Tag Archives: Art

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Tacoma Art Museum: Eric Carle Exhibit “Beyond Books”

“The Very Hungry Caterpillar” by Eric Carle

Today Taylor and I made a day trip to the Tacoma Art Museum.  Their current exhibit “Beyond Books” features the works of Eric Carle who is best known for his children’s book illustrations, you probably know him from his book “The Very Hungry Caterpillar”.  I was thrilled to see an exhibit that was so applicable to my research this quarter on children’s domestic space.

As we approached the museum a large group of children and teachers (who were busily keeping the group together) passed us on the sidewalk.  The children were energetically talking, skipping, laughing, dropping their lunches, distracted as they almost walked into other people walking by as we passed.

We entered the museum, pulled out our wallets, student ID’s, and prepared to pay the $8 student enterance fee.  When they saw that we were Evergreen students the woman said that we had free admission. I did not know until today that Evergreen pays the Tacoma Art Museum a membership fee for students – so we get in for free!

The entire museum allows photography (darn!  I didn’t bring my camera – so the photos were taken with my phone…), except for the Eric Carle collection of personal art work (which he calls “ArtArt”… more on that later).

Chihuly Glass

We first stopped to see a small exhibit featuring some beautiful Chihuly glass.  The museum also showed glass work of other artists.  While looking at the glass, we heard another huge group of children coming from the neighboring Beyond Books Exhibit.  It must be a destination for school field trips!  The 20-30 children walked by and left.

“ArtArt”

Over recent years Eric Carle has stepped away from what he is most well known for (children’s illustrations), and has begun experimenting with other forms of art – hence the exhibit name Beyond Books.  In this section of his private work, we were asked to not take photos.

Eric Carle has dabbled in numerous art mediums throughout his life, constantly tweaking his style.  His first works shown were from the 50′s when he started out doing poster art.  The exhibit then moved on to his early book covers, and also block prints.

There was a short film interview with Carle playing in the exhibit which I sat down to watch.  It was beautiful to hear about his passion for color.  He talked about his fascination with colors – even colors that are not possible for humans to perceive, while certain bugs can – he said that he wished he could be one of those bugs and have that experience.  Growing up in Germany during World War II, he talked about the overcast grey weather (sound familiar?), and camouflaged cities in an attempting to avoid bombings.  He found comfort during this time from the abstract painters who used bright, unreal colors.

“Large Circles” by Eric Carle

Since his success with children’s illustrations, Carle has begun what he humorously calls “ArtArt”.  He experiments with painting, collage (often using scraps from old illustrations), glass work, and photography.  He keeps his same style consistent using bright colors.

I was inspired by Eric Carle’s recent photography.  In his interview he talked about his ability to play in a parking lot all day – exploring often unnoticed details, colors, lines, and shapes.  To capture these details he has taken up street photography (see image on right).  He calls his photos “found art” because he is admiring and capturing what is already there.  His photography and viewpoint inspired me to think differently about my own photographs, and to simply capture “found art” in everyday life.

Classic Eric Carle Illustrations & Art

After viewing Eric Carle’s “ArtArt”, we stepped into a second area of the Beyond Books exhibit.  This section did allow photography.  Featured were images from his books, notes to friends, and typography art.

Catering to children, this second section had two interactive art pieces which were colorful boards with magnetic strips to create your own Carle inspired designs.  The exhibit also had a desk in the middle with access to some of Eric Carle’s books in various languages.  I appreciated that by adding these two simple features the exhibit encouraged interactive reading and art for children.

Interactive Art

Overall, I appreciated Eric Carle’s dedication to children’s book illustrations and his passion for art and color.

“A Blue Horse and…” by Eric Carle

 

 

 

 

Tacoma Art Museum: Eric Carle Exhibit “Beyond Books”

“The Very Hungry Caterpillar” by Eric Carle

Today Taylor and I made a day trip to the Tacoma Art Museum.  Their current exhibit “Beyond Books” features the works of Eric Carle who is best known for his children’s book illustrations, you probably know him from his book “The Very Hungry Caterpillar”.  I was thrilled to see an exhibit that was so applicable to my research this quarter on children’s domestic space.

As we approached the museum a large group of children and teachers (who were busily keeping the group together) passed us on the sidewalk.  The children were energetically talking, skipping, laughing, dropping their lunches, distracted as they almost walked into other people walking by as we passed.

We entered the museum, pulled out our wallets, student ID’s, and prepared to pay the $8 student enterance fee.  When they saw that we were Evergreen students the woman said that we had free admission. I did not know until today that Evergreen pays the Tacoma Art Museum a membership fee for students – so we get in for free!

The entire museum allows photography (darn!  I didn’t bring my camera – so the photos were taken with my phone…), except for the Eric Carle collection of personal art work (which he calls “ArtArt”… more on that later).

Chihuly Glass

We first stopped to see a small exhibit featuring some beautiful Chihuly glass.  The museum also showed glass work of other artists.  While looking at the glass, we heard another huge group of children coming from the neighboring Beyond Books Exhibit.  It must be a destination for school field trips!  The 20-30 children walked by and left.

“ArtArt”

Over recent years Eric Carle has stepped away from what he is most well known for (children’s illustrations), and has begun experimenting with other forms of art – hence the exhibit name Beyond Books.  In this section of his private work, we were asked to not take photos.

Eric Carle has dabbled in numerous art mediums throughout his life, constantly tweaking his style.  His first works shown were from the 50′s when he started out doing poster art.  The exhibit then moved on to his early book covers, and also block prints.

There was a short film interview with Carle playing in the exhibit which I sat down to watch.  It was beautiful to hear about his passion for color.  He talked about his fascination with colors – even colors that are not possible for humans to perceive, while certain bugs can – he said that he wished he could be one of those bugs and have that experience.  Growing up in Germany during World War II, he talked about the overcast grey weather (sound familiar?), and camouflaged cities in an attempting to avoid bombings.  He found comfort during this time from the abstract painters who used bright, unreal colors.

“Large Circles” by Eric Carle

Since his success with children’s illustrations, Carle has begun what he humorously calls “ArtArt”.  He experiments with painting, collage (often using scraps from old illustrations), glass work, and photography.  He keeps his same style consistent using bright colors.

I was inspired by Eric Carle’s recent photography.  In his interview he talked about his ability to play in a parking lot all day – exploring often unnoticed details, colors, lines, and shapes.  To capture these details he has taken up street photography (see image on right).  He calls his photos “found art” because he is admiring and capturing what is already there.  His photography and viewpoint inspired me to think differently about my own photographs, and to simply capture “found art” in everyday life.

Classic Eric Carle Illustrations & Art

After viewing Eric Carle’s “ArtArt”, we stepped into a second area of the Beyond Books exhibit.  This section did allow photography.  Featured were images from his books, notes to friends, and typography art.

Catering to children, this second section had two interactive art pieces which were colorful boards with magnetic strips to create your own Carle inspired designs.  The exhibit also had a desk in the middle with access to some of Eric Carle’s books in various languages.  I appreciated that by adding these two simple features the exhibit encouraged interactive reading and art for children.

Interactive Art

Overall, I appreciated Eric Carle’s dedication to children’s book illustrations and his passion for art and color.

“A Blue Horse and…” by Eric Carle

 

 

 

 

Tacoma Art Museum: Eric Carle Exhibit “Beyond Books”

“The Very Hungry Caterpillar” by Eric Carle

Today Taylor and I made a day trip to the Tacoma Art Museum.  Their current exhibit “Beyond Books” features the works of Eric Carle who is best known for his children’s book illustrations, you probably know him from his book “The Very Hungry Caterpillar”.  I was thrilled to see an exhibit that was so applicable to my research this quarter on children’s domestic space.

As we approached the museum a large group of children and teachers (who were busily keeping the group together) passed us on the sidewalk.  The children were energetically talking, skipping, laughing, dropping their lunches, distracted as they almost walked into other people walking by as we passed.

We entered the museum, pulled out our wallets, student ID’s, and prepared to pay the $8 student enterance fee.  When they saw that we were Evergreen students the woman said that we had free admission. I did not know until today that Evergreen pays the Tacoma Art Museum a membership fee for students – so we get in for free!

The entire museum allows photography (darn!  I didn’t bring my camera – so the photos were taken with my phone…), except for the Eric Carle collection of personal art work (which he calls “ArtArt”… more on that later).

Chihuly Glass

We first stopped to see a small exhibit featuring some beautiful Chihuly glass.  The museum also showed glass work of other artists.  While looking at the glass, we heard another huge group of children coming from the neighboring Beyond Books Exhibit.  It must be a destination for school field trips!  The 20-30 children walked by and left.

“ArtArt”

Over recent years Eric Carle has stepped away from what he is most well known for (children’s illustrations), and has begun experimenting with other forms of art – hence the exhibit name Beyond Books.  In this section of his private work, we were asked to not take photos.

Eric Carle has dabbled in numerous art mediums throughout his life, constantly tweaking his style.  His first works shown were from the 50′s when he started out doing poster art.  The exhibit then moved on to his early book covers, and also block prints.

There was a short film interview with Carle playing in the exhibit which I sat down to watch.  It was beautiful to hear about his passion for color.  He talked about his fascination with colors – even colors that are not possible for humans to perceive, while certain bugs can – he said that he wished he could be one of those bugs and have that experience.  Growing up in Germany during World War II, he talked about the overcast grey weather (sound familiar?), and camouflaged cities in an attempting to avoid bombings.  He found comfort during this time from the abstract painters who used bright, unreal colors.

“Large Circles” by Eric Carle

Since his success with children’s illustrations, Carle has begun what he humorously calls “ArtArt”.  He experiments with painting, collage (often using scraps from old illustrations), glass work, and photography.  He keeps his same style consistent using bright colors.

I was inspired by Eric Carle’s recent photography.  In his interview he talked about his ability to play in a parking lot all day – exploring often unnoticed details, colors, lines, and shapes.  To capture these details he has taken up street photography (see image on right).  He calls his photos “found art” because he is admiring and capturing what is already there.  His photography and viewpoint inspired me to think differently about my own photographs, and to simply capture “found art” in everyday life.

Classic Eric Carle Illustrations & Art

After viewing Eric Carle’s “ArtArt”, we stepped into a second area of the Beyond Books exhibit.  This section did allow photography.  Featured were images from his books, notes to friends, and typography art.

Catering to children, this second section had two interactive art pieces which were colorful boards with magnetic strips to create your own Carle inspired designs.  The exhibit also had a desk in the middle with access to some of Eric Carle’s books in various languages.  I appreciated that by adding these two simple features the exhibit encouraged interactive reading and art for children.

Interactive Art

Overall, I appreciated Eric Carle’s dedication to children’s book illustrations and his passion for art and color.

“A Blue Horse and…” by Eric Carle

 

 

 

 

Tacoma Art Museum: Eric Carle Exhibit “Beyond Books”

“The Very Hungry Caterpillar” by Eric Carle

Today Taylor and I made a day trip to the Tacoma Art Museum.  Their current exhibit “Beyond Books” features the works of Eric Carle who is best known for his children’s book illustrations, you probably know him from his book “The Very Hungry Caterpillar”.  I was thrilled to see an exhibit that was so applicable to my research this quarter on children’s domestic space.

As we approached the museum a large group of children and teachers (who were busily keeping the group together) passed us on the sidewalk.  The children were energetically talking, skipping, laughing, dropping their lunches, distracted as they almost walked into other people walking by as we passed.

We entered the museum, pulled out our wallets, student ID’s, and prepared to pay the $8 student enterance fee.  When they saw that we were Evergreen students the woman said that we had free admission. I did not know until today that Evergreen pays the Tacoma Art Museum a membership fee for students – so we get in for free!

The entire museum allows photography (darn!  I didn’t bring my camera – so the photos were taken with my phone…), except for the Eric Carle collection of personal art work (which he calls “ArtArt”… more on that later).

Chihuly Glass

We first stopped to see a small exhibit featuring some beautiful Chihuly glass.  The museum also showed glass work of other artists.  While looking at the glass, we heard another huge group of children coming from the neighboring Beyond Books Exhibit.  It must be a destination for school field trips!  The 20-30 children walked by and left.

“ArtArt”

Over recent years Eric Carle has stepped away from what he is most well known for (children’s illustrations), and has begun experimenting with other forms of art – hence the exhibit name Beyond Books.  In this section of his private work, we were asked to not take photos.

Eric Carle has dabbled in numerous art mediums throughout his life, constantly tweaking his style.  His first works shown were from the 50′s when he started out doing poster art.  The exhibit then moved on to his early book covers, and also block prints.

There was a short film interview with Carle playing in the exhibit which I sat down to watch.  It was beautiful to hear about his passion for color.  He talked about his fascination with colors – even colors that are not possible for humans to perceive, while certain bugs can – he said that he wished he could be one of those bugs and have that experience.  Growing up in Germany during World War II, he talked about the overcast grey weather (sound familiar?), and camouflaged cities in an attempting to avoid bombings.  He found comfort during this time from the abstract painters who used bright, unreal colors.

“Large Circles” by Eric Carle

Since his success with children’s illustrations, Carle has begun what he humorously calls “ArtArt”.  He experiments with painting, collage (often using scraps from old illustrations), glass work, and photography.  He keeps his same style consistent using bright colors.

I was inspired by Eric Carle’s recent photography.  In his interview he talked about his ability to play in a parking lot all day – exploring often unnoticed details, colors, lines, and shapes.  To capture these details he has taken up street photography (see image on right).  He calls his photos “found art” because he is admiring and capturing what is already there.  His photography and viewpoint inspired me to think differently about my own photographs, and to simply capture “found art” in everyday life.

Classic Eric Carle Illustrations & Art

After viewing Eric Carle’s “ArtArt”, we stepped into a second area of the Beyond Books exhibit.  This section did allow photography.  Featured were images from his books, notes to friends, and typography art.

Catering to children, this second section had two interactive art pieces which were colorful boards with magnetic strips to create your own Carle inspired designs.  The exhibit also had a desk in the middle with access to some of Eric Carle’s books in various languages.  I appreciated that by adding these two simple features the exhibit encouraged interactive reading and art for children.

Interactive Art

Overall, I appreciated Eric Carle’s dedication to children’s book illustrations and his passion for art and color.

“A Blue Horse and…” by Eric Carle