Evaluation of the Professional Activity of Studio Art Teachers

Leonardo,Vol. 6, pp. 143-144. Pergamon Press 1973. Printed in Great Britain EVALUATION OF THE PROFESSIONAL ACTIVITY OF STUDIO ART TEACHERS James W. Davis* With contributionsfrom: Stephen Albair, Frank Berkenkotter, Kenneth Botto, Donald Crouch,Leland Johnston,Fred Jones,Leroy Mofett, James Neumann, Ann Paoletti, Sam Parker, GeorgePotter and Eugene Solot.** This account is the essence of a report prepared by the studio art staff in the 1970-71 visual arts program at the Western IllinoisUniversity at Macomb, Illinois, U.S.A. The report was submitted to the College of Fine Arts as part of an over-all surveyfor ultimate use by the North Central Association (accreditation) Board. The professional achievements and abilities of an artist/teacher can become apparent principally from appraisals of his art work, his writings and exhibitions, his education, knowledge and experience , and his teaching. The report includes discussions of these major areas and several minor ones. 1. Activities of major importance A. Education The Master of Fine Arts (MFA) is the terminal degreeinstudioartatthe University. Itiscommonly considered essential for university level teaching. Some specialization, however, is desirable; the student’s courses should be oriented in preparation for the areas in which he expects to teach. It is true that a terminal degree in art is not necessarily a sound indicator of creative ability and teaching potential. On the other hand, there are those who admirably well qualify as artist/ teachers and who do not have a degree. Their background may include, for example: (c) excellent teaching record; (d) individual study either with artists having an international reputation or at acceptable non-degree-granting art centers, such as museum-schools, independent art schools (e.g. the Art Student’s League of New Yorkit had an outstanding teaching staff in the 1940’s and 1950’s), specialized technical centers (e.g. the Tamarind Print Workshop in Los Angeles) and foreign art schools; (e) specialized experience with new techniques needed by a department (e.g. in film making, jewelry making, glass blowing and plastics working). B. Teachingperformance Thequality of an artist’steachingislinkeddirectly to his personal involvement in his art work. It must be recognized, however, that an outstanding teacher is creative in his instruction as well and is responsive to student needs. He is able to instillan exploratory attitude and to teach techniques that can aid the student to work in new areas. Research by the teacher should be considered an important professional activity of significanceon par with that of exhibiting, writing and making art works. Research activity may include the development of studio teaching methods and curricula innovations. (a) national recognition by professionals in C. Exhibitions studio art (significant invitational and gallery exhibitions); (b) SUCCeSSfUl experience as artist-in-residence in institutions of high standing; Exhibitions are meaningfulto an artist if they are of recognized high calibre. But if an artist/teacher devotes excessivetime to the mechanics of exhibiting , his teaching and his art work may suffer. If he exhibitsthe samework repeatedly, the number of exhibitions loses significance. H~should show the most recent works, if possible, and his most innovative ones should appear among these. * Artist living at 342 S. Johnson, Macomb, Illinois 61455, U.S.A. (Received 10February 1972.) ** U.S.A. Illinois University, Macomb, Illinois 61455, 143 144 James W. Davis The following guide lines were set for evaluating exhibitions, listed approximately in the order of decreasing significance: (a) One-man shows. A one-man show indicates professional involvement at a high level, if itisheld atareputable artgallery,artmuseum, university museum or art center. Shows at banks, restaurants, motels etc. are generally of littleprofessionalsignificance. (b) Invitational exhibitions. An invitational exhibition implies a showing in a large museum or, occasionally,in a major gallery, art center or university museum. The invitation should be made by artists, curators or directors. Art fairs and non-juried art sales exhibits are of little professional significance. Traveling exhibitions arranged similarly to those of acceptable invitational shows are important. (c) Competitive exhibitions. This type of exhibition is professionally significant, if it is juried by a recognized contemporary artist, critic or curator and is located in a reputable art museum, art center or major gallery. D. Awards and commissions Awards granted to an...