Submitted by Next Gen Research Summer Interns

Literature Review - Art Students in the Loop

Introduction

In reviewing research on the “arts culture” among graduate students in the Loop, we focused on three main topics: students in the Loop area, the “art culture,” and the influence of postmodern philosophy. We thought it important to include research on the influence of postmodern thought because of the degree to which it has penetrated liberal, academic thought. Within each of our topics, we identified specific themes that occurred in the literature.

Students in the Loop

The Role of Colleges in the Loop

The Loop is consistently viewed as one of the most influential locations of higher learning in the Midwest. Research by Fuechtmann, McLaughlin, and Kelly (2005) say that Chicago’s Loop is the “largest college town in Illinois” (p.2). More than 50,000 students attend institutions throughout the Loop that occupy nearly 7.5 million total square feet of building space (Fuechtmann et al., 2005, p.2). Fuechtmann, quoted by Bagnato (2005), says “These institutions … educate the next generation of business, community, and civic leaders” (p. 12). Loop colleges are home to a diverse student community, drawing students from all over the world to pursue a wide array of disciplines. Tony Jones, the President of the Art Institute of Chicago, says that 75% of Loop students are from outside Illinois and the neighboring states (Sharoff, 2002, p.10).

In addition to large, multidisciplinary universities, specialized institutions of business, law, and arts situated in the Loop enable students to pursue their career dreams (Fuechtmann et al., 2005, p.8).

Students’ Involvement in Loop Culture

Gauging the level of students’ involvement in the Loop outside class proved to be difficult. Only 20% of Loop students live in the Loop (Fuechtmann et al., 2005, p.3). However, Loop colleges have built several new student housing complexes and significantly increased the amount of student housing available in recent years (Sharoff, 2002, p.10). In addition, many students work in the Loop. Of the 60% of Loop students who are employed, 40% work in the loop (Fuechtmann et al., 2005, p.3).

Many cultural events and programs sponsored by colleges liven the Loop culture outside of business hours. These events are attended by nearly 500,000 people annually (Fuechtmann et al., 2005, p.2).

The Art Culture

More than 6,000 Loop students attend art-oriented schools (Fuechtmann et. al., 2005). Many of these students are part of an ‘art culture’ that shares similar personalities and vision.

Devotion to Art

According to Maksymowicz and Tobia (1982), people who are striving to be artists are generally more modest, individualistic, and spiritual. Tom Willett, an artist advocate, defends artists’ call to a single-minded pursuit of pure expression (Maksymowicz & Tobia, 1982). This freedom is not without sacrifice. Willett says “Self denial is a central dynamic of both life and art” (Maksymowicz & Tobia, 1982). Maksymowicz and Tobia (1982) further claim that an artist’s devotion to the arts parallels a Christian’s devotion to Christ. Possibly because they doubt their adequacy for such a lofty calling, artists are generally more pessimistic and experience self-doubting (not unlike what many Christians experience when contemplating the call to Christ likeness) (Whitesel, 1978). However, artists’ natural tendency to be motivated by the praise of others may counteract their devotion to their art. Eiduson (1958) says that “motivation components seem to be at work in artists when they look to artistic achievement to provide personal recognition” (p.25).

Sensory Processing

Whitesel (1978) stated that artists tend to process ideas in sensory ways as opposed to verbal and logical thinking. Research done by Eiduson (1958) also supports the concept of artists as sensory processors. Indeed, Eiduson (1958) claims that it is primarily in their ways of thinking and perceiving that artists show the most striking differences from nonartists. She asserts that artists place an emphasis on the elaboration of fantasy and “seek out the subtle and delicate in impressions” (Eiduson, 1958, p.25). Eiduson (1958) also states that artists have the “ability to loosen controls in thinking without resulting disorganization of the personality,” and have “tendencies toward regrouping of customary perceptions into new combinations” (p.25).

Independence and Unconventionality

According to Eiduson (1958), “artists have fought as much as possible against stereotypy and the highly patterned” (p.24). Whitesel (1978) found that artists have “tendencies toward original thinking and overturning conventional ways of doing things” (p.58). She states that artists “seek to avoid conventionality in thought and action” and describes them as strong-willed, competitive, and inhibition free (p.60). Whitesel (1978) also characterizes them as “having low tolerance for extended social contact” and “independent with no need to seek or sustain numerous personal friendships or to exploit their relationships with others to gain desired ends” (p.62).

Theories on Reaching the Artist

Several scholars felt that in order to reach the art culture, we must accept them as they are and not try to place traditional constraints on them. Tom Willett, a contemporary artist advocate, says “Our focus should be to create an open and inclusive fellowship, with no pressure to conform to some idealized evangelical personality” (Atterbury, 1994, p.32). Despite the cultural barriers, Maksymowicz & Tobia (1982) say “we remain hopeful that one can be both an artist and a Christian” (p.18).

The Influence of Postmodern Philosophy

Lack of Absolute Standards

Leffel (2007) claims that “The rhetorical power of postmodern terms like "tolerance," "openness," and "inclusion" effectively disguise a more destructive objective -- the end of all absolutes” (Understanding the postmodern shift section, para. 5). Pless (2000) describes Postmodernism as the belief that “meaning, morality, and truth have no objective existence” (p.1). It then logically follows that each culture constructs its own reality (p.1). Thus, pluralism of truth and morality is seen as the future of society (p.1). Absolute truth is not only rejected, but seen as a means to acquire power. The postmodern philosopher Michel Foucault says “We cannot exercise power except through the production of truth” (Leffel, 2007, Postmodern constructivism section, para. 5). The natural conclusion is that “in postmodern culture, the person to be feared is the one who believes that we can actually discover ultimate truth” (Leffel, 2007, Postmodern constructivism section, para. 5).

The Supreme Virtue of Tolerance

Pless (2000) said that this rejection of absolutes leads to a belief that ‘tolerance’ is the supreme virtue; tolerance being defined not as respect of others viewpoints but as the necessity of accepting all views as equal (p.1). Leffel (2007) pointed out that “radical subjectivity leads to the dangerously arrogant inference that no one can ever be wrong about what they believe” (Personal beliefs define truth, para. 4). Furthermore, those who attempt to define an absolute standard are excluded from this acceptance. According to Pless (2000), “Those who question the postmodern dogma that ‘there are no absolutes’ are excluded from the canons of tolerance” (p.1).

Postmoderns and Spirituality

According to available literature, postmodernists’ rejection of absolutes does not necessarily correspond to a rejection of spirituality. Pless (2000) says that postmodernists value spirituality as a way of asserting their own role in a pluralistic culture (p.1). However, this does not necessarily mean that they are more open to religious beliefs. In 2000, researchers at Texas Tech and Auburn found that college students see religion as “more external or superficial than spirituality” (Cook, Moore, & Kunkel, p.135). Furthermore, postmoderns are likely to see the absolute claims of Christ as incompatible with a pluralistic mindset. Leffel (2007) says “On the one hand, we see more openness to spirituality than in several decades as naturalistic, materialistic dogma has fallen into disfavor in many quarters. On the other hand, the kind of spirituality people are open to is decidedly anti-Christian” (What’s going on, para. 1).

References

Atterbury, A. (1994). The Artist as Activist: conversations with An Artist Advocate

and a social Activist. Transformation, 11, 30-32.

Bagnato, K. (2005). My Kind of College Town, Chicago Is. Community College Week,

17 (14), 3-12.

Cook, S., Borman, P., Moore, M., & Kunkel, M. (2000). College Students’

Perceptions of Spiritual People and Religious People. Journal of Psychology & Theology, 28 (2), 125-137.

Eiduson, B. (1958). Artist and Non-artist: A Comparative Study. Journal of

Personality, 26, 13-28.

Greater State Street Council and the Central Michigan Avenue Association.

(2005). Higher Education in the Loop and South Loop: An Impact Study. Chicago, IL: Fuechtmann, T., McLaughlin G., & Kelly J.

Leffel, J. (2007). Understanding Today’s Postmodern University. Retrieved June 21,

2007, from http://www.xenos.org/essays/pomouniv.htm.

Maksymowicz, V. & Tobia, B. (1982). The Dilemma of Being Christian and Artist.

The Other Side, 135, 16-18.

Pless, J. (2000). LCMS Campus Ministry Staff Conference: Apologetics on the

Postmodern Campus. Fort Wayne, Indiana.

Sharoff, R. (2002, December 4). An Urban Attraction for Students. New York

Times, p.C10

Whitesel, L. (1978). Personalities of Women Art Students. Studies in Art

Education, 20 (1), 56-63.