Opened the School of Design for Women in Philadephia
In an act of defiance against the coldness of mechanical production that occurred during the Industrial Revolution, British antagonists begin the Arts and Crafts Movement. Turning away from the use of machines, protagonists of the movement concentrated on creating well-crafted thoughtfully constructed objects by hand. This movement spread to America, and the focus shifted from industry to furniture making, ceramics, china painting and needlework. Women were highly employed at this time and found great success working in furniture and ceramic production.
The Cooper Union for the Advancement of Science and Art, established in 1859, is among the nation's oldest and most distinguished institutions of higher education. The college, founded by inventor, industrialist and philanthropist, Peter Cooper, offers a world-class education in art, architecture and engineering as well as an outstanding faculty of humanities and social sciences. Modeled after the Philadelphia School of Design for Women. Women were trained in Textile Design, Paper Design, and Technical Drawing.
Louis Prang's Christmas cards, 1874 Prang was trained in wood engraving and then started to work in lithography. In 1874 he decided to make Christmas post cards. The next year there was a sufficient United States market, so he started selling the post cards there. In 1880, Prang initiated a yearly design contract which attract many well known artists, the prizes were actually quite large for the time; up to $1,000 for the first place winner.
During the Centennial year of 1876, Philadelphia was host to a celebration of 100 years of American cultural and industrial progress. Officially known as the "International Exhibition of Arts, Manufactures and Products of the Soil and Mine," the Centennial Exhibition, the first major World's Fair to be held in the United States. Among the exhibition were the highly popular stereographs and industrial drawings completed under the supervision of Walter Smith
Jacob von Falke, 1879 Art in the house: Historical, critical, and a︠e︡sthetical studies on the development of home decorations.
Beginning in the 1880's school systems began to offer drawing and manual training in special intermediate schools designed to provide more vocational training for working-class or immigrant children.
"Ella V. Dobbs agreed with Dewey that subject matter for art and handwork should be drawn from social needs. If the child's experience of work was limited as a result of the urban industrial segregation of work, school and leisure, handwork should fill in the gap" (Stankiewicz, 2001, pg. 58).
The covers of Ladies' Home Journal have provided a panoramic picture of life in the United States since 1883, when Cyrus Curtis, then the owner, described his new magazine as a "ladies' journal" to his engraver, who decided to add the word (and sketch of) "home" to the logo -- for what he thought was clarity's sake. Confusion ensued when readers wrote to "Ladies' Home Journal," but Curtis let the name stick. With his wife, Louisa Knapp Curtis, as its first editor, the magazine was an immediate success, reaching a then-record-breaking circulation of 1 million in 1903. For the past 125 years Ladies' Home Journal has served as a chronicler of American life in its glories and challenges, through world wars and cultural earthquakes, all through the lens of a woman's ever-shifting experience and perspective. To celebrate our anniversary, we take a look every month at how Ladies' Home Journal has covered the arenas of family, marriage, work, home, beauty ,and more throughout our illustrious history.
Served as directory of the Philadelphia Industrial Art School. He developed noteworthy teaching methods including ambidextrous training and memory drawing. He spoke at art educational and manual training conferences. Tadd believed that, "early training was necessary to make the hands automatic servants of the brain; drawing accurately and precisely with both hands stimulated brain development" (Stankiewics, 2001, pg. 54). In 1898 he published, New Methods in Education, which was largely influential in European Schools.
A band of 8 American Realist painters formed a movement in Philadelphia called the "Ashcan School." These avant-garde painters were interested depicting the plight of the urban poor. The term Ashcan School was suggested by a drawing by Bellows captioned Disappointments of the Ash Can, which appeared in the Philadelphia Record in April 1915. Although the Ashcan artists were not an organized "school" they espoused somewhat varied styles and subjects, however they all supported Henri's credo—"art for life's sake," rather than "art for art's sake." Although the Ashcan artists advocated immersion in modern actualities, they were neither social critics nor reformers and they did not paint radical propaganda. While they identified with the vitality of the lower classes and resolved to register the dismal aspects of urban existence, they themselves led pleasant middle-class lives, enjoying New York's restaurants and bars, its theater and vaudeville, and its popular nearby resorts such as Coney Island.
The Craftsman magazine, which Gustav Stickley published from 1901 to 1916, was the premier periodical of the Arts and Crafts movement in America. The magazine detailed to readers the merits of the Arts and Crafts lifestyle, which included hard work, education and civic-mindedness. Also included in the Arts and Crafts philosophy was an embrace of nature. His Arts and Crafts style furniture was, and indeed still is, regarded for its organic simplicity.
The Goldstein Museum of Design began with the work of two remarkable educators and art collectors, the sisters Harriet and Vetta Goldstein. Born in Michigan to recent immigrants from Poland, the Goldsteins assumed teaching positions at the University of Minnesota in 1910 and 1914 respectively. Their design philosophy, elucidated in their 1925 book Art in Everyday Life, was rooted in the Arts and Crafts Movement and stressed the inter-relationships between aesthetics and lifestyle: "As we surround ourselves with beauty, art actually becomes a part of our life and personality." Believing in the centrality of the art object to the teaching of design principles, the sisters began to assemble the core of what is now the museum's collection. The Goldsteins retired in 1949, but their philosophy that art objects are integral to the learning experience was shared and continued by colleagues and College administration. T
The Armory Show of 1913, officially known as The International Exhibition of Modern Art, was the first large exhibition of such works in America. The exhibit challenged and changed both the academic and public definition and attitude toward art, and by doing so altered the course of history for American artists. Marking the end of one era and the beginning of another, The Armory Show shattered the provincial calm of American art. It rocked the public and blasted the academies of painting and sculpture. Four thousand guests visited the rooms on the opening night. For the first time, the American public, the press, and the art world in general were exposed to the changes wrought by the great innovators in European art, from Cezanne to Picasso. The exhibit led to profound changes in the art market in the United States, and to the broad acceptance of modern works.
Duchamp’s most notorious readymade was a manufactured urinal entitled Fountain. Conceived for a show promoting avant-garde art, Fountain took advantage of the show’s lack of juried panels, which invariably excluded forward-looking artists. Under a pseudonym, “R. Mutt,” Duchamp submitted Fountain. It was a prank, meant to taunt his avant-garde peers. For some of the show’s organizers this was too much — was the artist equating modern art with a toilet fixture? — and Fountain was “misplaced” for the duration of the exhibition. It disappeared soon thereafter. As surely as it was a prank, Fountain was also, like the other readymades, a calculated attack on the most basic conventions of art. Duchamp defended the piece in an unsigned article in The Blind Man, a one-shot magazine published by his friend Beatrice Wood. To the charge that Fountain was mere plagiarism, “a plain piece of plumbing,” he replied “Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view — created a new thought for that object.” At the time, almost nobody understood what Duchamp was talking about. But fifty years later everyday objects would be commonplace in art.
Man Ray, L'Homme (Man), 1918
By the 1920s and early 1930s, vocational preparation through applied arts had become secondary to appreciation of how art contributed to the quality of life. Art Educators favored art education that helped students understand how art applied to industry, home, and personal appearance, and helped students develop good taste and general good culture (Farnum, 1923).
This study of a cotton farmer is one of the masterpieces of Evans' landmark collaboration with James Agee, Let Us Now Praise Famous Men, published in 1941. For this project, Evans and Agee spent several weeks with three tenant farmers and their families, observing their lifestyles and studying their daily activities. Agee's intensely subjective, at times autobiographical writing and Evans' stunningly honest images of the faces, bedrooms, and clothing of individual farmers living on a dry Alabama hillside lead the reader/viewer on a lyric journey to the limits of direct observation. As a series, Evans' photographs seem to have elucidated the whole tragedy of the Great Depression; individually, they are intimate, transcendent, and enigmatic, as in this portrait of the farmer-patriarch Floyd Burroughs.
This project took place in a small town in Owatonna, Minnesota. Melvin E. Haggerty and Edwin Ziegfield, along with a group of graduate students, developed an art curriculum that would introduce a community to principles of art for daily living with the goal of improving American taste. The program was intended as a model for integrating art into curriculum across the US, but it fell short of it's goal due to lack of funding and leadership.
Around the same time as the Owatonna Art Education Project there was an explosion of magazines geared towards women and home decoration. These magazines educated women on proper ways to decorate their home and gave ideas and instruction (art education meets daily life)
Although comic books came into existence much earlier, they became very popular around the 1950s. Inexpensive color printing made them affordable and therefore accessible for American youth. 1954 CODE FOR EDITORIAL MATTER: General Standards Part A Crimes shall never be presented in such a way as to create sympathy for the criminal, to promote distrust of the forces of law and justice, or to inspire others with a desire to imitate criminals. No comics shall explicitly present the unique details and methods of a crime. Policemen, judges, government officials, and respected institutions shall never be presented in such a way as to create disrespect for established authority. If crime is depicted it shall be as a sordid and unpleasant activity. Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates the desire for emulation. In every instance good shall triumph over evil and the criminal punished for his misdeeds. Scenes of excessive violence shall be prohibited. Scenes of brutal torture, excessive and unnecessary knife and gun play, physical agony, gory and gruesome crime shall be eliminated. No unique or unusual methods of concealing weapons shall be shown. Instances of law enforcement officers dying as a result of a criminal's activities should be discouraged. The crime of kidnapping shall never be portrayed in any detail, nor shall any profit accrue to the abductor or kidnapper. The criminal or the kidnapper must be punished in every case. The letter of the word "Crime" on a comics magazine shall never be appreciably greater than the other words contained in the title. The word "crime" shall never appear alone on a cover. Restraint in the use of the word "crime" in titles or sub-titles shall be exercised.
Andrew Warhola, later known as Andy Warhol, was a key figure in Pop Art, an art movement which emerged in America and elsewhere in the 1950s and came to prominence over the next two decades. Drawing its subject matter from popular culture and often using mass production techniques, Pop Art was initially received with little enthusiasm by many in the art world. The noted American art critic Hilton Kramer, for example, was openly hostile in a Symposium on Pop Art held on 13 December 1962 at New York’s Museum of Modern Art: ‘Pop art does not tell us what it feels like to be living through the present moment of civilisation. Its social effect is simply to reconcile us to a world of commodities, banalities and vulgarities’, concluding that it was ‘indistinguishable from advertising art’. (Hilton Kramer, quoted in a special supplement ‘A symposium on Pop Art’ Arts Magazine April 1963 pp.38–39. The symposium was held at the Museum of Modern Art on 13 December 1962 and was published in the following year, in its entirety pp.36–45.)
He called what he did working in "the gap between art & life." In practice that meant radical inclusion -- intake -- the continuous, open-ended transformation of "the mess of life" into art. In his "Combines", Rauschenberg uses discarded trash & daily objects made from every kind of material: signs, clothing, pillows, sticks, cardboard boxes, dirt, furniture, bricks, printed fabric, rusted shapes of iron.
Pop Art was an art movement and style that had its origins in England in the 1950's and made its way to the United States during the 1960's. Pop artists have focused attention upon familiar images of the popular culture such as billboards, comic strips, magazine advertisements, and supermarket products. The original Pop art fashion movement was both political, in that it challenged the domination of couture and bourgeois status dressing, and an artistic reaction to abstract art and design, with the satirical and ironic use of advertising and of representational everyday objects.
The sixties changed all that when young people started making the clothes they wanted to wear, clothes that completely excluded their parents’ generation. The mod look was about looking forward to the future: sharp, bold, minimalist – mod-ernist.
In the mid to late ’60s, an “underground art movement” known as graffiti sprung up in Philadelphia, Pennsylvania. Graffiti was mainly used by local street gangs to mark their territory and by political activists to make their statements known. The two artists credited with the first acts of graffiti are Cornbread and Cool Earl. Both wrote their names all over the city, gaining attention from not only the community but also the local press.
Wrote several articles pertaining to the connection between art education and emerging technology. He proposed looking to visual culture to inform and influence teaching.
Sesame Street made it's debut in 1969. The program was created to help children with their transition from home to a school setting. The show gave kids a head start to learning numbers, colors, the alphabet, and social skills.
Explore this timeline to see the progression of Martha Stewart's career and the resurgence of the DIY craze!
She is an active advocate for art education that is informed by contemporary art and critical theory. She is a prolific writer and has established the "spiral workshops" to educated the community and engage students with contemporary art.
Knitta Please, also known as simply Knitta, is the group of artists who began the "knit graffiti" movement in Houston, Texas in 2005. They are known for wrapping public architecture—e.g. lampposts, parking meters, telephone poles, and signage—with knitted or crocheted material. It has been called "knit graffiti" and "yarnbombing".[1] The mission is to make street art "a little more warm and fuzzy."[2] Knitta grew to eleven members by the end of 2007, but eventually dwindled down to its founder, Magda Sayeg (based in Austin, Texas), who continues to travel and knit graffiti. Internationally, as many as a dozen groups have followed Knitta's lead. Sayeg and the group have shown their art across the United States and around the world.
Since 2008, Long Beach, CA has hosted bi-annual indie craft fairs of 100 + vendors-- All local artists and handmade goods.
Andrea Zittel, A-Z = An Institue of Investigative Living. the A-Z enterprise encompasses all aspects of day to day living. home furniture, clothing, food all become the sites of investigation in an ongoing endeavor to better understand human nature and the social construction of needs.
Etsy is the world’s handmade marketplace. Our mission is to empower people to change the way the global economy works. We see a world in which very-very small businesses have much-much more sway in shaping the economy, local living economies are thriving everywhere, and people value authorship and provenance as much as price and convenience. We are bringing heart to commerce and making the world more fair, more sustainable, and more fun.
A group of guys who learned to crochet decided to change the world through social entrepreneurship and yarn.
DBH is an ongoing t-shirt design competition and community where artists and t-shirt lovers can create, buy, and talk about art and t-shirts.
Instructables is a web-based documentation platform where passionate people share what they do and how they do it, and learn from and collaborate with others. The seeds of Instructables germinated at the MIT Media Lab as the future founders of Squid Labs built places to share their projects and help others.
The Arboleda Vintage & Handmade Crafts Festival unites fans of chic retro vintage and all things handmade. Created in response to a thriving handmade crafts culture that has proven popular in many metropolitan cities, Arboleda competes. Arboleda introduces South Florida’s emerging talent who make up a nationwide collective of 115,000 designers, artists, and crafters contributing to the $29.2 billion U.S. craft & hobby industry. These artisans, who are also a part of an increasingly entrepreneurial Do-It-Yourself (DIY) culture, showcase their creative talents through unique handmade crafts and eye for vintage finds. Hosted outdoors, Arboleda is the first large scale event of its kind to offer the community and its residents with a culturally creative and artistically eclectic experience; complete with live music, gourmet food trucks, live art performances, DIY workshops for adults, craft activities for kids, and an overall backdrop for creative exchange.
Pinterest is a pinboard-style social photo sharing website that allows users to create and manage theme-based image collections such as events, interests, hobbies, and more. Users can browse other pinboards for inspiration, 're-pin' images to their own collections and/or 'like' photos. Pinterest's mission is to "connect everyone in the world through the 'things' they find interesting" via a global platform of inspiration and idea sharing. Pinterest allows its users to share 'pins' on both Twitter and Facebook, which allows users to share and interact with a broad community. Founded by Ben Silbermann, of West Des Moines, Iowa, the site is managed by Cold Brew Labs and funded by a small group of entrepreneurs and inventors. It is one of the “fastest growing social services in the world.”
Education Gallery Group - West Palm Beach Childrens Gallery, 2011
Are you a parent who is frustrated by the lack of art education at your child’s school? Are you "asking for more" but still not getting enough? Maybe it’s time to take matters into your own hands, in the true DIY spirit. This is the first in a two-part series that will provide some tips and resources for starting and maintaining a parent-led art program at the elementary school level.
GREY AREA is the undefined space between art and design where art is made functional and the functional is made art. We love when artists explore limits and blur boundaries, and it is GREY AREA’s mission to present the best of what doesn’t quite fit within the traditional gallery experience. We will do so in highly-curated environments, through our website, various pop- up locations, and programmed happenings.
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