BY J. ULBRICHT VIS URE J.C. HOLZ REVISITED: FROM MODERNISM TO VISUAL CULTURE n 1973, Brent Wilson and | traveled 33 miles west of the University of lowa to Williamsburg, lowa, where we evaluated the progress of an art student teacher. While there, we visited Williamsburg Elementary School, and together noticed the numerous self-initiated spontaneous drawings that students posted on the art room bulletin board. 1.C. Holz (b, Pebruary 22, 1968) drew most of the images. Ralph Olson, the art teacher, introduced ust J.C,, and after we took a closer look at his art, Wilson, knew he had to learn more about the motivations and methods of this prolific young student. uly shy 10-year old boy. times during his art class inn ajoining room. J.C. requested that he bringhis pad and pencil alonggso he could drav and skeich while we asked questions. Inthe first interview we learned about more than 200 self initiated sketches that he completed prior to our interview. During a second interview we evaluated J.C.'s extensive collection of personally designed multi-page comic books. And in a third encounter we learned about an equal number of store-bought comie books that J.C. acquired and studied, We interviewed J During one of our several interviews, we encouraged J.C. t0 havo-a solo exhibition of his work atthe University of lawa's North Hall, just outside Wilson's office. Fiberboard wall coverings accommodated over 50 of J.C.'s pictures, A fyer quote J.C. as saying, “ann a ereator of superheroes. In 1971, 1 4rew (and posted] some phantoa characters but T did not sign myname. After2 weeks, people became suspicious, so told them that Iwas the creator ofthe p acters” 4 reporter took anton cha pictures and conducted an interview for a front-page article in the Williamsburg Journal Tribune (February 21, 1974). J.€ became an instant celebrity in his hometown, and Wilson had allthe data he needed for his 1974 article titled "The Super. heroes of .C. Hole Because Wilson (1974a), and other art educators, used t J.€, Holz article as the basis for further investigations, my purpose in this articles to review Wilson’s Investigation, ‘evaluate it i light of emerging perspectives, and learn from. J.C. recollections of his past achievements, In addition, 1 speculate on the impaet that further analysts could have on. education, Wilson's Analysis AMteranalyzing..C. cartoon images, Wilson concluded that LC. learned much from his sefinitited spontaneous play art. J.C's drawings exhibited advanced coricepts of foreshort ening, movement, action, multiple viewpoints value, contrast shading, metaniorphosis, zoomorphism, fantasy, futurist themes, and plots. Wilson analyzed the storylines in J.C.'s work and found that they'referred to past, present, and future events, plus real and imaginary concerns. J.C. included himself in his nar e figure, ready to confront gre ives as a powerful mi riety of challenges.In his article, Wilson (19744) comp: production to Kreitlerand Kreitler’s (1s ‘of motivation ved J.C.'s prolific homeostatic model asstumes optimal conditions for existence and survival, establishing equilibrit and stimulating activities. The Kreitler repeated activities became redundant sought new Wilson, J.C. motivation eame from his st theorized 4 more stimulating experiences, According to ong predisposition for fantasy, an acute need for non-redundant stimulation, and a strong need to avoid boredom. Wilson also looked at J.C.'s spontaneous att through the rch of Vietor Turner (1967; undated) who wrote about the ludie continuum that spanned from luminal (ritualistic) to limuloid (play-like) activities, Wilson hypothesized that a school-spontaneous art contin continuum, Wilson encouraged teachers to incorporate spontaneousart in school art instruction, and he hypothesized that students found self-initiated spc enjoyable than school art. Wilson (1976, 1979) and Wilson and Wilson their observations in several articles iT) extended th Gombrich’s (1960) appropriation concepts, Wilson (1976) cited examples of several artists who learned to draw ty copying graphic images and he concluded that child art was a cultural product that varied from one cultur Modernist Analysis ‘One ean only anne of reference when he investigated J. Holz, Although concerns for creativity were waning in the professional literature, many teachers believed that teaching for expressive child art was.a worthy goal, Wilson apprectated the modemnistcelebration of children's energy ancl exuberance for image making, and he child art was diffe peculate about Wil that self-motivate ant from school art Modernist teachers and critics looked at art f its formal qualities and Wilson was somewhat inter: ested in form, composition, and sensory expressive ‘put not exclusively. In Wilson's (1966 he developed an art content analysis lities alice scheme that Look into account « whole range of elements including symbolic, allegorical, historical, social, personal, narrative, and synthetic Wilson became increasingly aware of how highly motivated some kids were to make their own graphic narratives. At first glance very unusual to modernist J.C.'8 spontaneous art appeared to be varchers and teachers. The fact that there was so much more in the form of s Hots, and sya Kc look imaginative inventive, and expressive from Wilson's perspectives. made J.C.s Ww Modernists also believed in the use of acclaimed ide research an practices, Observers could easily see that J.C, had advanced symbolic and technical abilities and after evaluating J.C. srt, Wilson persibly felt that he had found a young artist who ‘wis a model for other students, researchers, and teachers Classifications of children’s art often paralleled the work of we found J.,C.'s comies o1 i to the pop art of styles of Roy Lichtenstein and Roger Brown, Wilson knew about Lichtenstein trough a friend at The Ohio State University andl he later leaned about Roger Brown's (Gedo, 1990) cartoon-like art during. visit to Ue Phyllis Kind Gallery in 1974 Wilson also may have found J.C.% comics of inte of concurrent observations of his son Dirk, who at the ag also liked to draw in a comic-book style. Wilson became increas: ingly aware of how highly motivated some kids were to make their own graphic narratives. Clearly, Wilson had several reasons for looking at J.C.art in the early 170s, famous artists. Wilson may hi interest because they were sim st becausewoe’ QURNAL TRIBUNE atvta.s sell Drews Supertoroes —— Reviows Art Of J.C. Holz, 10 Postmodern Analysis Although many of Wilson's child art interests were consistent with modernist trends, some were postmodernist, although id not use the term al the time, Postmodemists attempt a with the effects of increasing technology andoften appro: popular visual imagery to express autobiographical and cms (Risatt, 1900) In postmodem art, one can find at that makes a difference inthe world, connects art and life through self-reflection and transformation, and expands the definitions of who ean make art wider viewer partiipation (Taylor, 2002), schol Involve collaboration and 1,C's comic book drawings fit many of these characteristics in that they used anid were concerned with narrative popular imagery. .C.’s drawing process was collaborative in that he bought terial from friends und merchans. He enlisted the help of friends and was motiv and learned from peer and adult feedback id traded his source ma While looking at J.C. art, we could set how hve used popular culture to det have unconse himself and his world. In his art, J.C. seemed to way anticipated thingssuch as his growing sexual awareness, relationships with females, and peer power strugales, He conter ‘and in various instances tapped into mythical and psychoanalyt ical themes which are all parts of everyday life lated the consequences of oor! and evil behaviors, J.C. Holz has. display of cartoons atUl gallery J.C. also said that he did not find his K-12 education While waiting for the next lesson and assignment in school, to be especially challenging or interesting he would daydream and stare out the window and conceive of his comic stories and characters. Visual Culture Torlay, many academics from journalism toart history are med with visual culture, Many who study the effects of Visual cultur busines ve positive and negative points of view, Many the ater to the ders, advertisers, and graphic artists wele ‘expansion of visual culture because ofits ability to developing and perceived needs of mass audiences. Because of visual culture's perva educators (Duneum, 2002) fear the loss of a belief in and opportunities for personal expression Wilson (2004) provides evidence that visual culture influences, children and their art, J.C. confirmed this when he said ina Widtiamstrury Journal Tribune (February 21 artic eared how to draw characters by reading comic books Thave been reading then for seven years. I ereated aver superheroes. took me all summer when we lived in ant apartment (behind my parents cleaning business on the square] and I didn't have much to do, Someday, T might create a movie using my characters. Today, one can find individuals why fe what they see in visual culture, while others use it for expressive and reconstruc tive purposes. Wilson (2004) hypothesized that children go rough three phases of artistic dew children discover, through graphic play, images that correspond, ment. In the first phaseinone way oranother, to objects in the world or to others’ graphic configurations. In this phase there is discovering, minor ‘inventing, and some borrowing. In the second phase discovering, and minor inventing continue, but there is more deliberate borrowing, The third phase is where major inventions and extensions of the conventional take pl At what phase was J.C.? How much of J.0.’s thought and expression was his? How much was the result ofthe themes and stories he read about in the comics that he studied? Obviously, 41.C, learned from the visual culture ters, styles, and story lines in his sketches, Using Wilsc conceptions ofart development, .C, was at an advan tional phase, in that he imitated and mastered the conventions of adult artists, ied how he could relate them to his worl, ‘entertained himself, and objectified his personal corcems, she adapted comic charac "5 (2004) Interview Results Forthis article Finterviewed J.C. Hola'31 years after our initial act with him. Through e-mail ane personal interviews, I was cemedd with: (1) confirming Wilson's analysis of .C.Selemen ary school cartooning experiences, (2) learning about his current concems for art and imagery and (3) finding out how his artistic experiences have affeeted his life today. Childhood Recollections. To begin, | asked J.C. to describe his earlier elementary art experiences, what he leamed, and how he perceived his artmaking activities. J.C. said that he had very fond memories of creating characters und stories, He thinks his comic art was a great [emotional] release for him. He loved cartooning and storytelling, but as headvanced in high school, his studies and work took him away from cartooning. He stopped buying comics except for a brief interlude while in college. He believes that his cartooning activities made him more creative, adventuresome, and imaginative in that he was always looking at his world through books, television, and comes in search of new ideas that he J.C. also said that he did not find his K-12 education to be especially challenging or interesting, and he learned more quickly ‘on his own, While waiting for the next lesson and assignment in school, he would daydream and stare out the window and conceive of hiscomie stories and characters. Confirming Kreitler ‘and Kreitler’s (1972) theories, J.C. said that cartooning ‘great reliever of boredom, As Wilson hypothesized, J.C, also confirmed that he enjoyed is cartooning much more than school art activities because of the freedom that he had with ideas, characters, and his ability to rave what he wanted. Although J.C. remembers many school assign: ments to be boring, he thinks of his elementary school art teacher asa liberator, who allowed him to decorate a plate with an ape from Planet of the Ape ius in his stories, asked! J.C. ifhis cartoon responded that cartoon others as they recognized his drawin ceived adulations from countless adults ineluding his elemen: ry sehool art teacher, his cartooning activity resulted in helped isn deal with his peers, He ng enable salousy and bitterness in a few classmates, shortly a person exhibition at the University of low With regard to the relative importance of the comie imagery ‘versus his personal stories, J.C. sid {I don't believe that comic imagery and stories ean be ;parated, If both are not great,you end up with mediocrity In the 60s and early 70s there we lassie comic nrmy favoritesto this day. Hoved the \l stories of Bernie Wrightson and Len Wein in the Swamp Thing, Loved Jack Kirby's DC comics like The Demon aud Kamandi, Jack Kirby both wrote and drew, and L always found this inspiring After leaving elementary school, J.C. took art classes in high school froman older traditional tacher who studied with Grant Wood at the University of lowa. J.C. high school ar teacher was pontive of his self-niuared artistic interests and did not him to pursue acareerin art, Fortunately, J.C. excelled inhisother coursesand he graduated first in his class, His mother, Bemice Hol, thought he might go to college and study medicine Instead, 1.C. envisioned « major in accounting followed by law school and a corpor At the University of owa (1981-84), J.C, especially liked omic, psychology, social psychology, and marketing, He intrigued with how businesses manipulate consumers Tobuytheirproducts andservices. He was surprised tolearn thatOne wonders how teachers could incorporate his interests in classroom learning and what he could have leamed in school that would have facilitated deeper artistic and personal understandings. psyechole lectures by stating that they were not ching mind manipulati techniques. J.C his sorsto many of the comic book villains with their far-fetched ideas and out. thinking. His ws help d intentions of the motivations a rious individuals, Loslie Hager, J.C. future wife, motivated him to finish college in years thr igh CLEP tests and summer school so he could dition to his selEimpersed time limit, J.C, never thought about taking art courses in college possibly because he lacked sel-confidence Art Interests. Wilson (1974) urged teachers to think of their instruction as a long-term proposition that may havean effect on students 10, 20, and 30 years in the future, So what is J.C. doing today and how did his Schooling and spontaneous art affect his Life? Is he creative, expressive, imaginary, well adjusted, and artistic? Is he still an “art addict?” Does he visit museums and hhaveart in his home Today, at the age of 1, J.C, is a third-party owner of a 401K a as an investment consultant start his career and family, In pension administration firm Jonas and small businesses. He constantly travel and meets with potential clients and vendors. When waiting for ing, urrent appointments, he often uses his spa cartoons. His recent work Jooks similar to his earlier car except it includes references to, and opinions about events assoen in the media. Within the past 10 years, .C. rekindled his interests when he noticed thai film studios were converting many comies nto movies, Chills run up his spine when he ins for new Spiderman™ movies, When J. travels on business he tries to see “historic sites and visit local attractions.” Duringa recent trip to Orland, Florida, he spent the afternoon at Universal Studios primarily to enjoy the Spiderman ride. J.C. collects art by Harley Brown, known for his impressionist paste! Indian portraits in the CM, Russell Museum, Great Falls, MT J.C. lives with his wife, Leslie daughters ina home surrounded by my mountains and a menagi chickens, goats, rabbits, wild animals J.C. was pleased to learn that all of his daughters like to draw as he did when he was their age, During a restau- rantinterview not far from his home, allof J.C’'s daughters eame prepared with comple well as colored pencils and markers to complete new work while they waited forthir food, 4.C.s hobby has proved to ‘bean important intergenerational bond that he never envisioned in 1073 and 1974 Current Concerns. 4.0, thinks that comies provide great entertainment and enlightenment for a person such, as himself. As he tries to outli financial solutions for clients, reflects on his cartoons, He learn from hiy readings that life is not often consisting ofp of over ese, and other ( and in-progress cartoons, Jems that have many answers, He notes that fantasy cartoons, even in the ‘00s, often dealt with interpersonal concerns, mot drug problems, environmental Issues, and polities, Cartoons continue to provide him with ideas for multiple solutions to complex issues, 1 questions, Today, 1.C. comtinnes to maintain contact with Ralph Olson, his Olson included J.C ina movie that ‘witha grant from the Iowa Arts Counc Olson is currently working as an anin ation picture corporation in California, and J.C, said that his former art teacher is doing exactly what he would like to be doing with his talents today elementary school art teach he made one sum tor for a major Applications Having reviewed Wilson's article and eonfh we know how nich J.C. valued his selfinitited and how heused visual culture to develop of his per hing its Findings spontaneous art nd frame the language dents often }becomie bored in school when teachers do not make adjustments for individual differences. We also see how J.C. used his comic I narratives. We see how gifted interests to deal with life and how his interests seer to have influ encest future generations, Teaypears his elementary teacher an ouragement through J.C.'s one-person exhibition, art schooling had very little to do With his artistic development. One wonders how teaehers could incorp he could have leamed in school that would have facilitated deeper artistic and personal understandings. a, aside from the support that J.C. received from Wilson's en 1 his interests in elassroom learning and wh4.C, had a keen interest in the techniques and stories that he found in popular art. His teachers could hi narrative qualities of schoo! art if they had looked at J.C.’ work and incorporated his interests in their teaching. Furthermore, if histeachenshad included some of the themes (realty and fantasy, power issues, interpersonal relations, environmental issues, and scientific exploration) found in some of J.C.'s comes, then all students mighthave learned the value of art fortellings meaningful stories about important social issues Since visual culture will be increasingly pervasive, teachers should preparestudentsto understand its objectives, motivations, and impacts. Teachers should help students relate the various, forms of visual culture to one another, and pose questions for ‘students about their makers, purposes, and functions. If teachers could help students such as J.C. use th al skills to better critique and evaluate the concerns of visual culture, then student understandings might be deeper ind better informed, Based on the enjoyment that J.C, had from his summer movie participation and his confession that he would like to be an animator today, we can see how teachers could have made a contribution to his career development if they had incorporated film technology and animation in their art classes. With such an 4,C.might be where he wanted to be today, just ike his emenitary art For J.C, the supported his p peers may ce enhanced the vities that might have i through art. Although his ave understood the genre in which J.C. worked, one ‘can assume that few took the time to really understand the depth of his symbolism and the layers of meaning in his art. J.C.’s comics invited more thoughtful interpretation. IfJ.C.teachers 1 provided such interpretations, they would have enhanced his ‘interpersonal and sockal development and that of other students aswell. In hindsight, there are many insights that we ean gain from this cchild art study that would help students go beyond their self Initiated art, Teachers can learn from these experiences by ‘expanding upon the technical, thematic, symbolic, and social aspects of the spontaneous art of students such as J.C J. Ulbricht isa Professor in the Visual Studies/Ant Education Division, Department of Artand Art History, University af Teas at Austin, f-mail: julbrichi@mail.uteras.eda i—— 4. Ulver he forme) J.C. Hole Photo by Era Znmerman REFERENCES uncum, P2002), Falitorial A special issue on visual culture. Visual Arts Resenreh, 28(2), 13 Gedo, M. (1180), An autobiography inthe shape of Alakaana: The art of Roger Hrown, ln HL Rist, Postmodern perspectives; Issues in contempomary at (pp. 206-280), Englewood Chills, NI: Prentice Hal GGomibeieh, BH (1900), Axt and ifusion. London Kreiter, H.& Krvitler, 8, (1972). Pryehology of the arts. Durham, NC Duke University Press Rist, H. (EAL). (1900). Postmeern perspectioes: fen da conte rary art, Englewood Clif, NJ: Prentice-Hall. P, (hn), Service e postmodern ant an pedagogy Studies in Art Eitueation, 43(2) 124-100 Turner, V (157). The forest af symbol. hac, NY; Corel! University Pres ‘Rie, V. Curated ‘comparative xpmbal Chicago, nai, play, flow, and ritual: An essay on 5, Unpablished manuscript, Unversity of Wilson, B, (140) ‘The development and testing of an instrurnent to resaure aspective perception of paintings. (Doctoral disserta (Ohio State University.) Dinsevtathons Abatracts Dnternational Wits we superhero of J.C Ho theory ofchild art Ar Biuction, 2718), 29, Wilson, B. (1974) The other side of evaluation of art elueation. In G. ardinan & 7. Zernich (Eas. Curricular considerations for plusan outlive of henal ats education (pp. 247-276), Champaign, Ie Stipes ‘Wilson, B. (1976) Lite Julian's empure drawings. Studies in Art Fiduration, 172), 4551 ‘Wilson, B. (197%). Pigure structure, fgute action, and fa drawingsof American and Egyptian children. Studies in det Kiduration, 21(1) 3848 Wilson (90), Child ae ater modernist: Visual culture and ne ‘narratives In F. Eisner &M, Duy (Eds). Handbook of ressareh and policy inart education (pp. 247-270), Mahwah, NI: Lawrence than Wilson, 8, 4 Wilson, M1 sores of the drawing Ani young roclasti view of the imagery ke, Art Education, M1), 5-1 ENDNOTES ists an edited version ofa paper presented Nevember 1, 2004 by the author ata meeting ofthe Visual Art of Childhood Chi Art after Mosdemisea Symposium at Penn State University, State College, PA. aon othe rong Wilansbury Journal Tribune (Fetiruary 21071) artice, iio articles about the xh speared in The Coa Rapids acre (nly, Pte ecenber [2 1078) and The Ploneon Republi December 1074 ane i178). O04 were Wirt hnversiews conducted between Apr 2 20M and August 14 supported with a travel grant from th Deppartinent of AR History, The University of Teast Austin AUTHOR'S NOTE ach ofthe calc book caver reproactions i this article Green Lantern, Kaman, aid Stamp Thing) sed by Une publisber to iustrat teaching scholarship, ane wsearch points in accordance with th US. 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