In lieu of an abstract, here is a brief excerpt of the content:

BETTY G. MILLER n 1971, I began expressing my Deaf experiences through paintings and drawings . Since that time, an increasing number of other Deaf visual artists have also begun to create work based on their own Deaf experiences. These artists have often discussed whether or not there is such a thing as "Deaf Art" as a separate genre or school of thought. Although formal workshops were held from time to time to discuss this concept, all were short in duration, and none reached any formal conclusions. A little over a month before The Deaf Way Conference and Festival, I facilitated a four-day workshop at Gallaudet University focusing on the question, "What is Deaf Art?" Paul Johnston was the cofacilitator. The artists who attended discussed in depth their experiences as Deaf artists, debated common elements to be found in Deaf Art, and developed both a visual and a written manifesto. With perceptions that are based mainly on the visual and tactile, it would seem natural for Deaf people to express their reactions, including thoughts and feelings, through visual and tactile channels. In the daily lives of most Deaf people, this expression occurs through Sign Language and gesture. In the lives of Deaf artists, however, all the resources of visual communication available to, and learned through, the hearing arts world are also incorporated into their individual artistic expression. However, to date, no agreement has been reached by Deaf artists on what, if any, influence their deafness has had on their art work, or what influence their art work has had on the Deaf community. Are Deaf artists simply "hearing artists" who can't hear? Or are they part of a cultural minority that is reflected in some way in their art work? Are they Deaf people who aspire to the same goals and objectives as all artists, but who communicate in their own language and from their own unique cultural perspectives? Some Deaf artists feel that visual art can be a "way of life" among Deaf people and a part of Deaf culture in the same manner that music is a way of life among the hearing society. Visual art can enlighten Deaf and hearing observers by presenting experiences reflective of a Deaf person's world view. This, in turn, can strengthen a Deaf observer's sense of identity within the Deaf culture. Although Deaf culture has existed for at least the past hundred years, it has only been in the last twenty-five years that Deaf culture has been brought to the attention Prior to The Deaf Way Conference and Festival, nine Deafartists gathered at Gallalldet University May 25--28, 1989 for a workshop entitled "Expression: American Deaf Art." The purpose of the workshop was to explore issues related to Deaf Visual Art, which includes painting, sculpture, printmaking, collnge, photography, and fiber arts. The participating artists were Betty G. Miller, Ed.D., painter; Paul Johnston, Ph.D., sculptor; Deborah M. Sonnenstrahl, Ph.D., art historian; Chuck Baird, painter; Guy Wonder, sculptor; Alex Wilhite, painter; Sandi InchesVasnick, fiber artist; Nancy Creighton, fiber arlist; and Lai-Yok Ho, video artist (who videotaped the four-day workshop). This paper, presenled by Betty G. Miller al The Deaf Way, describes the workshop process and the resulting Manifesto. De'VIA (Deaf ViewjImage Art) of society as a whole. This is especially true since the Deaf President Now movement and the media coverage surrounding that event. Deaf people's attitudes are changing profoundly. Deaf artists, educators, and community leaders are demanding new opportunities for self-development and definition within our American society. They are insisting that their contribution can be made only by being themselves, not by attempting to be faded carbon copies of hearing people. But is there such a thing as Deaf Art? The works of emerging Deaf artists seem to show evidence of experiences that represent facets in the lives and expressions of the millions of Deaf individuals who live in the United States. Many characteristics seem to be born out of a common Deaf experience, whether this be growing up in a world of muffled, indistinct sounds or one that involves communicating with visual rather than auditory symbols. And finally, there are the political and cultural visual statements that are expressed in the works of certain Deaf artists. These characteristics need to be explored and examined. The workshop, held May 25-28, 1989, provided the opportunity to explore many of these questions. The Deaf artists who participated in the event addressed Deaf...

Share