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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 7619659 SANDELl# RENEE KUNOWJTZ FEMINIST ART EDUCATION* DEFINITION, a s s e s s m e n t AND APPLICATION TO contemporary ART EDUCATION, THE OHIO STATE UNIVERSITY, PHtD,# 1978 0 1978 RENEE KUNOWITZ SANDELL ALL RIGHTS RESERVED FEMINIST ART EDUCATION: DEFINITION, ASSESSMENT AND APPLICATION TO CONTEMPORARY 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 Renee Kunowitz Sandell, B.A., M.A. ****** The Ohio State University 1978 Dr. Kenneth Marantz Approved By Dr. Rogena Degge Dr. Johanna Da Stefano Adviser Department of Art Education "It is the engaged feminist intellect...that can pierce through the cultural-ideological limitations of the time and its specific "professionalism" to reveal biases and inadequacies not merely in the dealing with the question of women, but in the very way of formula­ ting the crucial questions of the discipline as a whole. Thus, the so-called woman question, far from being a minor, peripheral and laughably provincial sub-issue grafted onto a serious, established discipline, can become a catalyst, an intellectual instrument, probing basic and "natural" assumptions, providing a paradigm for other kinds of internal questioning, and in turn providing links with paradigms established by radical approaches in other fields. — Linda Nochlin (1971) ACKNOWLEDGMENTS I wish to express my sincere appreciation to my adviser Dr. Kenneth Marantz for his encouragement, critical insight and guidance throughout my graduate career. His assistance, which fostered my own grappling with and solving my research problems was invaluable. Dr. Rogena Degge generously contributed her time and skills at criti­ cally analyzing and editing the dissertation. Dr. Johanna De Stefano served as a helpful, critical reader. There are other professors whose insights have helped expand my knowledge and growth in the process of problem solving. Drs. Arthur Efland, Donald Saunders and Paul Klohr contributed to my understanding of curriculum theory and research methodology in education. Dr. Paul Klohr generously donated his time in reading the final manuscript and attending my oral defense. Dr. Barbara Groseclose's course on "Women and Art History" offered at The Ohio State University in 1976, served as partial motivation for the study. As an examiner on my general examination. Dr. Groseclose made very useful suggestions. During the long research process, I have received assistance in obtaining relevant materials for my study from several individuals. Professor Charlotte Hanten, of the Art Department at University of Akron was most helpful in send­ ing me up-dated materials from the Women's Caucus for Art of the College Art Association 1977 and 1978 meetings in Los Angeles and New York, respectively. Dr. Lola Gellman, Chairperson of Art at Queenborough Community College, New York, provided me with access to the Women's Caucus for Art 1976-77 Questionnaires on Women's Studies in national art programs. Ms. Marsha Stevenson, reference librarian at The Ohio State University Newark Campus, deserves credit for her excellent assistance in obtaining research materials and information for the study. Mrs. Eleanor Sapp typed the final draft. Finally, I'd like to recognize my family for their enthusiastic support. My husband, Dr. Steven Sandell, deserves special, deeply-felt thanks for his continuous support, encouragement, criticism as well as editing. His partnership has positively contributed to my academic life style, which provided a good place from which to begin to develop my research from a truly nonsexist perspective. The responsibility for any errors remains with me. VITA February 13, 1950 . Born - New York, New York 1972.. ................... B.A., The City College of New York, New York, New York 1972-1973 ............... Art Teacher, Seward Park High School, New York, New York 1973-1975 . Teaching Associate, Department of Art Education, The Ohio State University, Columbus, Ohio 1974.. .................... M.A., The Ohio State University, Columbus, Ohio 1975-present ...... Instructor, Department of Art Education, The Ohio State University Newark Campus, Newark, Ohio . PUBLICATIONS "Female Clique!" in The Report, published by the Women's Caucus of the National Art Education Association (Autumn, 1975), pp. 7-78. "Discrimination and. Other Women's Issues in Art Education," The Ohio Art Education Association Journal 16 (Spring, 1977):5-7. FIELDS OF STUDY Major Field: Art Education Studies in Art History. Professor Barbara Groseclose Studies in Curriculum. Professor Arthur Efland and Professor Paul Klohr Studies in Qualitative Research Methods. Professors Rogena Degge and Donald Sanders v TABLE OF CONTENTS Page DEDICATION................... ii ACKNOWLEDGMENTS ....................................... iii VITA .................................................... V LIST OF TABLES .......................................... viii LIST OF FIGURES ....................................... ix Chapter I. INTRODUCTION: THE NEED FOR CRITICAL ANALYSIS, ASSESSMENT AND APPLICATION OF FEMINIST ART EDUCATION .................................... 1 Issues Raised by Feminism That Are Applied to the Arts and Education ................. 1 The Problem of Feminist Art Education and an Approach to Its Critical S t u d y ......... 5 Acknowledgment of the Need for Teacher Education Curriculum Modifications To­ wards Recognition of Woman's Place in Art and Art Education ...................... 11 Organization of the Study of Feminist Art Education .............................. 15 II. SURVEY OF THE LITERATURE: WOMEN, EDUCATION AND A R T ......................................... 18 Sexism in Society: Feminism and the Socialization of Women ...................... 18 Sexism in Education: Feminist Concerns in Education ................................ 34 Sexism in Art: Issues of the Women's Art Movement ................................ 45 Sexism in Art Education: Feminist Concerns in Art E d u c a t i o n ................. 57 Page III. AN ANALYSIS OF THE WOMEN'S ART MOVEMENT AS AN EDUCATIONAL F O R C E ....................... 67 Ideology, Manifestations and an Educational Model of the Women's Art M o v e m e n t .......... 68 Ideological Unity and the Aesthetic Splits of Women's Art Movement ................... 83 IV. AN ANALYSIS OF THE NATURE OF FEMINIST ART EDUCATION ......................................... 103 Definition, Overview and Issues of Feminist Art Education ..................... 103 Analysis of Feminist Art Education: Data Sources, Treatment and Analytical C a tego ries ................................ Ill Analysis of Feminist Art Education: Content Analysis Applied to Course Syllabi of Women's Studies in the A r t s ............. 119 Analysis of Feminist Art Education: Critical Assessment ........................ 144 V. MERGING FEMINIST ART EDUCATION AND ART EDUCATION: A THEORETICAL CURRICULAR APPLICATION ........... 172 Towards a Theory of Feminist Art Education . 172 Feminist Art Education and the Needs of Art Education ............................ 177 The Nonsexist Component: Curricular Guidelines for the Preparation and Professional Maintenance of Art Teachers . 181 VI. CONCLUSIONS, SUMMARY AND IMPLICATIONS ......... 199 O v e r v i e w ..................................... 199 Summary of the Investigation............... 199 Implications for the Arts and Education .. 202 Implications for Art E d u c a t i o