Divinely Appointed - The Christian Arts Educator

by: Jim DeCesare

While exploring the current state of arts in education, it is easy to observe that institutional standards are mostly an amalgamation of the Western Art isms like Impressionism, Expressionism, and Romanticism. But mostly the Modernistic notion of, "Art for Art's Sake." It is also not a stretch to conclude that arts education is largely an imitation of a society that champions the increasing relativity of most things. In modern American culture, art has no one fixed position of truth.

The 19th century French slogan, "l'art pour l'art", or "Art for Art's Sake" was later made famous by American art critic Clement Greenberg (1909-1994). Greenberg explored the notion that art needs no function: no cultural, religious, political context...no practical or utilitarian application. No causation necessary. Focus is, instead, put entirely on the formal tenants of the art such as line, color and texture expressed by the artist. From the Modernist perspective, art in its purist form is free from the contamination of society. Greenberg's writings would elevate genres like Color Field and Minimalist Painting to the realm of high art, making artists like Jackson Pollock (1919-1956) famous in his own time.

Organizations like National Arts Education Association (NAEA) and the Connecticut Art Educators Association (CAEA) play vital roles by establishing disciplined-based standards, and promoting the arts in an effort to shape modern culture through education. These organizations have made an effective case to state policy makers that creativity is vital to a healthy society, and education is, in fact incomplete without the arts.  

I agree wholeheartedly, and also answer an even greater call; to see that my art and teaching ultimately points to a Godly realm of High art. All Christian arts educators should share the same fixed position of truth; that the art we make and teach reveals, (or has the potential to reveal) God's glory, and illuminate His kingdom. Dare I say, "Art-for Art's Sake," simply does not apply to this Christian arts educator.

So whether you eat or drink or whatever

you do, do it all for the glory of God.

1 Corinthians 10:31

We are called to do all things, art included, for the express purpose of glorifying God. How then, do we as Christian artist educators discern the "value" of art? We can begin by viewing the work we create, analyze, judge, teach and promote more objectively. We can consider both Formalism and Contextualism to maximize the potential value of its use.

Formalism describes what the art is -or- one's logical reaction to the formal qualities of a creative expression, rooted in personal bias. "Beauty lies in the eyes of the beholder." -Plato

Contextualism describes why the art is -or- a consideration of context; how factors such as faith, politics, and causation affect the artist's creative expression.

In my experience, Christian schools and churches tend not to fully consider the valuable context of art deemed, say, ugly or dark. When we make Holy only that which is beautiful, the arts become a mere nicety. Ironically, the most Holy icon in all of Christendom is the brutal crucifixion of Jesus. The truth is when exposed, "ugly" and "dark" artwork can be valuable, and even Holy. When we suspend our biases a bit so that we may look beyond formalism and consider context, we find that most art has potential to expand God's Kingdom often in unexpected ways!  

Walk in Love

Therefore do not become partners with them; for at one time you were darkness, but now you are light in the Lord. Walk as children of light (for the fruit of light is found in all that is good and right and true), and try to discern what is pleasing to the Lord. Take no part in the unfruitful works of darkness, but instead expose them. For it is shameful even to speak of the things that they do in secret. But when anything is exposed by the light, it becomes visible, for anything that becomes visible is light. Therefore it says,

“Awake, O sleeper,

and arise from the dead,
and Christ will shine on you.”

Ephesians 5:7-14

Special things occur in any community that embraces the arts. They have vitality. They become more cultured, relational, unified, innovative, empathetic, loving, engaged and spirited. When helping students grow in anything creative, it is vital to nurture an environment where students are allowed to be collectively vulnerable. I would argue that there is no other discipline like the arts where a student's sense of self-worth is in direct relationship to the measure of their success or failure. What better place to speak truth?

To my brothers and sisters in Christ who have been called to art teaching, I say; be excellent for God’s glory, love all of your students, pray for them, learn from them and each other…and where possible…reveal truth, disciple, teach redemption. Then make room for Christ to transform the hearts and minds of your students. Thankfully that part is His job, not yours or mine!

Preparing Students for Cyberspace!

Digital Art and Lego Starship by: Jim DeCesare

Is it possible to grow both towards technology and away from it simultaneously? This is the conundrum I find myself in. The paradigm is no longer shifting in education…it has shifted to all-things-digital, especially the lens through which we view primary, secondary (and post-secondary) education. Our students are not merely incorporating technology. They are now considered digital citizens.

I gave a presentation entitled, Creativity in the Digital Age at technology conference recently. During the question and answer portion, a professor in the audience told me that he sees the world through the lens of Venn diagrams (labeled, intersecting circles to explain complex content simply). At the end he handed me a business card with a Venn diagram sketch of my talk with two merging circles…one labeled “art,” the other labeled “digital,” and the intersection of the two was labeled “creativity.” The professor was well intended, but I asked myself, ‘Can creativity really be summed-up in a simple Venn diagram, so easily explained?’ I felt that the professor either missed the essence of my presentation, or I fell-short making my case…probably a bit of both.

Of course, it is the natural inclination for educators to seek clear and simple understanding of complex subject matter, and just as natural for this overly-sensitive-artist-type to yell to the heavens about the value of creativity! But this whole digital-thing in education needs a plan of action. I get it. Policy and creativity must play-well together so that we may best prepare our educational systems for the 21st Century.  

I recently led a brief meeting with colleagues to start the formal conversation in our school on digital responsibility. I asked a friend, a PhD in science (and Master's candidate in Curriculum Development) to share his presentation with the faculty based on a curriculum entitled, “Digital Citizenship,” by Mike Ribble. The key points of the curriculum are valid: teaching students digital law, etiquette, rights, responsibilities and so on. The presentation described a “Digital Citizen” as one who is in good standing as a resident, sharing common space with others and abiding by impartial laws.

To earn citizenship usually requires that one is a member by birthright or has taken an oath of loyalty. There are certainly grey areas of citizenship, but the concept is easily understood. Cyberspace is not so easily understood. It is nebulous, not linear. Cyberspace is our new frontier...wild and untamed. As educators, we are in a time like no other. My three year old daughter Annie Rose can now navigate an iPad gaining instant access to the world via internet!

No ceiling can limit the height of student achievement, and no floor can limit the depth of failure. Cyberspace is exponentially expanding, and unpredictable. We may call it digital citizenship (or whatever buzz-term we wish) to give it understandable form. The truth is we are asking students to stake-their-claim in a land where there is no actual fixed position.

Let us prepare students to explore this foreboding digital-realm by treating cyberspace more like outer space. Help each not to fear cyberspace, but to respect it's elusive, erratic, unconstrained, unpredictable and volatile nature. By all means, analyze data and form school policies that address key concerns!

Just as importantly, arm students with the ability to cultivate CREATIVITY, to tell their unique STORY, to find PURPOSE, to discover unique GIFTING, to build EMPATHY...to SEEK TRUTH. Encourage students in these ways to be well-prepared space travelers...to be Cybernauts! 

I believe we can move toward technology and away from it simultaneously; by reinvesting our energy on the character development of our students…along with…curriculum development and policy.

To infinity and beyond!!!!...Oh yeah, that's Buzz Light Year. Oops. 

Paying Homage to Robert Henri

 "If anything can be done to bring the public to a greater consciousness 

of the relation between art and life, of the part each person plays by 

exercising and developing his own personal tastes and judgment 

and not depending on outside “authority,” it would be well." 

                                                                        -Robert Henri

 

James DeCesare, Robert Henri, 

2010, oil on canvas, 24"x24" 

Collection of the Artist

A Brief History:
Robert Henri (1865-1929) was born in Cincinnati, Ohio.  In 1886, he studied at the Pennsylvania Academy of Fine Arts.  In 1888, Henri moved to Paris and studied under the great Academic painter, Adolphe-William Bouguereau (1825-1905). In 1891, Henri was accepted into the prestigious Ecole des Beaux-Arts.1

Henri’s early work was heavily influenced by art of the French Impressionists. Similar to the Impressionists of the day, Henri’s artwork was readily rejected by French and American art circles.2 Henri began organizing art exhibitions promoting work rejected by the art establishment. Henri’s circle of friends included young illustrators John Sloan (1871-1951), William Glackens (1870-1938), George Luks (1867-1933), and Everett Shinn (1876-1953). The Eight, as the group would come to be known, lead The New York City Armory Show of 1913. The Armory Show introduced audiences to avante-garde European and American artists including Gustave Klimpt (1862-1918) and Marcel Duchamp (1887-1968).3

Robert Henri taught at the Art Students League of New York from 1915-1927. Henri's students included George Bellows (1882-1925), Leon Kroll (1884-1974), Edward Hopper (1882-1967), and Rockwell Kent (1882-1971). Henri’s prophetic teachings were published in book form as The Art Spirit in 1923.3

Today, countless artists view The Art Spirit as their primary guide for life as an artist. Henri’s artwork speaks to his views on life. His paintings are sensitive, humanistic, authentic accounts of interpersonal experiences.  His words are transcendent, usually speaking more to the art of living than art making.  Robert Henri writes:

The question of development of the art spirit in all walks of life interests me. I mean by this, the development of individual judgment and tastes, the love of work for the sake of doing things well, tendency toward simplicity and order. If anything can be done to bring the public to a greater consciousness of the relation between art and life, of the part each person plays by exercising and developing his own personal tastes and judgment and not depending on outside “authority,” it would be well. 3
                           
On Painting Robert Henri:
Robert Henri is part of series I created called, Artists of Influence. The reoccurring theme connecting each of the six paintings of this series is the artist in the act of creating. Robert Henri was a champion of the creative process. Henri’s connection to the people he painted is evident in his work. His brushstrokes were minimal, yet each possessed purpose and feeling. In the midst of rigid, academic portraiture created at the turn of the twentieth century, Henri created painterly expressions honoring the humanity of his common sitters.

Among my favorite of these paintings is Spanish Girl of Segovia, painted in 1912 and part of the permanent collection of the New Britain Museum of American Art.  As a frequent visitor to the museum, I often observe the painting closely.  There is an intimacy I wanted to convey in my painting of Henri.

When viewing the painting of Robert Henri, you are faced with intentional ambiguities. Is Henri standing in front of his model or a painting of his model?  Each painting created for Artists of Influence is a fictional narrative designed to engage the viewer’s imagination. Viewers are encouraged to make their own conclusions.

In this narrative, Henri prepares to place a loaded brush onto an unforeseen surface. Emphasis is placed on the gesture of his face and his paint palette. There is an undeniable connection between the two figures. Both figures overlap and blend, forming one pyramidal shape. I created the painting from the perspective of a student stumbling upon a painting demonstration by Robert Henri. I envisioned the viewer in eager anticipation of the wisdom Henri will speak (as I would be!)

I created this painting of Robert Henri as a tribute to his humanity,

dignity, and passion for the creative process. 

In 

this 

digital 

age, 

his words speak louder than ever!

                                                                                                       
1.  National Gallery of Art. “American Impressionism and Realism,”
     http://www.nga.gov/exhibitions/horo_henri.shtm#biblio.

2.  Artcyclopedia, “Robert Henri,”
     http://www.artcyclopedia.com/artists/henri_robert.html.

3.  Henri, Robert. The Art Spirit. Philadelphia: Lippincott, 1923.

Faith Like a Child

My wife Kelly and I were awakened at 3am by our crying almost three-year-old, Annie Rose. Annie is newly potty-trained, and still has the occasional nigh-time accident. On this early weekday morning she had completely wet her bed.

I stumbled into her room, still half-asleep myself. Annie’s window and ceiling-fan were circulating comfortable summer-air. But she was cold, curled in the fetal position and crying…soaked in her soiled nightclothes and sheets. Observing her in this sad state reminded me of how very needy my smart, “independent” little girl is of her father.

I gently scooped up Annie from her wet bed. Her skin was cold and sticky to the touch and her body was rigid. Her long wavy hair was stuck to her round cheeks from tears and pee. She resisted my help, squirming and crying for mommy. We made our way in the dark to the bathroom.

Annie Rose’s cry was sad and fearful. Like any parent, my heart was flooded with compassion, love, and patience. I offered her my assurance that daddy was going to make everything okay. I gently wiped Annie’s shivering body with a warm facecloth and wrapped her in a dry towel. Only then did she stop crying (and resisting).

I put her into clean cloths and sat her on a chair while I changed her sheets. Annie wanted to know if Mr. Moon was out. I looked through her window skyward, then turned back to tell her that Mr. Moon was behind the clouds but she was already asleep. I placed her back into bed and headed downstairs.

Unlike Annie Rose, I was unable to fall back asleep. Each time I closed my eyes I saw myself in that frightened child: curled-up and soiled from sin…resistant to my Father’s help. I thought of how Christ attends to His children in much the same way; with compassion, love, patience and offering an assurance…that by trusting in the Father, He will not forsake me in my times of need…that the cost of my filth...my sins...were paid by Christ’s blood on the cross…and that in Him I am clean.

I am amazed by the things I am learning from my children!

"And calling to him a child, he put him in the midst of them and said, "Truly, I say to you, unless you turn and become like children, you will never enter the kingdom of heaven. Whoever humbles himself like this child is the greatest in the kingdom of heaven."

Matthew 18:2-4 (ESV)

Intentionality

Every part of her drawing has intention...you wouldn't think so with a two year old.  Annie will proclaim the color or shape before she draws; "dots, circle, triangle, yellow right here!"  And she uses the entire surface of the paper, corner to corner.  She is probably no more capable than other kids drawing at her age.  I find it interesting how difficult demonstrating, "intentionality" is for many of my art school-bound students preparing their portfolios.  Art schools tend to put this "spell" on kids...an over-emphasis to show their "voice" (in my opinion) at the expense of fundamental mastery of basic design and skill.  I would far prefer art schools to encourage my kids to be Students with a capital "S" over Artist with a capital "A." There is a difference.

Instructor of "Other"

"In what subject did you teach this student?" asks the, "Common App" form on Naviance....the website we upload recommendations written for our college-bound students.  Since, "Art" was not a choice, I clicked, "Other."

A few of the less-common things about school that annoyed me when I was a student:  As a young child I was embarrassed to be the only one using the green-rubber-coated left-handed scissors in the "special" cabinet...so I learned to use them righty.  I was especially annoyed (still am) by those freakin' right-handed desks...and we wonder why lefties look funny when writing!  I won't even get into my loathing for calligraphy, an art form not designed for this lefty.

Truth be told: I generally don't sweat the small stuff anymore.

But something big has been brewing for most of my many years as an arts educator; the need, the responsibility, the calling...whatever...to communicate the value of the arts.  Never been much of a cause-guy, but seems most of academia is still in the Dark-Ages about the arts.  So out of my studio, brush in clenched hand, I shall slither to take up the cause.  I am preparing to speak on two panels; a community college and high school symposium on Teaching the 21st Century Student.

I am also developing workshops tailored to corporations promoting the ubiquitous value of creativity. Corporations, after all, hire graduates, fill high school and college school boards, fund programs and greatly inform educational practices.  Figure I'll start there.

I have been greatly influenced by perspectives on creativity that have made global impacts including those of Daniel Pink, Sir Ken Robinson and my cousin Jon Iadonisi (Check them out on Google).   I am sold on creativity, will pound my chest and carry the torch!  Hoorrahh!  

Okay, maybe I shouldn't channel my inner William Wallace because that didn't end too well for him.  I guess a haircut and shave, clothes that aren't paint stained and some fancy flash cards will do.  Wish me luck!

Jim DeCesare
Instructor of "Other"

Pushing The Value of Creativity - My, 'Why?'

Dear Annie Rose,

I don’t have money, but daddy is still a very wealthy man.  While I adore your mother, the greatest miracle of my life was watching you and Madeline come into this world.  Shortly after you were born I heard Etta James, “At Last,” on the radio and wept:  “My heart was wrapped-up in clovers the night I looked at you.”  God bestowed fatherhood upon me the night you were born, a responsibility and joy still too great to comprehend!

Well, you are now registered for preschool!  Ouch!  You are playing on the doorstep of this great house of education that you will soon be residing-in for many years to come.  Listen, kid, I don’t care what you choose to become.  God gave us the task of loving you unconditionally, and celebrating your unique gifts. We do pray that you glorify the Lord in all that you do.  We will do our darndest to model this for you everyday, but ultimately the choice of how you live your life will be yours.  We just want you prepared.

This house of education I was talking about…its kinda old and needs a few repairs.  When things are broken, Dads seem to want to fix them even if they don’t know how.  You will learn soon enough, Annie Rose that life is neither fair nor equitable.  But if you feel moved by the Spirit to fix something broken (even if you don’t know how), and even if others think you are a nut job, I got your back.

The house of education you are about to enter is water stained and peeling eggshell white. I am not sure if that is even a color, or just a texture?  Anyway, I want to scrape and repaint every room before you get there.  I want to paint the ceilings with a fresh coat of empathy, the floors a durable coat of grit, the walls detailed with purpose, the long hallways covered with discernment…and the whole house illuminated by creativity.  Now that’s a house of education!

It’s insane, I know!!!  I don’t really know where to start, but they did give me a key (he, he).  Yeah, I will start with the parlor on the right as you walk-in…I’ll scrape and paint until others help-out, or they kick me to the curb.  In the meantime I’ll pretend like I am supposed to be there; the old confident-swagger trick.

Before we pack your lunch on that first day of school know this:  I don’t care what you learn as much as I care about how you learn, and especially how you see the world around you…and the way you treat others.  My advice; love the Lord, be a Renaissance woman…be creative.  

And if you see me emotional while listening to Etta James, you now know why!

Love,

Daddy