................................30 Recent Literature on The Harlem Renaissance..................... 36 The 1960's and 197G's Art Movement
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