Kreativitätsbildung im Kontext künstlerischer Bildung Spuren der Bauhaus-Pädagogik im Black Mountain College und in der kunstpädagogischen Theorie des HOMO CREANS

2021 ◽  
pp. 317-330
Author(s):  
Johanna Eder
Keyword(s):  
Black Mountain College ◽  
Black Mountain

Just Miles Away but Worlds Apart: Examining Jewish Participation in Integration Programs at Black Mountain College and Highlander Folk School, 1933–1964

AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 203-233
Author(s):  
Wendy F. Soltz
Keyword(s):  
North Carolina ◽  
Civil Rights ◽  
Black Students ◽  
Liberal Arts ◽  
Colleges And Universities ◽  
Historically White ◽  
Black Mountain College ◽  
White Schools ◽  
Highlander Folk School ◽  
Black Mountain

Small liberal arts and folk schools attempted desegregation decades before other southern colleges and universities. Historians have long argued that Jews were active and influential in the fight for civil rights in the South in the 1950s and 1960s, but were Jews involved in these early attempts to enroll black students in historically white schools? If they were, were they successful and how did their Jewishness affect the efficacy of their attempts? In order to answer these questions, this article compares and contrasts two such schools, Black Mountain College in North Carolina and Highlander Folk School in Tennessee, which established “integration programs” in the 1940s. This research reveals that when Jews saturated a school, and were visibly involved in desegregation, their attempts to desegregate the institution were ultimately unsuccessful. When Jews supported a school through donations behind the scenes and occasional visits, however, the institution successfully desegregated.

Jonathan Williams: Beyond Black Mountain

2017 ◽  
Author(s):  
Ross Hair
Keyword(s):  
Black Mountain College ◽  
Charles Olson ◽  
Black Mountain ◽  
Strong Claim

This chapter examines Jonathan Williams’s activities as the editor of the seminal Jargon Society press and as a poet. In both respects, this chapter argues, Williams’s reputation has been distorted as a result of his early association with Black Mountain College and the school of poetry that emerged from it in the late 1950s. Although chapter three examines Williams’s links with the college and the formative influence that its rector Charles Olson had on his poetry and his publishing, it also makes a makes a strong claim for disassociating Williams’s reputation from the exclusive, binding labels of ‘Black Mountain poet’ and ‘Black Mountain publisher.’ Williams, it is argued, expressed considerable aversion to not only being labeled a ‘Black Mountain’ poet but to being associated with any poetry school or movement. Chapter 3 examines the ways in which Williams has resisted and complicated the Black Mountain label, both in his poetry and in his publishing, by paying particular attention to his use of vernacular speech in his poetry and through an abiding fascination with what was initially an imagined England that would become more tangible as a result of his semi-annual residency in England from the late 1960s onwards.

Black Mountain College

2018 ◽  
Author(s):  
Jeffrey Saletnik
Keyword(s):  
John Cage ◽  
Black Mountain College ◽  
Curricular Integration ◽  
Ernst Krenek ◽  
The Arts ◽  
Merce Cunningham ◽  
Willem De Kooning ◽  
Clement Greenberg ◽  
Buckminster Fuller ◽  
Black Mountain

Between 1933 and 1957, Black Mountain College served as an unlikely crucible of modernism. Despite its isolated location near Asheville, North Carolina, at various times its permanent and summer faculty included the likes of Anni Albers, Josef Albers, Ilya Bolotowsky, Jean Charlot, Lyonel Feininger, Joseph Fiore, Buckminster Fuller, Walter Gropius, Karen Karnes, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Beaumont Newhall, Amédée Ozenfant, Xanati Schawinsky, Ben Shahn, and Jack Tworkov. These artists and architects were joined by composers John Cage, Lou Harrison, Ernst Krenek, David Tudor, and Stefan Wolpe; writers and poets Robert Creeley, Charles Olsen, and M.C. Richards; as well as critic Clement Greenberg, musicologist Heinrich Jalowetz, and choreographer Merce Cunningham. There are few evident commonalities among the practices of this mix of European émigrés and Americans, yet the educationally progressive ethos of the College appealed to each of them. Its founding program was predicated upon a belief that the arts were central to higher education and that the practice of democracy would benefit from their curricular integration. Participation was prioritized in all activities, particularly in learning.

Visions and Vanities: John Andrew Rice of Black Mountain College.

1999 ◽  
Vol 86 (2) ◽  
pp. 823
Author(s):  
Alexander R. Stoesen ◽  
Katherine Chaddock Reynolds
Keyword(s):  
Black Mountain College ◽  
Black Mountain

The Arts at Black Mountain College

1988 ◽  
Vol 20 (1) ◽  
pp. 54
Author(s):  
David Vaughan ◽  
Mary Emma Harris
Keyword(s):  
Black Mountain College ◽  
The Arts ◽  
Black Mountain

Bohemian South

2017 ◽  
Keyword(s):  
New York ◽  
North Carolina ◽  
New South ◽  
First Century ◽  
The South ◽  
Black Mountain College ◽  
Research Triangle ◽  
Late Twentieth ◽  
Black Mountain ◽  
Late Twentieth Century

From the southern influence on nineteenth-century New York to the musical legacy of late-twentieth-century Athens, Georgia, to the cutting-edge cuisines of twenty-first-century Asheville, North Carolina, the bohemian South has long contested traditional views of the region. Yet, even as the fruits of this creative South have famously been celebrated, exported, and expropriated, the region long was labeled a cultural backwater. This timely and illuminating collection uses bohemia as a novel lens for reconsidering more traditional views of the South. Exploring wide-ranging locales, such as Athens, Austin, Black Mountain College, Knoxville, Memphis, New Orleans, and North Carolina’s Research Triangle, each essay challenges popular interpretations of the South, while highlighting important bohemian sub- and countercultures. The Bohemian South provides an important perspective in the New South as an epicenter for progress, innovation, and experimentation.

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