{"id":1209,"date":"2021-04-28T10:30:47","date_gmt":"2021-04-28T10:30:47","guid":{"rendered":"https:\/\/soc.hamiltonlits.org\/sharingsociology\/?p=1209"},"modified":"2021-04-28T15:40:10","modified_gmt":"2021-04-28T15:40:10","slug":"negative-space-and-what-fills-it-arts-absence","status":"publish","type":"post","link":"https:\/\/soc.hamiltonlits.org\/sharingsociology\/spring-2021\/negative-space-and-what-fills-it-arts-absence\/","title":{"rendered":"Negative Space and What Fills It: Art’s Absence"},"content":{"rendered":"\n
Absent Art<\/strong>: Campbell, Niel A., Eric J. Simon, Jean L. Dickey, and Jane B. Reece. (2013) 2019. Essential Biology With Physiology<\/em>. New York: Pearson. 6e. 67-68.<\/h6>\n\n\n\n
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Historical Hierarchies?<\/h4>\n\n\n\n
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From ancient artworks that depict processions of religious and ritual significance, such as the reliefs on the walls of the palaces of Nimrud and Nineveh, Middle Age miniatures, such as that of the Mongol siege of Baghdad, memorializing historical events, to paintings, like Joseph Wright\u2019s depictions of the Lunar Society of Birmingham or Rembrandt van Rijn\u2019s Anatomy Lesson, that exemplified the Industrial and Scientific Revolutions, the historical and scientific record has been complemented by a parallel visual recording, which has been integral for its preservation.<\/em><\/figcaption><\/figure>\n\n\n\n
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As an interpretational field, science and art have experienced overlap in methodology and principle (Goyal and Zhu, 2018). In human biology alone, there exist multitudes of examples, spanning diagrams of human arteries and viscera like the one in Abu Ali Sina\u2019s 11th Century Canon of Medicine or the Anatomical Venuses of the 18th Century. The sciences and the humanities are disciplines that have operated in tandem, rather than with an inherent precedence.<\/em>
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Art predates writing by over ten millennia. Works of art have been used to record and retell human history across time. <\/strong><\/p>\n\n\n\n

The scientific and historical fields are rooted in observation, as is art. All three often presuppose the action of precise representational recording. Art, history, and science have often complemented each other, and appear concurrently within their respective narratives.<\/strong><\/p>\n\n\n\n

Recently, the sciences have become much more influential than the arts, and the historical record has relied much more on the immediacy of its consumption than on the labor and time-intensiveness of its preservation. Concurrently, art as recordkeeping is waning, and its social value has become trivialized much more significantly than that of scientific progress. Art has gradually begun to be viewed as supplementary rather than complementary. Examining the moments of art that are habitual enough to be taken for granted, but are sorely missed with its absence, I make the case for its necessity.<\/strong><\/p>\n<\/div>\n\n\n\n

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Educational Inequities<\/h4>\n\n\n\n
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Schools\u2019 art programs are being cut, and little is being done to reinvigorate the ones that remain. Artistic education no longer takes precedence, and a much greater emphasis is being placed on the development and marketing of technological subjects; at those same institutions that are cutting back on art education, there is a relative burgeoning of mathematic, scientific, technological, and engineering (STEM) programs (Tamer, M., 2009).<\/strong><\/p>\n\n\n\n

Of 87,498 elementary schools in the United States, 17%\u201414,875\u2014do not offer any form of visual arts instruction (AFTA, 2013). Neither do 11% of American secondary schools (AFTA, 2013). From 2000 to 2010, the amount of public elementary schools with visual arts-specific classes fell by 4%, from 87% to 83%, as did secondary schools, dropping from 93% to 89% (NCES, 2012). By far the largest percentage of educational institutions with absent visual arts programs are high schools, of which 21%\u2014over one-fifth of all high schools in the country\u2014lack visual arts programming completely (Elpus, K., 2017). <\/strong><\/p>\n\n\n\n

In the transition between standard and higher art education, beyond academic involvement in artistic educational programming, career prospects for educated artists are bleak. Of the two million graduates of art-specific colleges and university art programs, less than 10%\u2014only 200,000\u2014find jobs in the art sector (Boilen et al., 2014). <\/strong><\/p>\n<\/div>\n\n\n\n

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Absent Art<\/strong>: Danzer, Gerald A., J. Jorge Klor de Alva, Larry S. Krieger, Louis E. Wilson, and Nancy Woloch. 1998. The Americans: Reconstruction to the 21st Century<\/em>. McDougal Littel. 356-357.<\/figcaption><\/figure>\n\n\n\n
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Absent Ar<\/strong>t: Spielvogel, Jackson J. 2002. World Histor<\/em>y. New York: McGraw-Hill. 311-312.
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Absent Art<\/strong>: Feather, Ralph, Charles William McLaughlin, Marilyn Thompson, and Dinah Zike. 2012. Physical Science: With Earth Science<\/em>. McGraw-Hill Education. 353-354.<\/figcaption><\/figure>\n\n\n\n
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Absent Ar<\/strong>t: Gilbert, Thomas R., Rein V. Kirss, Natalie Foster, and Stacey Lowery Bretz. (2014) 2018. Chemistry: An Atoms-Focused Approach.<\/em> New York: W. W. Norton & Company. 2e. 89-90.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Conversely, the United States has seen an increase in the number of science and technology-oriented outreach and booster programs, such as the Federal STEM Education Strategic Plan, a five-year plan emphasizing equal access to scientific programming for all American school students (U.S. Department of Education, 2018). Women and minority groups are explicitly identified as the target groups of potential STEM engagement (U.S. Department of Energy, n.d.), whereas the art education narratives that are enabled, encouraged, published, and depicted disproportionally amplify individuals with the most privilege. The breakdown of art education\u2019s accessibility benefits white students in high-income families most. Markedly, only 26% of Hispanic college-age individuals and 28% of African American college-age individuals referenced receiving an art education in either primary or secondary school, compared to 59% of white individuals of the same age (AFTA, 2013). In elementary schools with enough funding for separate divisions between gifted and non-gifted programs, two-thirds of the gifted students had access to separate rooms for participating in art-related classroom activities (NCES, 2012). Beyond Title IV degree-granting institutions, At an existing hiring rate of 10%, 83% of working artists with Bachelors of Fine Arts from art institutions are white, and 55% of those working artists are also male (Boilen et al., 2014). <\/strong><\/p>\n\n\n\n

In addition, art is perpetuated as a gendered, feminized, field. Of all art school graduates, 60.3% identify as female (Boilen et al., 2014). Technologically-oriented higher education is a field conversely dominated by men, who make up 55% of Bachelor\u2019s Degree holders in STEM fields (U.S. Department of Energy, n.d.). Whereas multitudes of organizations and focus groups across different levels of education are aimed at generating girls\u2019 and womens\u2019 interest and involvement in the sciences, there exists no parallel emphasis on bridging the gender gap in arts programming and broadening the involvement of men in the visual arts. The gender dichotomy and the calculated, preferential approach of science and technological program outreach contributes to the delegitimization of art as an educational and career goal and disincentivizes individual involvement. <\/strong><\/p>\n\n\n\n

The education system is slowly devaluing art, utilizing various existing institutionalized discrepancies of social privilege.<\/strong><\/p>\n<\/div>\n\n\n\n

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Campbell, Niel A., Eric J. Simon, Jean L. Dickey, and Jane B. Reece. (2013) 2019. Essential Biology With Physiology<\/em>. New York: Pearson. 6e. 67-68.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Gilbert, Thomas R., Rein V. Kirss, Natalie Foster, and Stacey Lowery Bretz. (2014) 2018. Chemistry: An Atoms-Focused Approach<\/em>. New York: W. W. Norton & Company. 2e. 89-90.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Feather, Ralph, Charles William McLaughlin, Marilyn Thompson, and Dinah Zike. 2012. Physical Science: With Earth Science<\/em>. McGraw-Hill Education. 353-354.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Spielvogel, Jackson J. 2002. World History<\/em>. New York: McGraw-Hill. 311-312.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Danzer, Gerald A., J. Jorge Klor de Alva, Larry S. Krieger, Louis E. Wilson, and Nancy Woloch. 1998. The Americans: Reconstruction to the 21st Century<\/em>. McDougal Littel. 356-357.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Works Cited<\/strong><\/span><\/h4>\n\n\n\n

Americans for the Arts and Vans Custom Culture. 2013. \u201cArts Education Navigator: Facts & Figures.\u201d Arts Education<\/em>. https:\/\/www.miarted.org\/pdf\/AFTA-Arts-Education-Navigator-Facts-Figures.pdf<\/a>.<\/p>\n\n\n\n

Boilen, Julian, Vicky Virgin, Susan Jahonda, Blair Murphy, and Caroline Woolard. 2014. \u201cArtists Report Back: A National Study on the Lives of Arts Graduates and Working Artists.\u201d BFAMFAPhD<\/em>. http:\/\/bfamfaphd.com\/wp-content\/uploads\/2016\/05\/BFAMFAPhD_ArtistsReportBack2014-10.pdf<\/a>.<\/p>\n\n\n\n

Campbell, Niel A., Eric J. Simon, Jean L. Dickey, and Jane B. Reece. (2013) 2019. Essential Biology With Physiology<\/em>. New York: Pearson. 6e. 67-68.<\/p>\n\n\n\n

Danzer, Gerald A., J. Jorge Klor de Alva, Larry S. Krieger, Louis E. Wilson, and Nancy Woloch. 1998. The Americans: Reconstruction to the 21st Century<\/em>. McDougal Littel. 356-357.<\/p>\n\n\n\n

Elpus, Kenneth. 2017. \u201cUnderstanding the Availability of Arts Education in U.S. High Schools.\u201d National Endowment for the Arts<\/em>. Art Works. https:\/\/www.arts.gov\/sites\/default\/files\/Research-Art-Works-Maryland6.pdf<\/a>. <\/p>\n\n\n\n

Feather, Ralph, Charles William McLaughlin, Marilyn Thompson, and Dinah Zike. 2012. Physical Science: With Earth Science<\/em>. McGraw-Hill Education. 353-354.<\/p>\n\n\n\n

Gilbert, Thomas R., Rein V. Kirss, Natalie Foster, and Stacey Lowery Bretz. (2014) 2018. Chemistry: An Atoms-Focused Approach<\/em>. New York: W. W. Norton & Company. 2e. 89-90.<\/p>\n\n\n\n

Goyal, Yogesh and Lian Zhu. 2018. \u201cArt and Science: Intersections of Art and Science through Time and Paths Forward.\u201d EMBO Reports<\/em>, vol. 20, no. 2. doi:10.15252\/embr.201847061<\/a>. <\/p>\n\n\n\n

IES: National Center for Education Statistics (NCES). 2019. \u201cTable 105.50: Number of Educational Institutions, by Level and Control of Institution: Selected Years, 1980-81 through 2017-18.\u201d Digest of Education Statistics<\/em>. U.S. Department of Education. https:\/\/nces.ed.gov\/programs\/digest\/d19\/tables\/dt19_105.50.asp?current=yes<\/a>. <\/p>\n\n\n\n

IES: National Center for Education Statistics (NCES). 2019. \u201cIndicator 26: STEM Degrees.\u201d Status and Trends in the Education of Racial and Ethnic Groups<\/em>. U.S. Department of Education. https:\/\/nces.ed.gov\/programs\/raceindicators\/indicator_reg.asp<\/a>. <\/p>\n\n\n\n

Office of Economic Impact and Diversity. \u201cSTEM Outreach and Engagement.\u201d U.S. Department of Energy. https:\/\/www.energy.gov\/diversity\/stem-outreach-and-engagement<\/a>.  <\/p>\n\n\n\n

Parsad, Basmat and Maura Spiegelman. 2012. \u201cArts Education In Public Elementary and Secondary Schools: 1999\u20132000 and 2009-2010.\u201d Institute of Education Sciences: National Center for Education Statistics<\/em>. U.S. Department of Education. https:\/\/nces.ed.gov\/pubs2012\/2012014rev.pdf<\/a>.<\/p>\n\n\n\n

\u201cScience, Technology, Engineering, and Math, Including Computer Science.\u201d U.S. Department of Education. https:\/\/www.ed.gov\/stem#stem-strategy<\/a>.   <\/p>\n\n\n\n

Spielvogel, Jackson J. 2002. World History<\/em>. New York: McGraw-Hill. 311-312.<\/p>\n\n\n\n

Tamer, Mary. 2009. \u201cOn the Chopping Block, Again,\u201d Harvard Ed. Magazine<\/em>. https:\/\/www.gse.harvard.edu\/news\/ed\/09\/06\/chopping-block-again<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

How come the instruction and creation of art has become so disincentivized and devalued? <\/p>\n","protected":false},"author":1,"featured_media":1793,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[72,59],"tags":[65],"class_list":["post-1209","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-spring-2021","tag-sociology"],"yoast_head":"\nNegative Space and What Fills It: Art's Absence - Sharing Sociology<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soc.hamiltonlits.org\/sharingsociology\/spring-2021\/negative-space-and-what-fills-it-arts-absence\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Negative Space and What Fills It: Art's Absence - 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