Victor D’Amico was a remarkable artist, teacher, visionary and pioneer of modern art education. According to Rasmussen (2010), "D’Amico’s most widely acclaimed and influential program, the Children’s Art Carnival (1942–1969), was an experiment in modern art education that tested and developed his ideas about children, creativity, and modern art" (para 9). The Carnival was an elaborate environment of toys, workstations and art materials where children could make paintings, sculptures and collages. The website, www.artcarnival.weebly.com documents the process of reproducing Victor D'Amico's philosophy of teaching art through the creation of an Art Carnival for the students at FBCS-Stuart.
D’Amico’s Philosophy
D'Amico believed that all individuals were created with creative potential and that art education should be based on making art - as opposed to the teaching of repetitious techniques (McGill, 1987). He thought copying was not effective. It produced a result without the experience of creation. D'Amico considered the "fundamentals to be the development of individuality" (D'Amico, 1960, p. 14). If children were encouraged and given time to explore and express their ideas freely on their own, they would learn perspective and other mechanical techniques as needed (Newsom & Silver, 1979). D’Amico also believed that children, as well as adults, “need the guidance of experienced and sensitive teachers” and stated that "motivation is the key to creation, an art teacher’s magic lies in the way he/she motivates” (Bowman, 1969). An exceptional art educator was not only experienced but understood the concepts of psychological growth, both creative and general. They had a positive attitude, respect for individuality, and were devoted to excellence and design and craftsmanship. Most important, they were able "to stimulate and develop the creative interests of others and to communicate the aesthetic values that underlie all creative achievement" (D'Amico, 1960, p. 9).
The Inspiration Area
The Inspiration Area developed by D'Amico provided an approach to teaching art where the child was stimulated to think creatively. They were oriented to the fundamentals of design without words or dogma of any kind (D'Amico, 1960). At D'Amico's Art Carnival one-third of the children’s time was devoted to this space. The walls were painted in blues and greens and the room was dimly light. Lights focused on toys from above or from within. Music played in the background.
D'Amico's Art Carnival was designed for the children. Adults were allowed in viewing rooms, provided so parents could observe their children as they played and created. While children were in the Inspiration Area, the art educator was to connect with them only if instruction was needed. Verbal instruction was to be kept at a minimum.
The toys were created to convey the fundamentals of design. They stimulated creative thinking by involving "the child in aesthetic concepts of color, texture, and rhythm" (D'Amico, 1960, p. 35). While there were many elaborate toys such as the Space Ship Projector and the Color Players, there were also toys that could be easily replicated. D'Amico's String Picture Maker was made with a peg board and golf tees. Children wrapped colored rubber bands around the golf tees to create designs. A second toy designed by D'Amico was called the Magnetic Board. Children used colored abstract and representational shapes on the white board to visualize many arrangements of color and pattern (D'Amico, 1960). A third toy, the Three-Dimensional Design was a toy where students could hang different colored balls to create different patterns.
My Inspiration Area was developed from information found in D'Amico's book, Experiments in Creative Art Teaching, a MoMA press release by Bernstein, D'Amico, & Shaw (1969, p. 2), and from The Art Barge website. Special care was taken to replicate aspects of D'Amico's Art Carnival toys. One-third of the students’ time was devoted to this space. Colors for the toys were bright and engaging. As in D'Amico's Art Carnival, music played in the background.
The first toy resembles D'Amico's String Picture Maker. I used a pegboard and wooden dowels. Students used textured yarn of different colors to string around the dowels. The second toy represented D'Amico's Magnetic Board. I used abstract and representational shapes made out of foam and cardboard. Students arranged them on a table to create colored patterns and designs. The third toy was fashioned after a Three-Dimensional Design used at the Children's Art Carnival section of the Art Barge. I made a 3D toy from fast food drink holders and painted Styrofoam balls. It also allows students to create patterns with balls. I connected with students if instruction was needed and kept verbal instruction to a minimum.
The Preparation Area
After visiting the Inspiration Area, children entered the Participation Studio Workshop at D'Amico's Art Carnival. Children stayed here the remaining two-thirds of the time. Three centers were available for creating art. At the collage center D'Amico had tables set up with stimulating materials like glue, staplers, scissors, colored and patterned paper, feathers, tissue paper, sequins, and small pieces of cloth (D'Amico, 1960). At the building center D'Amico used air-dry clay some of the time. Other times he used pieces of cardboard, wire, cotton swabs, toothpicks, clothespins, tongue depressors, and glue (Bernstein, D'Amico, & Shaw, 1969). Tempera was used for the painting center where D'Amico had brightly colored easel tables lined up along walls that were painted in contrasting colors (D'Amico, 1960).
As in the Inspiration Area, parents were able to watch from behind glass windows. Children were allowed to work independently, and instruction was kept at a minimum. The only connection with children was to encourage them if they needed help getting started (D'Amico, 1960).
Just as the children attending D'Amico's Art Carnival, students stayed the remaining two-thirds of the time here. Three centers were set up to resemble centers that were used at D'Amico's Art Carnival. At the collage center I had glue, staplers, tape, scissors, white paper, colored and patterned paper, feathers, tissue paper, sequins, and small pieces of cloth. In the building center I had air-dry clay in the building center. As at D'Amico's Art Carnival, brightly colored tempera paint was at the painting center. I did not have easels so tables were covered with brightly colored tablecloths. Students were allowed to work independently, keeping instruction at a minimum. The only connection with students was to encourage them if they needed help getting started.
Reflections
Can a present day art classroom effectively apply an art education philosophy of the past? I believe the art education philosophy of Victor D'Amico was effectively applied in my classroom. Much thought and special care was taken to closely replicate aspects of D'Amico's Art Carnival. Of course there were things that I could not reproduce such as some of the elaborate toys, specific room décor, and lighting. However, the Inspiration Area and Preparation Area both delivered what I believe followed his philosophy.
As at D'Amico's Art Carnival, children were provided with a safe and supportive environment that offered "various modes of free-choice learning through visual, tactile, and kinesthetic experience" (Rasmussen, para 9). "Both two- and three-dimensional methods for expression-painting, clay work, and collage" were included to motivate creative activity (D'Amico, 1960, p. 23). Following D'Amico's instructions for the art educator, I allowed students to work freely and independently. I only assisted if a child wasn't sure what to do at a center or how to get started with their artwork. D'Amico believed when the art educator imposed ideas, the student would lose the opportunity to conceive and assimilate their own ideas and methods. It leaves no room for choice or decisions, preventing individual initiative, thought, technique, or style (Pearman, 1957). I did not have many students ask for assistance. I spent most of the class restocking supplies, taking pictures, and finding a place for completed artwork.
As suggested by D'Amico, students could move from center to center and make more than one piece of artwork. Kindergarteners were very excited about this and wanted to try everything. As D'Amico (1960) believed, I found children "responded quickly to the freedom and dynamic quality of the creative approach" (p. 40). My favorite outcome of the day, which was not mentioned in any of the resources or references I found, was the fact that I did not have discipline problems. Everyone was having fun, enjoying the activities, and creating art. Misbehavior did not occur.
Will I hold the FBCS Art Carnival again? Through this study I grew to appreciate Victor D’Amico, his philosophy, and his contribution to the history of teaching art more and more. His dedication to the belief that art education should be built on the experience of making art continues to intrigue me. I would hold the Art Carnival again as an annual event.
Many students expressed interest in having the Art Carnival on a regular basis. I believe adjustments would need to be made. In some areas I think instruction and demonstration would be beneficial. To create a weekly program would involve time, research, and extensive planning. Specifics regarding space, layout, centers, and setup would require thought and careful design. A collection of toys would be needed to use on a rotating basis. I do not think that the same toys every week would hold the students’ interest. Likewise, the art centers would require a variety of supplies that could be changed in and out. I would like to try the building center D'Amico describes with cardboard, pipe cleaners, buttons, popsicle sticks, wire, and cotton swabs. Finally, attention would also be needed in designing the room so it could easily and quickly change to accommodate very young students to middle school students.
Has my philosophy of art education changed as a result of this study? As I put the finishing touches on this project I am encouraged to research areas such as Choice Based Art Education and Teaching for Artistic Behavior, both of which adhere to ideas similar to D’Amico. I observed first hand how D'Amico's philosophies on art education worked. Creative thinking was stimulated by the use of toys and the Studio Workshop empowered children to be self-directed. The design encouraged them to use their imagination to create and make art independently. While I do not foresee applying D'Amico's philosophies one hundred percent, I do intend to make adjustments to incorporate some of his ideas.
D’Amico’s Philosophy
D'Amico believed that all individuals were created with creative potential and that art education should be based on making art - as opposed to the teaching of repetitious techniques (McGill, 1987). He thought copying was not effective. It produced a result without the experience of creation. D'Amico considered the "fundamentals to be the development of individuality" (D'Amico, 1960, p. 14). If children were encouraged and given time to explore and express their ideas freely on their own, they would learn perspective and other mechanical techniques as needed (Newsom & Silver, 1979). D’Amico also believed that children, as well as adults, “need the guidance of experienced and sensitive teachers” and stated that "motivation is the key to creation, an art teacher’s magic lies in the way he/she motivates” (Bowman, 1969). An exceptional art educator was not only experienced but understood the concepts of psychological growth, both creative and general. They had a positive attitude, respect for individuality, and were devoted to excellence and design and craftsmanship. Most important, they were able "to stimulate and develop the creative interests of others and to communicate the aesthetic values that underlie all creative achievement" (D'Amico, 1960, p. 9).
The Inspiration Area
The Inspiration Area developed by D'Amico provided an approach to teaching art where the child was stimulated to think creatively. They were oriented to the fundamentals of design without words or dogma of any kind (D'Amico, 1960). At D'Amico's Art Carnival one-third of the children’s time was devoted to this space. The walls were painted in blues and greens and the room was dimly light. Lights focused on toys from above or from within. Music played in the background.
D'Amico's Art Carnival was designed for the children. Adults were allowed in viewing rooms, provided so parents could observe their children as they played and created. While children were in the Inspiration Area, the art educator was to connect with them only if instruction was needed. Verbal instruction was to be kept at a minimum.
The toys were created to convey the fundamentals of design. They stimulated creative thinking by involving "the child in aesthetic concepts of color, texture, and rhythm" (D'Amico, 1960, p. 35). While there were many elaborate toys such as the Space Ship Projector and the Color Players, there were also toys that could be easily replicated. D'Amico's String Picture Maker was made with a peg board and golf tees. Children wrapped colored rubber bands around the golf tees to create designs. A second toy designed by D'Amico was called the Magnetic Board. Children used colored abstract and representational shapes on the white board to visualize many arrangements of color and pattern (D'Amico, 1960). A third toy, the Three-Dimensional Design was a toy where students could hang different colored balls to create different patterns.
My Inspiration Area was developed from information found in D'Amico's book, Experiments in Creative Art Teaching, a MoMA press release by Bernstein, D'Amico, & Shaw (1969, p. 2), and from The Art Barge website. Special care was taken to replicate aspects of D'Amico's Art Carnival toys. One-third of the students’ time was devoted to this space. Colors for the toys were bright and engaging. As in D'Amico's Art Carnival, music played in the background.
The first toy resembles D'Amico's String Picture Maker. I used a pegboard and wooden dowels. Students used textured yarn of different colors to string around the dowels. The second toy represented D'Amico's Magnetic Board. I used abstract and representational shapes made out of foam and cardboard. Students arranged them on a table to create colored patterns and designs. The third toy was fashioned after a Three-Dimensional Design used at the Children's Art Carnival section of the Art Barge. I made a 3D toy from fast food drink holders and painted Styrofoam balls. It also allows students to create patterns with balls. I connected with students if instruction was needed and kept verbal instruction to a minimum.
The Preparation Area
After visiting the Inspiration Area, children entered the Participation Studio Workshop at D'Amico's Art Carnival. Children stayed here the remaining two-thirds of the time. Three centers were available for creating art. At the collage center D'Amico had tables set up with stimulating materials like glue, staplers, scissors, colored and patterned paper, feathers, tissue paper, sequins, and small pieces of cloth (D'Amico, 1960). At the building center D'Amico used air-dry clay some of the time. Other times he used pieces of cardboard, wire, cotton swabs, toothpicks, clothespins, tongue depressors, and glue (Bernstein, D'Amico, & Shaw, 1969). Tempera was used for the painting center where D'Amico had brightly colored easel tables lined up along walls that were painted in contrasting colors (D'Amico, 1960).
As in the Inspiration Area, parents were able to watch from behind glass windows. Children were allowed to work independently, and instruction was kept at a minimum. The only connection with children was to encourage them if they needed help getting started (D'Amico, 1960).
Just as the children attending D'Amico's Art Carnival, students stayed the remaining two-thirds of the time here. Three centers were set up to resemble centers that were used at D'Amico's Art Carnival. At the collage center I had glue, staplers, tape, scissors, white paper, colored and patterned paper, feathers, tissue paper, sequins, and small pieces of cloth. In the building center I had air-dry clay in the building center. As at D'Amico's Art Carnival, brightly colored tempera paint was at the painting center. I did not have easels so tables were covered with brightly colored tablecloths. Students were allowed to work independently, keeping instruction at a minimum. The only connection with students was to encourage them if they needed help getting started.
Reflections
Can a present day art classroom effectively apply an art education philosophy of the past? I believe the art education philosophy of Victor D'Amico was effectively applied in my classroom. Much thought and special care was taken to closely replicate aspects of D'Amico's Art Carnival. Of course there were things that I could not reproduce such as some of the elaborate toys, specific room décor, and lighting. However, the Inspiration Area and Preparation Area both delivered what I believe followed his philosophy.
As at D'Amico's Art Carnival, children were provided with a safe and supportive environment that offered "various modes of free-choice learning through visual, tactile, and kinesthetic experience" (Rasmussen, para 9). "Both two- and three-dimensional methods for expression-painting, clay work, and collage" were included to motivate creative activity (D'Amico, 1960, p. 23). Following D'Amico's instructions for the art educator, I allowed students to work freely and independently. I only assisted if a child wasn't sure what to do at a center or how to get started with their artwork. D'Amico believed when the art educator imposed ideas, the student would lose the opportunity to conceive and assimilate their own ideas and methods. It leaves no room for choice or decisions, preventing individual initiative, thought, technique, or style (Pearman, 1957). I did not have many students ask for assistance. I spent most of the class restocking supplies, taking pictures, and finding a place for completed artwork.
As suggested by D'Amico, students could move from center to center and make more than one piece of artwork. Kindergarteners were very excited about this and wanted to try everything. As D'Amico (1960) believed, I found children "responded quickly to the freedom and dynamic quality of the creative approach" (p. 40). My favorite outcome of the day, which was not mentioned in any of the resources or references I found, was the fact that I did not have discipline problems. Everyone was having fun, enjoying the activities, and creating art. Misbehavior did not occur.
Will I hold the FBCS Art Carnival again? Through this study I grew to appreciate Victor D’Amico, his philosophy, and his contribution to the history of teaching art more and more. His dedication to the belief that art education should be built on the experience of making art continues to intrigue me. I would hold the Art Carnival again as an annual event.
Many students expressed interest in having the Art Carnival on a regular basis. I believe adjustments would need to be made. In some areas I think instruction and demonstration would be beneficial. To create a weekly program would involve time, research, and extensive planning. Specifics regarding space, layout, centers, and setup would require thought and careful design. A collection of toys would be needed to use on a rotating basis. I do not think that the same toys every week would hold the students’ interest. Likewise, the art centers would require a variety of supplies that could be changed in and out. I would like to try the building center D'Amico describes with cardboard, pipe cleaners, buttons, popsicle sticks, wire, and cotton swabs. Finally, attention would also be needed in designing the room so it could easily and quickly change to accommodate very young students to middle school students.
Has my philosophy of art education changed as a result of this study? As I put the finishing touches on this project I am encouraged to research areas such as Choice Based Art Education and Teaching for Artistic Behavior, both of which adhere to ideas similar to D’Amico. I observed first hand how D'Amico's philosophies on art education worked. Creative thinking was stimulated by the use of toys and the Studio Workshop empowered children to be self-directed. The design encouraged them to use their imagination to create and make art independently. While I do not foresee applying D'Amico's philosophies one hundred percent, I do intend to make adjustments to incorporate some of his ideas.
References
1931-1950 Important Figures. (n.d.). In History of Art Education. Retrieved January 27, 2015, from http://ntieva.unt.edu/HistoryofArtEd/index.html
The Art Barge. (2015). In The Art Barge. Retrieved January 19, 2015,from http://theartbarge.com/barge/
The Children's Art Carnival. (2015). In NYC Service. Retrieved January 26, 2015, from http://www.nycservice.org/organizations/861
Bernstein, S., D'Amico, V. & Shaw, E. (1969, October 30). Pioneering in art education. In The Museum of Modern Art. Retrieved January 24, 2015,
from https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/4364/releases/MOMA_ 1969_July-December_0057_134.pdf?2010
Bowman, R. (1969, November). Views on art. In WNYC. Retrieved January 19, 2015,from http://www.wnyc.org/story/victor-damico/
D'Amico, V. (1960). Experiments in creative art. New York, NY: Museum of Modern Art.
D'Amico, V. (2011, September). Experiments in Creative Art. In Heath Trust Digital Library. Retrieved January 21, 2015, from
http://babel.hathitrust.org/cgi/pt?id=mdp.39015007229712;view=1up;seq=1
Hartman, C. (2012, December). Victor D’Amico Papers Now Available in the Museum Archives. Inside/Out. Retrieved January 12, 2015, from
http://www.moma.org/explore/inside_out/2012/12/06/victor-damico-papers-now-available-in-the-museum-archives
McGill, D. C. (1987, April). Victor D'amico, 82, A pioneer In art education for children. In The New York Times. Retrieved January
19, 2015, from http://www.nytimes.com/1987/04/03/obituaries/victor-d-amico-82-a-pioneer-in-art-education-for-children.html
Newsom, B. Y., & Silver, A. Z. (Eds.). (1978). The Art Museum as Educator (pp. 56-62). Berkley, CA: University of California Press. Retrieved from
https://books.google.com/books?id=xbG_W0mevmIC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Pearman, C. (Ed.). (1957). Creativeness and reaction in art education.in dimensions (Vol. 3, pp. 10-14). Ann Arbor, MI:University of Michigan. Retrieved from https://books.google.com/booksid=yatUAAAAMAAJ&pg=PA304&lpg=PA304&dq=Creativeness+and+Reactions+in+Art+
Education&source=bl&ots=kPq48o3GGs&sig=ZGSOPWxxCIavI9s6FUa8zUAsT8M&hl=en&sa=X&ei=vpbWVP7lMKvesATA
Rasmussen, B. (2010, July 25). Mining modern museum education: Briley Rasmussen on Victor D’Amico. Inside Out. Retrieved from
http://www.moma.org/explore/inside_out/2010/06/25/mining-modern-museum-education-briley-rasmussen-on-victor-d-amico
Stankiewicz, M. A. (2001). Roots of art education practice. Worcester, MA: Davis Publications.
1931-1950 Important Figures. (n.d.). In History of Art Education. Retrieved January 27, 2015, from http://ntieva.unt.edu/HistoryofArtEd/index.html
The Art Barge. (2015). In The Art Barge. Retrieved January 19, 2015,from http://theartbarge.com/barge/
The Children's Art Carnival. (2015). In NYC Service. Retrieved January 26, 2015, from http://www.nycservice.org/organizations/861
Bernstein, S., D'Amico, V. & Shaw, E. (1969, October 30). Pioneering in art education. In The Museum of Modern Art. Retrieved January 24, 2015,
from https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/4364/releases/MOMA_ 1969_July-December_0057_134.pdf?2010
Bowman, R. (1969, November). Views on art. In WNYC. Retrieved January 19, 2015,from http://www.wnyc.org/story/victor-damico/
D'Amico, V. (1960). Experiments in creative art. New York, NY: Museum of Modern Art.
D'Amico, V. (2011, September). Experiments in Creative Art. In Heath Trust Digital Library. Retrieved January 21, 2015, from
http://babel.hathitrust.org/cgi/pt?id=mdp.39015007229712;view=1up;seq=1
Hartman, C. (2012, December). Victor D’Amico Papers Now Available in the Museum Archives. Inside/Out. Retrieved January 12, 2015, from
http://www.moma.org/explore/inside_out/2012/12/06/victor-damico-papers-now-available-in-the-museum-archives
McGill, D. C. (1987, April). Victor D'amico, 82, A pioneer In art education for children. In The New York Times. Retrieved January
19, 2015, from http://www.nytimes.com/1987/04/03/obituaries/victor-d-amico-82-a-pioneer-in-art-education-for-children.html
Newsom, B. Y., & Silver, A. Z. (Eds.). (1978). The Art Museum as Educator (pp. 56-62). Berkley, CA: University of California Press. Retrieved from
https://books.google.com/books?id=xbG_W0mevmIC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Pearman, C. (Ed.). (1957). Creativeness and reaction in art education.in dimensions (Vol. 3, pp. 10-14). Ann Arbor, MI:University of Michigan. Retrieved from https://books.google.com/booksid=yatUAAAAMAAJ&pg=PA304&lpg=PA304&dq=Creativeness+and+Reactions+in+Art+
Education&source=bl&ots=kPq48o3GGs&sig=ZGSOPWxxCIavI9s6FUa8zUAsT8M&hl=en&sa=X&ei=vpbWVP7lMKvesATA
Rasmussen, B. (2010, July 25). Mining modern museum education: Briley Rasmussen on Victor D’Amico. Inside Out. Retrieved from
http://www.moma.org/explore/inside_out/2010/06/25/mining-modern-museum-education-briley-rasmussen-on-victor-d-amico
Stankiewicz, M. A. (2001). Roots of art education practice. Worcester, MA: Davis Publications.
