15-page booklet, stapled. Application included as paper insert. Glossy paper with greyscale photograph on front cover. Cover photo by Elliot Lyman Fisher, Asheville, N.C.
BLACK MOUNTAIN COLLEGE BULLETIN
ART INSTITUTE SUMMER 1944
*Image of mountain range with greenery and sky visible. Black and white photograph.
Black Mountain College Black Mountain, North Carolina
Art Institute Summer 1944
July 17- September 16
For the study of practice and theory of art and art education with recognized artists, scholars, teachers in courses, illustrated lectures, demonstrations, panels, discussions, exhibitions with the purpose of presenting various viewpoints, approaches, techniques of working and teaching in contact with the Summer Music Institute, the College Summer Session and the Summer Work Camp in beautiful Southern mountains with cool climate
Black Mountain College Bulletin Newsletter April, 1944
Volume II Number 6
Issued seven times a year, in August, September, November, December, January, February, and April. Entered as second class matter November 4, 1942, at the Post Office at Black Mountain, North Carolina, under the Act of August 24, 1912.
The public interest in art is spreading steadily. Art books have become best sellers. Art museums have gained an attendance not dreamed of before. Neither war nor transportation difficulties have affected in the increasing number of gallery visitors. The Saturday art workshops for children at the museums are overcrowded and the waiting lists are expanding.
Few schools and colleges offered art courses ten years ago. Today, art in education is advancing from the status of extra-curricular activity to that of an accepted field of study, even to a central part of the curriculum. Today, students major in art, do graduate work and achieve doctor’s degrees in the practice of art and in theory.
It is easy to recognize that such a broad educational interest in art can not be satisfied by art history and art appreciation. Thus practicing studio-classes are increasing. The growing number of artists-in-residence shows that a direct contact with artist and his personal influence are demanded.
We are on the way, therefore, toward correcting mistakes of the past still prevailing in both art conservation and education.
In education it has become evident that a one-sided emphasis on intellectual development is as wrong as it is undemocratic. It neglects the visual, acoustical, and manual type of student, thereby losing technical and artistic and talents.
For a long time, we have left the care and publication of works of art, as well as judgement and criticism, mainly to the historian. This is one reason why old art stands in the foreground of interest, why we lose relationship with contemporary art and living artists.
More and more, however, the artist is recognized as competent to represent his own field. Today, he is permitted, even urged, to write and to speak on art and art theory, on his own work and himself. Once more he is considered the natural and able judge and interpreter of art. He may tend to subjective evaluations, but any objective estimate has become questionable, since we realize a continual change of taste and appreciation.
All these changes are significant for our cultural development. They reveal an awareness of cultural needs and obligations. They demonstrate also that the producer of art deserves our concern as much as his product. And, he who influences artistic development will inevitably influence art education, and through this, general education.
FACULTY
JOSEPH BREITENBACH
Studied: University Munich, Sorbonne Paris / Taught photography in own school, Paris 1933-39. Publications in German, French, English, American magazines, as Die Dame, Vu, Verve, London Times, NY Times, Fortune / Contributed to books, as Modern Photography (London), Artistide Maillol (Paris), also to a film on photography for the French government / Works exhibited and collected in leading museums / Member: Soc. Francaise de Phot. Et Cinema; Royal photogr. Society of Great Britain / Developed color processes, published photos on flower fragrances.
At BMC Art Institute July 17- August 5, will teach, practice and exhibit PHOTOGRAPHY, give lectures on photography. (See Pages 8&9)
BELLE BOAS Head of Art Dept. of Horace Mann School; Assistant Professor of Art, Teachers College, Columbia University; Director of Education at Baltimore Museum of Art / Author of Art in the School, 1924; editor-in-chief of Art Education Today, 1935-43.
At BMC Art Institute, September 4-9, will lecture on and discuss Art Teaching. (See Page 10)
JEAN CHARLOT Co-founder of Mexican Art Movement. Archaeological studies in Yucatan for Carnegie Institute / Exhibited continually in leading museums and galleries. Painted murals in Mexico and USA. Illustrated many book, edited portfolios and monographs / Represented in Uffizi, Florence; Metropolitan Museum, Museum of Modern Art, Public Library, N.Y.; Duncan Phillips Gallery; Museums of Philadelphia, Brooklyn, Minneapolis; Carnegie, Pittsburgh / Author of Art from the Mayans to Disney: collaborated on two archaeological books on ruins of Yucatan / Taught at Art Students League, Columbia University, Cane School of Art, Notre Dame of Maryland, Chouinard School of Art, Iowa State and Georgia State Universities, University of California.
At BMC Art Institute July 17- September 4, will give courses in DRAWING AND PAINTING from Nature, COMPOSITIONS, lectures on Masters and their Epoch. (See Pages 7 & 10)
VICTOR D’AMICO Professional Experience: Studio of Norman Bel Geddes; Fieldston School, Millbrook School, Teachers College, Columbia University, Director of Educational Project of Museum of Modern Art, Survey of Art in American School of General Education Board, Survey of Art in Mexican Schools; Chairman, Art Section, Summer Workshop, Progressive Education Assn.; Chairman, Committee on Art in American Education and Society / Publications; Theater Art, Visual Arts in General Education, Creative Teaching in Art, Editor of Art Education Today; various articles in art and educational magazines / Lectures: New York University, Pacific Arts Assn., Southeastern Arts Assn., Progressive Education Assn.
At BMC Art Institute September 4-9, will lead PANEL on Art Education, lecture and discuss related problems. (See Page 10)
JOSE DE CREEFT Worked in ateliers of Barcelona, Madrid, Paris / Exhibited widely in Europe and America / Member: Jury of the Exposition Internationale des Arts Decoraftis et Industreils Modernes, Paris, 1925; Jury of the Chicago Institute Exhibition, 1938; Sculpture Artist-for-Victory Prize of $5000 / Represented in Metropolitan Museum, Museum of Modern Art, Whitney Museum; Brooklyn, Seattle, West Palm Beach, Wichita museums / Commissioned by the city of Saugues, France, to design and execute its World War Memorial / Teaching at New School for Social Research and at his own studio.
At BMC Art Institute August 7-Septmber 16, will practice and teach SCULPTURE. (See Page 8)
WALTER GROPIUS Founder and director of the Bauhaus in Weimer and Dessau, 1919-28. Dr.ing honoris causa / Architectural Chairman of Dept. of Architecture, Harvard University / Lectured widely in Europe and America / Published books and articles on modern architecture, prefabrication of buildings, city planning, art education.
At BMC Art Institute August 21-26, will lecture on MODERN ARHITECTURE. (See Page 9)
BARBARA MORGAN Studied at University of California / Painted, worked with theatre, made and played puppets / Photographed the American Southwest, modern and historical architecture, also paintings and sculptures of Barnes Collection; specialized on dance photos and photomontage / Photo exhibitions in important museums / Published photographic book Martha Graham, wrote articles on aesthetics and technique of photography in Art and Photo magazines.
At BMC Art Institute September 11-16, will teach and practice PHOTOGRAPHY, exhibit and lecture. (See Page 9)
J. B. NEUMANN Gallery Director since 1910, arranged art exhibitions in Europe and America. Director of Berliner Secession / Published pamphlets on art, Art Lover, editions of Leonardo, Rembrandt, Van Gogh / Lectured at Museum of Modern Art, New School for Social Research, Art Institute of Chicago, Smith College Museum, Pennsylvania Museum of Art, Wadsworth Atheneum, Dartmouth College, Philadelphia Art Alliance, Columbia University; Modern Art Society, Cincinnati; Institute of Modern Art, Boston; Phillips Memorial Gallery, Minneapolis Institute of Art, etc.
At BMC Art Institute August 21-September 2, will give lectures: An Appreciation of Art. (See Page 10)
AMEDEE OZENFANT Founder of the Purist Movement, 1918. Published 1920-25 L’Esprit Nouveau (with Le Corbusier) / His work in the museums of New York, Chicago, Providence, San Francisco, Paris, Philadelphia, Moscow, Berlin / Taught at Modern Academy, Paris; Ozenfant Academy, Paris; Ozenfant Academy, London; French Institute, London; University of Washington; Teaching at Ozenfant School, New York / Lectured at New School for Social Research, University of Michigan, Yale University, Cooper Union, Harvard University / Author of Peinture Moderne, Art, Lebenund Gestaltung, Modern Art, Foundations of Modern Art, Tour De Grece, Journey Through Life, etc. / Chevalier de la Legion d’Honneur.
At BMC Art Institute August 7-19, will lecture on Problems of Modern Art. (See Page 9)
JAMES PRESTINI Studied: Mechanical Engin. Sheffeld Scientific School; Yale University, education, furniture design; University Stockholm; School of Design, Chicago / Director, Art Dept. Lake Forest Academy; taught at Mills College; North Texas State Teachers College; Research Assistant, Illinois Institute of Technology (Armour Foundation) / Teaching at School of Design, Chicago.
At BMC Art Institute August 28-September 16, will give a workshop course in hand and machine sculpture in wood. (See Page 9)
BERNARD RUDOFSKY Practiced architecture in Austria, Germany, Italy, Brazil / Industrial designer (Winner of Organic Design Competition NY 1941) / Editor of Domus, Milan; New Pencil Points. At present director of exhibition on clothing to open at Museum of Modern Art, N.Y. (Exhibition models to be made by Valentina).
At BMC Art Institute August 7-19, will lecture, discuss and demonstrate CLOTHING: PRESENT, PAST, AND FUTURE. (See Page 9)
JOSE LUIS SERT Worked with Le Corbusier and P. Jeanneret, Paris / Elected Vice-President of International Congress for Modern Architecture, 1937. Founded, organized, and elected President of Group for the Development of Modern Architecture in Spain. Co-editor of the Spanish Architectural Magazine A,CC,1931-36 / Lectured: Paris; Barcelona; Harvard University; Bennington College; Institute of Fine Arts, Detroit; School of Design, Chicago; Yale University / Expert on housing, prefabrication of buildings, town planning, regional planning / Author of Can our Cities Survive?
At BMC Art Institute September 11-16, will lecture on MODERN CITY AND REGIONAL PLANNING. (See Page 9)
HOWARD THOMAS Studied at Ohio State University, Chicago Art Institute, University of Southern California / Exhibited in group and one-man shows. Represented in public and private collections / Director, Division of Art Education, Milwaukee State Teachers College; Acting Head, Department of Art at Woman’s College of University of North Carolina, Greensboro; Head, Department of Art, Agnes Scott College, Decatur, Georgia / President, Southeastern Art Assn.
At BMC Art Institute September 4-9, will lead panel on The Teaching of Art and lecture on related topics (See Page 10)
ANNI ALBERS Collaborator of Textile Workshop of the Bauhaus, Teaching at Black Mountain College since 1933 / Work exhibited, collected and published in Europe and America / Published articles on design, weaving, education.
At BMC Art Institute July 17-Septmber 16, will teach TEXTILE DESIGN (See Page 8)
JOSEF ALBERS Taught at the Bauhaus in Weimer, Dessau, Berlin, 1923-33. Assistant Director of the Bauhaus, 1928-31. Black Mountain College since 1933. Seminars, lectures, semester course, summer school at Harvard University, 1936-41. Courses at Museum of Modern Art, NY; Lowthrope School, Groton / Work exhibited, collected, published in European and American countries.
At BMC Art Institute July 17-September 16, will teach GENERAL DESIGN AND COLOR. (See Page 8)
Most of the artist-teachers have agreed to exhibit a collection of their work during the time of their teaching at BMC Art Institute.
COURSES LECTURES PANELS
DRAWING PAINTING JEAN CHARLOT
A class of combined drawing and painting from nature, as a discipline in seeing- illustrating with the model the grammar of lines and colors, rhythms, balances, static and dynamic elements observed in their pure state in the composition class (see blow). The drawing-painting composition class will disclose natural sources of styles, i.e. primitive, baroque, etc, that are incipient in natural vision – 3 mornings weekly –
COMPOSITION JEAN CHARLOT
Static: In two dimensions, harmonious with regard to area covered. In three dimensions, creation of limited space in which solids are defined by three co-ordinates as opposed to unlimited spatial sensation with its romantic or impressionistic connotations.
Dynamic: The addition to the three dimensions of another, that of time-movement. Multiple images and relation of the cinematographic to the static in composite images.
Perspective and point of view: From the Italian perspective with single point of view to mural problems, including multiple point of view, diagonal vision, both lateral and vertical. – 1 morning weekly-
GENERAL DESIGN JOSEF ALBERS
Study of fundamental problems underlying all art; Exercises in material will lead through producing form to reading of the meaning of form. Form depends basically on construction and combination, that is on capacity and appearance of material. We study activity related to quantity and intensity (proportion), to movement (dynamic-static), to three-dimensionality (volume-space and shape), to tension (contrast-affinity, exception and parallelism), to placement (figure-background problem).
Color problems of design are students in a special course. (See Color). – 1 morning weekly-
COLOR JOSEF ALBERS
Color and how it works. Color is the most relative medium in art. Its application is primarily a psychological problem. Experimental studies will demonstrate how color changes color in its various properties. The main color activities, such as color-intensity and light-intensity, depend, e.g., on quantity, shape, placement. Space in color, and color in space. Color opaque, translucent, transparent. Color mixture, subtractive and additive. The Weber-Fechner Law. Color systems, their purpose and use. – 1 morning weekly-
TEXTILE DESIGN ANNI ALBERS
Construction of fabrics, theoretically and practically, in classes and weaving workshop. Analysis and fabrics. Designing, on the loom, for industrial production and weaving of individual pieces. Work with primitive looms (for the teaching of weaving in schools with limited equipment and for those interested in the study of some ancient techniques). – 4 mornings weekly-
SCULPTURE JOSE DE CREEFT
Creative work in form of direct carving. – 3 mornings weekly-
WOOD PLASTIC JAMES PRESTINI
Hand and machine sculpture in wood. Demonstrations and practice; hand and machine tools; wood and wood finishes, plywood, bent wood; shaping exercises, using saws, drills, lathe, sander, etc. surface treatments. – Instruction by appointment-
PHOTOGRAPHY JOSEPH BREITENBACH
Instruction in photography suitable for the professional or non-professional photographer, also for those interested in artistic and commercial manifestation. Six lectures dealing with fundamental aspects; Reality and Personality (Document-Creation) / Transformation of Space (Three- and Two-Dimensionality) / Transformation of Color (Visual-Pictorial Contrasts) / Transformation of Time (Action-Activity) / Applications (Reportage, Advertising, Portrait) / Experimental Photos / History of Photography. Exhibition with analysis. – Instruction by appointment-
BARBARA MORGAN Will demonstrate, discuss, and criticize photography. Two illustrated lectures on Photographic Vision and Control of Elements and Technique in Photographic Expression. – Instruction by appointment-
Students interested in photography are requested to bring equipment for practical studies and previous work for criticism. The College provides darkroom with modest equipment.
CLOTHING BERNARD RUDOFSKY
Themes for discussion: Man’s unwillingness to accept the anatomic form of the human body as satisfactory and definite. Topography of modesty. Corporal decoration among primitive and civilized peoples. Contemporary dress: anachronistic, irrational, impractical, harmful. Symbols and vestiges. Dress dictating our behavior, dominating and conditioning all phases of life.
Demonstrations: Critical examination of own clothes. Students asked to draw pattern of the garments they are wearing in order to make them realize all of their absurdities. Uncut types of clothes improvised by students. Headgear and footwear investigated. Relationships stressed: foot-footwear-floor-plan.
Mr. Rudofsky, in manual studies, will be assisted by Mrs. Rudofsky, who will give practical advice in the making of clothing and accessories in various techniques.
ARCHITECTURE PLANNING WALTER GROPIUS
Two illustrated lectures: Site and Shelter after the War and Means of Design related to Science of Space and Science of Technique. Discussion on Modern Architecture.
JOSE LUIS SERT Three illustrated lectures: The Human Scale in Planning / Urbanism versus Suburbanism / Civic Centers – Tomorrow.
ART THEORY AMEDEE OZENFANT
Six illustrated lectures: Problems of Modern Art (Art studied in the Light of the Psychology of Need. Ozenfant’s Theory) / Basic Laws of Sensitivity. Permanent Needs and New Needs / General Morphology and Morphology of Art. Keyboards of Forms and the Styles / Survey of the History of Art from the Origins to Now / Training of “Originality” and “Creative Power”. Art Today and Tomorrow / Special Slides, Analysis of Problems on the Black Board.
ART APPRECIATION J.B. NEUMANN
Nine illustrated lectures: Creation not Imitation / Why do we hate Modern Art? / My Thirty Years with Modern Art / The Evolution of Modern Art / Expressionism, Art and Man / Smile and Laughter, the Art in Caricature / Cezanne, Rouault / Picasso, Klee, Chagall / Modern Art in America since the Armory Show.
JEAN CHARLOT Six lectures, each illustrating A Master and his Epoch.
ART EDUCATION Lectures, demonstrations, panels, discussions on Art Education Today and After the War and the Teaching of Art.
BELLE BOAS Lecture on Reflections on Art Teaching and panel on Art Appreciation.
VICTOR D’AMICO Lectures: What is Creative Education? / Art in Relation to a General Cultural Program / Teaching Art Appreciation / Exhibition Technique in Schools.
Panel: Art education before, during, and after the War.
HOWARD THOMAS Lectures and demonstrations: Native Materials in Cultural Pattern / The Imposition of Adult Conception upon Children or The Danger of Mannerisms / The Flexible Art Curriculum.
OTHER SUMMER ACTIVITIES
THE BLACK MOUNTAIN COLLEGE MUSIC INSTITUTE, dedicated to Mrs. Elizabeth Sprague Coolidge, will be held simultaneously with the Art Institute. M. Dick, J. and N. Graudan, R. Kolisch, E. Krenek, L. Leonard, Y. Pessl, E. Steuermann, E. Bacon, M. Brunswick, A. Copland, A. De Mille, H. Graf, P. Green, D. Humphrey, J. Martin, B. Straight-Dolivet, V. Thomson, F. Cohen, H. Jalowetz, E. Kahl, E.E. Lowinsky, G.E. Straus will be among the teachers and lecturers of the Music Institute (opening date July 3, 1944). For further information on the MUSIC INSTITUTE, THE BLACK MOUNTIAN COLLEGE SUMMER SESSION, and the SUMMER WORK CAMP, write to the Registrar, Black Mountain College, Black Mountain, N.C.
Students of the Art Institute may visit classes or lectures of the Music Institute and the College Summer Session, and attend concerts and performances, or participate in the Work Program.
Those students interested in cabinet-making and carpentry may work in the wood workshop under the direction of MARY GREGORY, of the College Faculty.
GENERAL INFORMATION
Black Mountain College is situated in the heart of the Great Craggy Mountains of Western North Carolina, a section noted for its climate and scenery. Because of the altitude- 2,400 feet- the summers are usually cool, particularly at night. The College campus with its farm and a little lake is just off US Highway 70, three miles from the town of Black Mountain. The railroad station Black Mountain is on the scenic Southern Railroad Line from Salisbury to Asheville. Direct Pullman cars from New York to Black Mountain. The city of Asheville is fifteen miles from the College.
The lake is bordered on the south by the dining hall, with a dining porch; on the north, by the new studies building erected with student and faculty labor. The living quarters of the College students include two dormitory buildings with bedrooms for two, three and more persons.
Members of the Black Mountain College community take care of their own rooms.
At Black Mountain College teachers and students live on the campus. They have their meals together in the dining hall. Thus there is a constant personal contact among students and teachers.
The College farm supplies milk, meat, and vegetables to the College kitchen.
The College community life in summer offers opportunities for dancing, picnics, light farm work, hiking, and swimming.
Clothing appropriate for walking in the mountains and for working outdoors should be provided, as well as ordinary city clothes suitable for this climate. Evening dresses are worn at dance and concerts.
Students are asked to bring with them the artists’ materials which they wish to use. A few materials are obtainable at the College co-operative store; paints, canvas, special papers; etc., at Asheville stores. Light easels are provided by the College.
ADMISSION
Admission to the Art Institute rests with a College committee. Its decisions depend upon active interest, ability, artistic training. There are no regulations as to educational background and age.
The filled-out application blank (attached) should be accompanied by an application fee of $5.00. This fee, non-refundable, will be credited to the inclusive fee upon admission. The Committee will write directly to the references given.
For application for a scholarship, ad additional special form to be filled out will be sent upon request. Because of limited accommodations, applications for admission should be mailed as early as possible.
FEE
The fee for attendance at the Art Institute for the full session of nine weeks is $320. This amount includes all charges for tuition, room and board, the use of the College library, record collection, and equipment; also visiting of classes of the regular College summer session and The Music Institute, as well as attendance at concerts and performances at the Music Institute.
Participants for the full session will receive first consideration; participants for shorter periods will be accommodated as space permits. The fee for shorter periods will be for each week one-eighth of the overall fee namely $40.00.
The fee is payable as follows: 25% upon notice of admission to insure reservation of accommodation; the balance on arrival.
A limited number of scholarships is available to talented students, artists, and teachers, who can show a need for financial support.
Address correspondence to:
Black Mountain College Art Institute
Black Mountain, North Carolina.
SCHEDULE
As the time-table on page 13 shows, class and lecture courses are so arranged in time that the various field and the teachers are distributed as equally as possible over the whole session of nine weeks.
The schedule will be reserved for rest, private work, outdoor activities, workshop, voluntary participation in the College Work Program, also for individual advice and criticism.
Lectures, panels, discussions, will usually be held in the evenings.
During the last week of the session there will be an exhibition of work done at the Art Institute.
*graphic of a timetable of courses, lectures and demonstrations at the Art Institute for July through September, including activity names and instructors.
BLACK MOUNTAIN COLLEGE
This is a unique educational experiment, where the students and faculty are not only building their own buildings but really are attempting to demonstrate democratic procedure in an educational institution.
Eleanor Roosevelt (My Day, April 10, 1941.)
Black Mountain is a living example of democracy in action.
John Dewey
I want to congratulate you upon the work you are doing. You are here as a little community to work with your hands and your brains, which is a goof thing for you. What is done out of pleasure is much better done than what is done out of duty. If you had to climb mountains out of duty, you could not mount these high mountains. I think that is also true with high mountains of the spirit.
Albert Einstein
Progressive education’s most famous outpost.
Time Magazine, Dec. 27, 1943.
There should be at least one college such as this in every state, operated independently of the big universities, to provide custom-tailored education for those who want it and do the experimenting of which the big schools are almost incapable.
P.M.
Nowhere on American college campuses is there to be found a more democratic spitit.
The Archive, Duke University, Durham, N.C.
I had thought to stay an hour or so, then go on. To shorten a long tale, instead of staying overnight, I remained for two and a half months. On the third day I found myself making notes about the place. And two weeks later I knew I had stumbled on what might eventually prove one of the most fascinating and probably important stories developing in America today.
Louis Adamic (Harper’s Magazine.)
Black Mountain College catalogue, picture bulletin, pamphlets and Newsletter will be mailed upon request.
*application is attached in booklet. Photographs and full transcription of application can be found in record labeled 2017.40.027
Cover photo by Elliot Lyman Fisher, Asheville, N.C.
Back cover *Image of mountain range with greenery and sky visible. Black and white photograph.
