HUMA 1315 Central Texas College Visual Arts in The Education Field Paper

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Write Essay: Using your academic source/s you will write and submit your essay to the Writing Lab. Here are the specifics for your essay. Introduction Paragraph with Thesis Statement as the last sentence in this paragraph Essay Body: Supporting Arguments to prove your thesis statement 3+ paragraphs with 500-900 word count use at least 2 in-text citations (ideally 3) with supporting evidence from your stage ‘B’ approved academic/scholarly(textbook or library journal article source/s and properly document with any necessary quotation marks (these 2 may not be used for definitions, dates, nor artwork reference only)) Supporting information= some part of your connection and/or contribution (for example evidence supporting why a societal contribution in this area is needed, some visual art which would meet this need in some way, evidence to support the connection itself, etc. include visual artist born after 1900. Add an Artwork Title in correct MLA for extra credit (do not attach or include the actual images of the artwork!) Conclusion (3+ sentences) Take a summary sentence from each of the body paragraph as it directly relates to your thesis Works Cited – MLA formatted list of sources used within essay Composition.
a. Grammar and Spelling Count. 1″ Margins, Double Spaced, Times Roman 12pt, correct document type of rtf or doc only

Documentation
MLA Formatting of In-Text Citations –a grade may not be earned without proper in-text citations and documentation
MLA Formatting for all sources used on the Works Cited page -a grade will not be earned without a proper Works Cited page Use MLA 2016 8th edition with both URL and Accessed date for Library database or any instructor approved website. {see example essay} Note: Complete your assignment using word-processing software such as MS Word 365 (download free software at https://products.office.com/en-us/student?ms.officeurl=getoffice365), LibreOffice (download free software at https://www.libreoffice.org/download), or other per course requirements. Save your file as a .rtf file or .doc –Only -to ensure that it can be opened at any computer. Other document types will not be accepted, and could result in earning 0 points. Topic: The visual arts are closely related to the professional field of general education. Teaching the visual arts can help develop skills, creativity, and the ability to persist in criticism. The local community, the Laundromat Project, offers low-income people of color a chance to learn and make art together, thus, strengthening the communities. Visual arts are really helpful to communities because creativity is a core part of healthy humans, vibrant communities, and a prosperous economy. Artist: Jacob Lawrence Source: Powell, Richard J. “Jacob Lawrence: Keep on Movin’.” American Art, vol. 15, no. 1, 2001, pp. 90–93. JSTOR, www.jstor.org/stable/3109375. Accessed 30 Aug. 2020. The Local community: The Laundromat Project https://current.nyfa.org/post/68818759963/the-laundromat-project

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Jacob Lawrence: Keep on Movin’
Author(s): Richard J. Powell
Source: American Art , Spring, 2001, Vol. 15, No. 1 (Spring, 2001), pp. 90-93
Published by: The University of Chicago Press on behalf of the Smithsonian American
Art Museum
Stable URL: http://www.jstor.com/stable/3109375
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The University of Chicago Press and Smithsonian American Art Museum are collaborating with
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Appreciation
Jacob Lawrence
Keep on Movin’
Richard J. Powell
The last panel in Jacob Lawrence’s epochal Migration series (1940-41) depicts a sea
of African-American humanity: faceless women, men, and children, standing on one
side of a train platform with their personal belongings, and collectively adorned in
bold patches of cadmium red, forest green, light blue, sunflower yellow, brown, black,
and white. Although the composition forms one chromatically intense band that
spans the entire width of the scene and is framed on either side by brushy brown areas,
Lawrence (fig. 1) provides just enough variation from one individual to another and alterations in each individual’s clothing to help viewers discern each figure, his or her gen-
der, and approximate age.
In spite of Lawrence’s minimalist treatment of these travelers (fig. 2), one can make
out among the group a hunched over old woman, another woman holding an infant, a
man whose shirt and tie suggest the gravity of this special occasion, and several children,
dressed in bonnets and knickers, and sandwiched between the adults and scattered pieces
of luggage. Lawrence’s title for panel sixty-“And the migrants kept coming”-is a terse
yet appropriate caption for this stark, friezelike scene of migrants, a wooden train
platform, and a steel and wooden railroad track.
The title, like the image it designates, is intentionally open-ended, eternal, and
playfully suggestive of more to come. More gaily colored figures beyond the boundaries
of the picture frame. More African-American migrants who haven’t yet made their
presence known to us. And more train stations and railroad tracks and other modes
of transportation that will also figure in this grand narrative about mass movements
of people searching for a better anything and anywhere.
Besides a museum-size body of memorable paintings, drawings, and murals,
Jacob Lawrence, who died last year in Seattle at age eighty-two, leaves us a legacy
of migrations: acts of individual and collective boldness in the decision to pick up
and set off into the unknown. Literary critic Farah Jasmine Griffin describes this
uncertainty in Lawrence’s Migration series as a core element in much of his art: a
troubling state of consciousness and a sense of the interminable struggle that are
fundamental to the greater African-American “migration narrative.” Our inheritance
from Lawrence is the knowledge that such troubles and struggles are the stuff from
which, indeed, art can be created, and that there is no shame in making art out of
these experiences, nor is there a sense of inferiority in acknowledging one’s migrant
status. We’re all more or less from somewhere else; it is often only a matter of
90 Spring 2001
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1 Jacob Lawrence, Peter A. Juley &
Son Collection, Smithsonian
American Art Museum,
Washington, D.C.
distances or stints or degrees of acclimatization to one’s new home that individuates one
migrant from another.
And “keeping on the move” keeps one keenly conscious, aware of new surroundings
and new faces, and conversant with other signs and languages. Throughout Lawrence’s
Migration series he carefully depicts this process of acculturation and increased fluency in
new modes of living. Voting in an election for the first time, writing numbers on a school
blackboard, and eking out an existence in an overcrowded tenement building are just a
few of the adjustments-either improvements or deteriorations-that the migrants had
to make and that Lawrence represents. The utter blankness that permeates the figures and
environs in panel sixty, rather than suggesting vacuity, connotes the willingness to absorb
91 American Art
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2 Jacob Lawrence, “And the migrants
kept coming,” panel sixty from the
Migration Series (1940-41). Text
and title revised by the artist, 1993.
Tempera, 45.7 x 30.5 cm (18 x 12
in.). The Museum of Modern Art,
New York, Gift of Ms. David M.
Levey
these new experiences, to cover a recently erased slate with a new set of challenges and
life experiences, and to become forever transformed and refined by a move, say, to
Chicago, New York, or St. Louis.
Or even to London, as seen in a 1956 photograph by Haywood Magee of Caribbean
migrants congregating behind a gated border in Victoria Station (fig. 3). Although sixteen years and a continent removed from Lawrence’s painting of African-American migrants standing and waiting on a train platform, this news agency photograph captures
the same sense of collectivity, propriety, and expectancy that Lawrence artistically depicts.
Sociologist and cultural critic Stuart Hall has written eloquently about this photograph, perceptively observing that “these people have just survived the longest, hardest
journey in their lives: the journey to another identity. They are people ‘in transition’ to
a new state of mind and body: migranthood.” Making special note of the Caribbean
migrants’ fancy suits, shirts, ties, coats, and dresses, Hall observes that “their formality
is a signifier for self-respect. These are not the victims of migration, like the Jews and
East Europeans photographed by [Lewis] Hine at Ellis Island in New York. These folks
are in good spirits. They mean to survive. The angle of the hats is university jaunty:
cocky. Already there is style.”
In Lawrence’s painting, too, there is style. Like a medley of intermittent, brilliant
colors springing from a new African-American quilt, Lawrence’s indistinguishable masses
bring an eye-catching palette and vibrancy to the otherwise monochromatic train station.
The sense of a static, immovable black aggregation of women and men in Lawrence’s
92 Spring 2001
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3 Haywood Magee, Caribbean
immigrants arriving at Victoria
Station, London, 1956. Courtesy
of Hulton Getty/Archive Photos
painting is, just like in the Victoria Station photograph, a perceptual illusion. If one
had the power to bring these two images to life, the stylish clothes and gesticulating
travelers would bedazzle and overwhelm onlookers, their individuality and diversity
would become more obvious, and the sounds that emanated from the respective crowds
would be the verbal equivalents of the blues and calypso, both intoning (again, quoting
Stuart Hall) a catchy refrain, like “Face the music, darling, and let’s make a move.”
Although panel sixty-“And the migrants kept coming”-and Lawrence’s entire
Migration series represent only a fraction of his tremendous, sixty-odd years of art
making, and perhaps merely suggest the imaginative exuberance of a twenty-somethingyear-old “virtuoso” (to quote the pioneering African-American art historian James A.
Porter), the importance of this moment in Lawrence’s career should not be minimized
or ignored. As evidenced in the example of the Caribbean migrants-and in examples
throughout history of countless other self-propelled seekers-of-a-better-life-Lawrence
realized early in his career that such a subject was not only topical but also fundamental.
Long after they were created, these paintings on the theme of migration still have an
affecting presence in the world of art, and even beyond that relatively small sphere of
influence. Their collective message of motivation, confrontation, negotiation, and
imagination (as described in Griffin’s analysis of the African-American migration
narrative) comes down to us like an illuminated twentieth-century “Book of Hours,”
a word/image text that provides valuable lessons for all of us acknowledged (and
unacknowledged) migrants-and a priceless gift from Jacob Lawrence to be shared
with subsequent generations in the years to come.
93 American Art
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