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| Photo: Louis Menand |
Louis Menand has contributed to The New Yorker since 1991, and has been a staff writer since 2001 summarizes, "What made Black Mountain College different from other places was that the center of the curriculum was art-making."
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Anni Albers, “Knot 2” (1947), currently on view in “Leap Before You Look: Black Mountain College, 1933–1957,” at the Institute of Contemporary Art in Boston.
CreditPhotograph by Tim Nighswander / Imaging4Art. Courtesy The Josef and Anni Albers Foundation / Artists Rights Society New York |
One thing to keep in
mind if you visit (and, if you are in Boston, you should visit) the
Institute of Contemporary Art’s huge exhibition “Leap Before You Look:
Black Mountain College, 1933–1957”—more than two hundred and sixty works
by almost a hundred artists, curated by Helen Molesworth, the biggest
show the I.C.A. has ever mounted—is that Black Mountain College was not
an artists’ community or a writers’ colony, or even an art school. It
was a college.
A very small college.
Black Mountain was launched in the Depression, and for twenty-four
years it led a hand-to-mouth existence in the foothills of the Blue
Ridge Mountains, outside Asheville, North Carolina. In a good year,
enrollment was sixty. When at last the money dried up, the college shut
its doors. But to the extent that finances permitted, and depending on
who was available to teach, it offered a full liberal education.
Students could take courses in science, mathematics, history, economics,
languages, and literature.
What
made Black Mountain different from other colleges was that the center
of the curriculum was art-making. Students studied pretty much whatever
they wanted, but everyone was supposed to take a class in some kind of
artistic practice—painting, weaving, sculpture, pottery, poetry,
architecture, design, dance, music, photography. The goal was not to
produce painters, poets, and architects. It was to produce citizens.
Black
Mountain was founded by a renegade classics professor named John Andrew
Rice, who had been kicked out of Rollins College, in Florida. Rice
believed that making something is a different learning experience from
remembering something. A lot of education is reception. You listen to an
expert explain a subject to you, and then you repeat back what you
heard to show that you learned it. Teachers push students to engage
actively with the material, but it’s easy to be passive, to absorb the
information and check off the box...
A lot of Rice’s ideas came from the educational philosophy of John Dewey
(although the idea that true learning has to come from within goes back
to Plato), and Rice was lucky to find an art teacher who had read Dewey
and who thought the same way. This was Josef Albers. Albers had not
been so lucky. He was an original member of the Bauhaus school, but when
Hitler came to power, in 1933, the Bauhaus closed down rather than
accept Nazi professors. Albers’s wife, Anni, was from a prominent Jewish
family, and they were understandably anxious to get out of Germany.
Rice heard about them from the architect Philip Johnson, and he sent a
telegram to Albers inviting him and his wife to come teach at Black
Mountain. The reply read: “I speak not one word English.” (Albers had
read his Dewey in translation.) Rice told him to come anyway. Albers
eventually did learn English, and he and Anni, an accomplished and
creative weaver, established the mode of art instruction at Black
Mountain. Everything would be hands-on, collaborative, materials-based,
and experimental.
Source: The New Yorker
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