N A T I O N A L S T A T U S R E P O R T O F A R T A N D D E S I G N P R O G R A M S

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1 N A T I O N A L S T A T U S R E P O R T O F A R T A N D D E S I G N P R O G R A M S In Members and Affiliates of the Council for Christian Colleges and Universities/CCCU Sponsored by CHRISTIANS IN THE VISUAL ARTS

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3 N A T I O N A L S T A T U S R E P O R T O F A R T A N D D E S I G N P R O G R A M S In Members and Affiliates of the Council for Christian Colleges and Universities/CCCU Sponsored by CHRISTIANS IN THE VISUAL ARTS Wenham, Massachusetts

4 In the beginning God created Credits Cover: After Design Ranch for 360 Architecture, Kansas City, MO Photo: Drawing studio, Lipscomb University, Nashville, TN

5 2010 National Status Report of Art and Design Programs In Members and Affiliates of the Council for Christian Colleges and Universities/CCCU Status Report Team Leadership Karen J. Sangren, PhD Director, CIVA 2010 National Study of Art and Design Programs in Members and Affiliates of the CCCU Chair, Department of Art and Design Point Loma Nazarene University San Diego, California Cameron Anderson, MFA Executive Director Christians in the Visual Arts/CIVA Wenham, Massachusetts Jeffrey Grubbs, PhD Director, CIVA Art Education Caucus Division of Visual Arts Roberts Wesleyan College Rochester, New York 03 Status Report Team Members Terry Chamberlain, MFA Chair, Department of Art and Design Cedarville University Cedarville, Ohio Greg Crow, PhD Department of Mathematical, Information, and Computer Sciences Point Loma Nazarene University San Diego, California Robert Curfman, MFA Chair, Department of Art Indiana Wesleyan University Marion, Indiana Wayne Roosa, PhD Chair, Department of Art Bethel University St. Paul, Minnesota David Underwood, MFA Chair, Department of Art Carson-Newman College Jefferson City, Tennessee

6 About Christians in the Visual Arts/CIVA Christians in the Visual Arts exists to explore and nurture the relationship between the VISUAL ARTS and the CHRISTIAN FAITH. Founded in 1979, CIVA first met to consider the place of the Christian artist in the church and in the world-at-large. The success of this initial gathering led CIVA to establish a vision for activities, which are now making an impact in a variety of ways. It is our purpose to encourage Christians in the visual arts to develop their particular callings to the highest professional level possible; to learn how to deal with specific problems in the field without compromising our faith and our standard of artistic endeavor; to provide opportunities for sharing work and ideas; to foster intelligent understanding, a spirit of trust, and a cooperative relationship between those in the arts, the church, education, and society; and ultimately, to promote a Christian presence within the secular art world. In 2002, Christians in the Visual Arts (CIVA) hired its first full-time staff and accepted Gordon College s invitation to make its first permanent home at the College. CIVA now celebrates more than 30 years of history, with over 1,300 members. The CIVA Board has looked back on its transformation from the idea of a few leading artists to an international organization providing an important voice to the art world and to the church through its conferences, exhibitions and publications. The Board is now looking forward with a Strategic Plan that will bring exciting new collaborations with other individuals and organizations within the broader movement of art and faith. ( About the Council for Christian Colleges and Universities/CCCU 04 The Council for Christian Colleges and Universities (CCCU) is an international association of intentionally Christian colleges and universities. Founded in 1976 with 38 members, the Council has grown to 110 members in North America and 70 affiliate institutions in 24 countries. The CCCU is a tax-exempt 501(c)(3) nonprofit organization headquartered in the historic Capitol Hill district of Washington, DC. ( Member Characteristics Strong commitment to Christ-centered higher education Located in the U.S. or Canada Regional accreditation (U.S. campuses) Primarily four-year comprehensive colleges and universities Broad curricula rooted in the arts and sciences Christians hired for all full-time faculty and administrative positions Sound finances CCCU Member Campuses: 110 Locations: 31 states, 3 Canadian provinces Religious affiliations: 29 denominations Total student enrollment: 325,000 Enrollment range: 374 to 32,123 Undergraduate majors offered: 350+ Graduate majors offered: 150+ Number of full and part-time faculty: 20,000+ Number of alumni: 1.6 million Average U.S. tuition : $17,377 Total operating budgets: $4.2 billion Average operating budget: $39.8 million Total endowment market value: $3.8 billion

7 Table of Contents Preface Organizational Sponsorships 04 Acknowledgements 07 Foreword 08 Overview The CCCU/CIVA Study at a Glance 12 Introduction 14 Methodology 14 Mailings and Follow-up Response Rates CCCU Site-Visits Figures 1-5 Demographic Characteristics of the CCCU Population 19 Art and Design Programs Art and Design Faculty Standards of Quality and CCCU Art and Design Programs 22 National Art and Design Accrediting Agencies CCCU: Characteristics and Expectations Art and Design Program Structures and Titles Program Size Course Offerings Teaching Loads Class Size Faculty/Student Contact Time 05 Presentation of Data CCCU/CIVA National Survey of Art and Design Programs: Phase I (Quantitative Data) 27 Figures 6-34 CCCU/CIVA National Survey of Art and Design Programs: Phase II (Qualitative Data) 59 Figures Summary 86 Recommendations 88 Appendices Appendix A. 93 A Council for Christian Colleges and Universities Members and Affiliates: CCCU/CIVA National Study Distribution List A.2 CCCU Institutions with 0-5 Art/Design Courses A.3 CCCU Site-Visits

8 A.4 CCCU/CIVA Study Respondents: Number of Art/Design Majors A.5 Denominations Represented in CCCU/CIVA National Study Appendix B. 98 B.1 CCCU/CIVA National Survey: Phase I (Quantitative Data) 2009 Online Survey Sample B.2 CCCU/CIVA National Survey: Phase I Data: Program Special Features Appendix C. 107 CCCU/CIVA National Survey: Phase II (Qualitative Data) 2009 Online Survey Sample Appendix D. 111 D.1 CCCU 2009 Site-Visit Questions D Site-Visit Interviews Data Appendix E. 118 Standards of Quality for CCCU Art and Design Programs: Benchmark Excerpts from NASAD, CAA, and NAEA Appendix F. 124 Sample CCCU Art/Design Off-Campus Programs 06 Notes 126

9 Acknowledgements A project of this scale is never a singular effort and the 2010 CIVA National Status Report of Art and Design Programs in Member and Affiliates of the Council for Christian College and Universities/CCCU was no exception. As director of the research project, I would especially like to thank Christians in the Visual Arts/CIVA and its Board of Directors for sponsoring the project. I also wish to thank Dr. Paul R. Corts, President, Council for Christian Colleges and Universities/CCCU, Dr. Mimi Barnard, CCCU Vice President for Professional Development and Research, and the CCCU provosts and area deans whose interest in the research study facilitated its goals. I want to thank department chairs or area deans who completed the national online survey instruments: CCCU/CIVA National Survey: Phase I (Quantitative Data) and CCCU/CIVA National Survey: Phase II (Qualitative Data). This Status Report would not have been possible without their participation. For those CCCU art/design department chairs who participated in the 31 site-visit interviews, I thank them for their time, expertise, and valuable insights. In addition, I want to extend a special thanks to past and present CIVA Executive Directors Tyrus Clutter and Cameron Anderson and past and present Presidents of the CIVA Board Patricia Jones and Linda Stratford. I am also very grateful for my able CCCU/CIVA Status Team Leadership colleague, art education professor Jeffrey Grubbs, who formatted our online survey instruments and brought savvy insights to the study. I also wish to thank my PLNU computer science research assistants, Stephen Evilsizor and Chanell Anderson, for their remarkable skills, and of course, my extended group of talented CCCU/CIVA Status Report Team colleagues. The final draft pages were placed in the hands of our graphic designers, Stella Vandegrift and Lauren DiBlasi, who made art of the document. The National Art Education Association s Art Teachers in Secondary Schools: A National Survey 2001 provided a common genre for this kind of educational research, as well as the model for the report. While over-generalizing data from a study such as this comes with some degree of peril, information in the 2010 CCCU/CIVA National Status Report may provide insight for the other non-cccu faith-based college or university art/design programs. Members and affiliates of the Council for Christian Colleges and Universities have provided a sample population from the much larger pool of Catholic and Protestant institutions in North America. We share many common goals as we seek to provide high quality programs of studies in the visual arts on our campuses. Oversights in the data may be found, however, every effort has been made to represent the research information as accurately as possible. 07 Finally, I want to thank all who have committed their careers to teaching art and design in Christian higher education. This is a unique place for stewardship of God s creative gifts. Your tireless efforts are making a difference in the lives of our students. Karen J. Sangren, PhD Director, CCCU/CIVA National Status Report

10 Foreword What follows in the pages of the 2010 CCCU/CIVA National Status Report of Art and Design Programs, is not only a remarkable achievement in research. It is also a significant milestone in the maturing of the fine arts as understood, practiced and taught through the eyes and hands of faith in American culture. Thanks to the vision and tenacity of art professors Karen Sangren, PhD, working in collaboration with Jeffrey Grubbs, PhD, this achievement tabulates the current state of art and design departments and the educating of young artists within the curricula of members and affiliates of the Council for Christian Colleges and Universities across the country. Sangren s research and perseverance gives actual life back to the cliché, has worked tirelessly. The scope of her project has been to survey all art and design departments in the CCCU consortium in order to discover and document their programs, faculty, spaces, resources, curricula and vitality. She has been in touch with all 110 CCCU campuses, visited thirty-seven departments, personally interviewed thirty-one department chairs, crossed the country on five trips and driven seven thousand miles on behalf of the study. She and her colleagues designed a two-phase approach to acquaint themselves with art and design programs, to gather survey information, to sort and collate the data. The result is this major 2010 CCCU/CIVA National Status Report that will be a working tool for artists, students seeking programs, and as yet unforeseen fruitfulness for years to come. 08 The rich personal touch that Sangren has brought to this project is incomparable. Her enthusiasm, her deep belief in the value of what so many artists, students and administrators are doing on their campuses represents the very best of leadership. In addition, she has coordinated all of this with CIVA, Christians in the Visual Arts, our national organization of professional artists. That coordination will also bear immense fruit because she is helping to tie together and create a network of art-making and creative people in a new way. All of this, however, is essentially only the mechanics and evidence of her work and of the importance of this project. For in assembling this national Status Report, Sangren and her extended team have made something much larger visible and more vital. What they have made visible is the fruit of the profound labors of hundreds of individual artists, teachers and students over three generations, in every corner and center of the United States. The CCCU/CIVA Study Team has brought together much that was isolated, and is introducing many who were only vaguely aware of each other. That is, they have created here portraits of some forty-six-sample CCCU departments, dozens of faculty programs, and of what they offer to younger generations. In addition, this work gives us all a better view of where we are in history. Only some sixty or seventy years ago, few of these departments existed! There were almost no centers with experienced artist/faculty where a young Christian student could go to study. Especially within Protestant America, the Church was largely separate, even alienated from the creative gifts and contributions of the visual arts. The world of American Protestant Christianity and the world of American visual arts were strangers to each other, with little intersection at a high level. But today, as Sangren s leadership puts all of this on the map, we can know that there are now some eighty-eight CCCU art departments, with professional artists and art historians as faculty members, producing thoughtful art or research in their own right, and all teaching, mentoring and challenging thousands of young artists over their collective careers.

11 More profoundly, today within these contexts, the worlds of faith and the worlds of art are no longer completely separate, foreign or in animosity. Today they overlap and are in dialog. Today it makes as much sense for a young person to feel called to the arts as an expression on one s faith, as it always did to feel called to medicine, teaching or the professional ministry. The number of art majors graduated from CCCU schools over the last six or so decades creates a rich and fertile ground for both culture and church. It is not possible to quantify the total impact of that much positive creativity and imagination being infused into church and culture, but it is possible to observe the now burgeoning number of artists, books, groups, galleries, and even church galleries emerging. This simply did not exist sixty years ago. What this research and Status Report does is put all this together, which, in my view, summons us all to a pause for reflection: if this is what the last two to three generations accomplished, and this is the platform now built, how do we move forward to the next levels of more engaged contribution? One of the most moving layers that Sangren s work makes visible which is a history that still needs a fuller telling is how each of these separate art departments had a founder. Often it was a single visionary person and sometimes it was a small team of visionaries. But in every case, certain powerful factors were required. One was a highly gifted dreamer who had the common sense to mediate his or her vision with the practical. These were dreamers whose imagination as artists hoping to grow the arts were far ahead of the thinking of the administrators and curriculum of the colleges they hoped to convince. These people, such as Eugene Johnson at Bethel, Bruce Herman at Gordon, Lois Hall at Pasadena/Point Loma, and Michael Caldwell at Seattle Pacific, could imagine an art department existing where there was nothing. Often there was skepticism or even a negative, suspicious or fearful resistance. With vision, tenacity, grace and sheer doggedness, these individuals persisted, usually starting with only a drawing class in an old gymnasium or under the stairs. But they succeeded in attracting students, taking on young faculty and building programs and spaces until, some sixty years later, Judy L. Larson, PhD, a respected east coast art curator and now an art historian at Westmont College, CA, can say without exaggeration, 09 The visual arts are receiving more and more recognition for the full range of what they can bring to a well-rounded liberal arts education. The arts nurture imagination, awaken curiosity, and foster a special kind of mental flexibility and intellectual respect that challenges not only our students, but also our whole community, to think and see in new ways. This past January, 2010, one of those great founders, Eugene Johnson passed on. I single him out here for honor, not only because he founded one of these art departments, but because his vision still has something for us all. Once he had founded Bethel College s art department, he went on to found Christians in the Visual Arts/CIVA at the national level. CIVA is now thriving in its thirty-second year. He epitomized the vision we all still need to follow. He was, first and foremost, a creative maker, an artist. And he understood that every organization he helped create should be for the artists, and yet he understood that in terms of the artists being for the culture and the church, not just for themselves. He also understood that for all of this to thrive not just survive we artists and art historians in all these schools and outside of the schools must become ever more collaborative. That was his vision for how CIVA could bring together so many individuals and local groups into a national setting in order to create a critical mass. Eugene s humility, mixed with an audacious hope, vision and energy was astonishing. He had a motto for building the program at Bethel that, I believe, is the motto we should all follow. When it came to hiring a new faculty member, for example, he pulled

12 out this motto: Always hire someone better than you. This is how we should all build from the platform of what has been established. Not seeking a passive or safe equilibrium, but striving to make it all better than it was when each of us entered the profession. CIVA has contributed to this raising of the bar through the huge contributions of so many individuals, mostly as volunteers, until we are now all aware of each other. Most of our departments are now established (though always under resourced). Most are in the third generation of faculty and department chairs. All are maturing. From that place, and in the spirit of Eugene Johnson s vision to connect, to make it better, to provide new platforms from which our current young students can launch, there is now a new level. There are now off-campus programs for significant semester study elsewhere domestically and abroad. In this spirit, the most recent new off-campus program is NYCAMS, the New York Center for Art and Media Studies, located near the Chelsea Gallery district in Manhattan. Although it is managed by Bethel University, the vision of NYCAMS is to be a shared program for all the CCCU schools, making it possible for that top three percent of all our majors we all know these students, they are the ones called to the highest level of art making at the professional level within the art world to get established in a way that makes them actually competitive in a very competitive art world. At NYCAMS they have an Internship that begins their professional network, they make friends from other CCCU schools that begins their network of fellow artists of faith. Living in New York for three months gives them both confidence and awareness of the art world. They begin to think in larger ways about themselves, and hopefully they bring that energy back to their home campus. 10 If I may insert a very personal note here, I literally sleep more peacefully at night now, knowing that these beautiful and talented young students from whom we accept tens of thousands of dollars in tuition now have tripled their chance of getting into MFA programs, of knowing what they are doing, of being able to enter the profession of making art. For the truth is, despite our great progress, none of our schools are big name schools that automatically make MFA programs, galleries or those giving grants look at our students. But when I now see the success of each of our school s graduating young artists with that three-prong portfolio (work and references from their home campus, work and references from the NYCAMS campus, and references from their Internship); when I see how powerful that portfolio is for getting them to the next step, I rejoice at the deep and collaborative phenomenon that is happening. The CCCU/CIVA National Status Report has made visible the achievements of all these individual programs around the country. It has shown us how far we have all come and the work that remains. But equally important, this study has brought us to the edge of our next frontier, our next open territory, which is to become more collaborative and to get our students out there with the necessary competitive skills, ideas and experiences. To create networks that will make it possible for future generations of art and design students and faculty to travel further. To guarantee that the next generations can become better than those of us currently working.. Wayne L. Roosa, PhD Professor of Art History Chair, Art Department, Bethel University, St. Paul, MN Chair, New York Center for Art & Media Studies (NYCAMS), New York City, NY

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14 2010 CCCU/CIVA National Status Report: At a Glance CCCU/CIVA National Survey: Phase I (Quantitative Data) CCCU/CIVA National Survey: Phase II (Qualitative Data) The 110 members and affiliates of the Council for Christian Colleges and Universities were selected as the research population for the CIVA National Study of Art and Design Programs in Christian Higher Education. Two separate online surveys collected quantitative and qualitative data on art/design programs in CCCU institutions. The CCCU/CIVA National Surveys: Phase I and Phase II were distributed in spring and late fall Response rates for the CCCU/CIVA National Survey: Phase I (Quantitative Data) were 45 out of 110 liberal arts CCCU members or affiliates (41%). Response rates for the CCCU/CIVA National Survey: Phase II (Qualitative Data, blind survey instrument) were 46 out of 110 liberal arts CCCU members or affiliates (42%). CCCU institutions in North America participating in the study ranged in size from approximately 450 to 12,000 undergraduate students. CCCU art/design departments ranged in size from approximately 20 to 300 students majoring in art or design. 12 Full-time art/design faculty members at participating CCCU institutions numbered from 1 to 18. National Schools of Art and Design/NASAD accreditation (a national gold standard) was held by 6 (13.3%) of the 45 Phase I CCCU art/design programs. Council for Christian Colleges and Universities/CCCU Website Data Eighty-eight (80%) of the total 110 CCCU liberal arts member and affiliate institutions offered a minor or major in art and/or design. Twenty-two (20%) of the 110 liberal arts CCCU schools offered 0-5 visual arts courses. Programs using NASAD s formula of 30-45% of required undergraduate courses must be taken in studio art, design, or art history for a major, showed evidence of rigorous and healthy programs. Fifty-five CCCU websites were sampled for data on art/design faculty members academic degrees. Of the 42 institutions posting faculty credentials, 60% of schools included art/design faculty members with MA degrees as their highest graduate degrees. Ninety-three percent of the same departments included faculty members with terminal MFA degrees. Fifty-five percent of the 42 CCCU schools identified one or more faculty members in their art/design programs with a PhD or EdD in art history or art education. Forty-five percent of the 42 CCCU institutions offered art history or art education courses taught by faculty members with MAs or MFAs as their highest degrees.

15 CCCU Site-Visit Interviews with Art/Design Program Chairs External accreditation standards (NASAD, CAA, NAEA) were used by 58% of site-visit CCCU art/design departments to guide program development. CCCU art/design departments requiring writing across the curriculum in art history and studio courses promoted both broad-based intellectual inquiry and artistic development in their students. Art/design faculty members who worked well as an open communicative team were found in vibrant, forward-thinking CCCU programs. CCCU art/design departments provided integrative curricula and used art museums, galleries, and other community resources as extended classrooms. Art/design programs were the most robust and faculty morale the highest, where administrative philosophical support for the visual arts was matched with actual funding. Art/design department chairs whose programs were housed in well-appointed and spacious studio classrooms reported high levels of program satisfaction by their faculty and students. Overview CCCU studio and art history programs which lacked geographical proximity to major art museums (within 100 miles), significantly benefitted from pro-active administrative budgeting and academic arrangements for long distance student fieldtrips. Quality public sculptures in a range of styles and subject matter often suggest the intellectual and aesthetic maturity of colleges and universities. Only a few site-visit CCCU schools displayed more than a handful of professional outdoor sculptures in diverse styles and subjects on campus. Site-visit interviewees supported the development of more interdepartmental majors between the visual arts and other disciplines at their institutions. 13 Two CCCU institutions offered their own full-semester, visual arts focused study abroad programs. Department chairs reported an interest in developing more arts partnerships, where art students could spend a semester studying with art/design faculty members at another CCCU institution. CCCU art/design graduates were employed in a range of art-related careers: education, public service, industry, small businesses, entertainment, advertising and marketing, publishing, new technologies, art museums, galleries, and more.

16 Introduction Christians in the Visual Arts/CIVA began its sponsorship of this research study in January The goal of the project was to conduct a comprehensive examination of current art and design programs in North America s Christian colleges and universities. Studies of art/design programs in this population had been significantly under-represented in published literature. Information about art/design programs was often buried in school websites, catalogs, or campusbased documents. Comprehensive data was needed for quantitative and qualitative analysis. Information would be compiled into a national resource and available to those involved in Christian higher education art/design program development and decision-making. Methodology Background 14 In March 2008, CCCU/CIVA Study Director, Karen J. Sangren, PhD, Chair, Department of Art and Design, Point Loma Nazarene University, San Diego, CA, met at Christians in the Visual Arts national headquarters in Wenham, MA, with then Executive Director, Tyrus Clutter, and art professor Jeffrey Grubbs, Roberts Wesleyan College, Rochester, NY, and CIVA Art Education Caucus Director. The team determined the project should be divided into two stages, Phase I: Quantitative Data and Phase II: Qualitative Data, and conducted over a three-year period. The 110 liberal arts members and affiliates of the Council for Christian Colleges and Universities/CCCU were selected as the initial study population (Appendix A.). Phase I data would be collected through CCCU website searches, an online questionnaire CCCU/CIVA National Survey: Phase I (Quantitative Data), and site-visit interviews, to statistically profile current art/design programs at participating schools. CCCU/CIVA National Survey: Phase II (Qualitative Data), would follow and be a blind survey organized by institutional and departmental size. It would address quality issues facing CCCU art/design programs such as administrative support, faculty morale, budgets, studio space, faculty loads, assessment, program reviews, and access to major art collections. In addition to discussions about the proposed national study and an accompanying status report, the leadership team recommended that an official CIVA online website be created: the CIVA National Registry of Art and Design Programs in Christian Higher Education. This website would allow prospective students, parents, administrators, faculty, and others to compare art and design programs by regions, denominations, institutional and departmental size, faculty, majors, and special programs in one location. While these schools were included on college search websites, there was none that exclusively profiled art/design programs in Christian higher education.

17 Population: Council for Christian Colleges and Universities/CCCU From its beginnings as the Christian College Consortium, the evolution of the Council for Christian Colleges & Universities [has focused] in its quest to advance the cause for Christ-centered higher education and help institutions transform the lives of students. According to the U.S. Department of Education, there are over 4,000 degree-granting institutions of higher education in the United States. These include 1,600 private, nonprofit campuses, about 900 of which define themselves as religiously affiliated. However, only 110 intentionally Christ-centered institutions in the U.S. have sought membership [or affiliation] in the Council for Christian College and Universities. (CCCU website, 2010) CCCU members and affiliates, whose programs participated in the CCCU/CIVA National Surveys: Phase I and Phase II, ranged in size from 450 to 12,000 traditional undergraduate students. Art/design students numbered from 20 to 300 majors. Full-time art/design faculty members ranged from 1 to 18. Part-time/adjunct faculty numbers fluctuated based on curricular needs. Overview Mailings and Follow-up Preparation and vetting of the Phase I questionnaire by sample CCCU art/design departments, provost consultants, and admissions personnel were conducted in Official endorsements of the study by members of the Council for Christian Colleges and Universities administration were issued in early An introductory letter from the Study s leadership team was mailed in March 2009 to each CCCU chief operating officer and art/design program chair. The CCCU/CIVA National Survey: Phase I (Quantitative Data) (Appendix B.I) was distributed online to 110 CCCU liberal arts institutions in April Finding names and addresses for current department chairs proved to be a daunting assignment. Many addresses required problematic navigation through CCCU websites, were obsolete, or simply not listed. In these cases the survey was sent to CAOs with a request that it be forwarded to the appropriate campus art/design faculty member. Despite three online distributions of the Phase I survey instrument and selected telephone calls, by June 1, 2009, only 32 out of 110 institutions had responded (29%). The CCCU/CIVA Study Director presented these formative findings in mid-june 2009 at the CIVA National Conference in St. Paul, Minnesota. Response Rates The CCCU/CIVA National Survey: Phase I (Quantitative Data) (Appendix B.I) was redistributed online to CCCU art/ design programs at the beginning of the new academic year to increase the total rate of responses. Some hard copy versions were also furnished to recipients upon request. Distribution of the CCCU/CIVA National Survey: Phase II (Qualitative Data) (Appendix C) was pushed later into the fall to avoid overlapping the two surveys. The final count and rate of responses from the CCCU/CIVA National Survey: Phase I (Quantitative Data) were 45 out of 110 institutions (41%).

18 Work on the blind CCCU/CIVA National Survey: Phase II (Qualitative Data) (Appendix C) was completed in October Phase II survey questions were reviewed by CCCU/CIVA study leadership members and other art/design colleagues. The second survey was distributed online to the 110 liberal arts CCCU members and affiliates in late November This survey focused on qualitative issues confronting art/design programs in CCCU schools. Data collected in the second survey was tabulated by institutional and departmental size. An introductory message accompanied the initial distribution of the Phase II survey. A second reminder message with a web link to the online Phase II instrument was sent two weeks later. The response rates doubled after the second follow-up message. The final count and rate of responses for the CCCU/CIVA National Survey: Phase II (Qualitative Data) were 46 out of 110 institutions (42%). A further examination of member and affiliate websites indicated that only 88 (80%) of the 110 CCCU liberal arts institutions offered a minor or major in art and/or design. Twenty-two schools (20%) offered either no or up to five visual arts courses (Appendix A.2). Some of these institutions integrated the visual arts into a general education humanities course. Three of the 22 institutions completed their Phase I surveys. Both CCCU/CIVA survey instruments provided a way for campuses to indicate that their institutions offered no art/design minors or majors. However, response rates suggested that the letters of introduction and requests to participate in the study were generally disregarded by CCCU schools that offered no or only a few art courses. 16

19 Figure 1 PARTICIPATING CCCU MEMBERS AND AFFILIATES/Institutional Size and Location by Regions NUMBER OF RESPONDENTS CCCU/CIVA Survey: Phase I PERCENT OF RESPONDENTS CCCU/CIVA Survey: Phase I NUMBER OF RESPONDENTS CCCU/CIVA Survey: Phase II PERCENT OF RESPONDENTS CCCU/CIVA Survey: Phase II TOTALS: 45 out of out of 110/41% 46 out of out of 110/42% Enrollment Size Less than Above 4000 Geographical Region in the United States Northeast Southeast Upper Midwest Southern Midwest Northwest Southwest % 6.6% 31.1% 31.1% 13.3% 15.6% 8.9% 31.1% 28.9% 6.7% 6.7% 17.8% % 13.0% 26.1% 30.4% 10.9% 17.4% 4.4% 21.7% 30.4% 10.9% 6.5% 26.1% Overview Site-Visits to CCCU Art and Design Programs Site-visits to CCCU art/design programs and interviews with department chairs were included in Phase I of the CCCU/ CIVA research study. Between July 2008 and November 2009 the Study Director visited 37 CCCU member institutions across the United States (Figures 1, 2, and 3). On four campuses, both department chairs and administrators were interviewed. Two faculty members on campuses offering 0-5 art courses were also interviewed. Six CCCU institutions with no art/design majors or minors were visited on weekends. 17 The Study Director conducted 6 informal interviews with CCCU art/design department chairs early in 2009 before systematizing five common questions to use at following interviews (Appendix D.I). The formalized model was used with the next 26 department chairs in fall Their answers were recorded on spreadsheets. The statistics are included in this 2010 CCCU/CIVA National Status Report (Appendix D.2). All interviewees reported the CCCU/ CIVA study was timely and needed. Their institutions were faced with critical budget issues as a part of the economic downturn. They looked for new ways to continue building quality CCCU art/design programs. Strategic planning data was needed. During site-visit interviews, 81% of department chairs reported the visual arts received active administrative support at their institution, yet only 54% of the same interviewees believed their department budget was comparable to other disciplines on campus (Appendix D.2). One chair responded, Are you asking about philosophical support, or literal support?

20 During the site-visit interviews, department chairs were also asked, If you had the opportunity to discuss current issues with colleagues from other CCCU art/design programs, what would you most want to talk about? 21st Century art/design course offerings and technologies for 21st Century students. Disconnects between art/design college curricula and the art/design world. Current practices in other CCCU art/design programs and networking. Learning how to build an art/design program. Faculty teaching loads and advancement in rank expectations. Visual arts advocacy on campus for quality programs and facilities. Interdepartmental programs Budgets Figure 2 CCCU SITE-VISIT DEPARTMENT CHAIR &/or ADMINISTRATOR INTERVIEWS NUMBER OF FORMAL INTERVIEWS NUMBER OF INFORMAL INTERVIEWS 18 Institutional Enrollment Size Less than Above 4001 *Interviewed campus administrator and department chair * 0 0 3* 2* 2* Figure 3 CCCU Institutional Size PROFILE DATA OF SITE-VISIT CCCU INSTITUTIONS and Above Average Number of Art/Design Majors Average Number of Full-Time Faculty Members Average Number of Part-Time/Adjunct Faculty Members Average Number of Classrooms Servicing the Program

21 Demographic Characteristics of the CCCU/CIVA National Study Participants Art and Design Programs The CCCU/CIVA National Surveys: Phase I and Phase II and CCCU site-visit interviews yielded a broad range of information about the current status of art/design programs in liberal arts members and affiliates of the Council for Christian Colleges and Universities. The data reported robust and innovative features in art/design programs in the participating institutions and also made transparent various challenges. A complete collection of this information is included in the following sections of the 2010 CCCU/CIVA National Status Report. Art and Design Faculty An examination of 55 sample websites was conducted on CCCU members and affiliates in early 2010 to collect art/ design faculty information. During the vetting processes, questions concerning the highest academic degrees held by art/design faculty members were deemed unnecessary by consultants and removed from both Phase I and Phase II online survey instruments. This was later viewed as a misjudgment. A 50% sampling from the 110 CCCU art/design program websites provided the most expedient means to collect this missing demographic data. Overview Sample Population from CCCU Websites: 55 Art/Design Departments Art/design faculty professional degrees not posted on CCCU websites: 13 institutions Art/design faculty professional degrees posted on CCCU websites: 42 institutions (see Figure 4) 19 Figure 4 42 Sample CCCU Art/Design Programs: Highest Academic Degrees Held by Art/Design Full-Time and Part-Time/Adjunct Faculty Members BA/BS/ BFA MA/ MS MFA EdD PhD Other Percent of art/design faculty members teaching with the following as their highest degrees 24% 60% 93% 5% 50% 17% National Association of Schools of Art and Design/NASAD Standards for graduate level studies in studio practice require a minimum of 30 semester hours for a Master of Arts or Master of Science degree, 60 semester hours for the Master of Fine Arts/MFA, and a minimum three-year full-time equivalent program of studies (approximately 90+ units) for the doctoral degree in art history or art education. Doctoral programs may or may not include a Master of Arts degree (see Figure 48). Doctor of Philosophy degrees in art history or art education (sometimes an EdD) are research-based, advanced graduate degree programs (Appendix E). The art history faculty member with a PhD brings to an art/design program:

22 Considerable depth of knowledge in some aspect of art and/or design, such as an historical period, an aspect of theory, properties and behaviors of materials or systems, psychological inquiry, and educational methodology. (2009 NASAD Handbook, pg. 122) Subject matter competencies in art/design at the undergraduate and master s levels and teaching experience are prerequisites to a doctoral program in art education: Coursework and research projects may involve research into the foundation of visual intelligence; the mechanisms of influencing values in the visual arts/design; the psychology of teaching and learning in the visual arts/design; curriculum and methods; policy; the history of art/design education; and so forth. (2009 NASAD Handbook, pg. 123) A CCCU faculty member holding a doctoral degree in art education is prepared to bring to the program skills in art techniques and media, review and assessment, research-based teaching methods, sequenced learning strategies, integration of theory and practice, program development, and an understanding of the broader art discipline. Of the 55 CCCU institutions sampled, 13 websites did not post the academic degrees held by their art/design faculty members. The percentages listed in Figure 4 provided an overview of the highest degrees held by faculty members in the remaining 42 CCCU art/design programs. The reasons behind the missing information may have varied, including a lack of terminal degrees in the art/design departments. However, their websites did include listings of faculty exhibitions, publications, or professional activities. 20 While the data indicated that 55% of the 42 CCCU institutions had art/design faculty members holding an earned doctoral degree, this represented only 23 schools, in contrast to 39 programs (93%) where one or more of their art/ design faculty members held MFA degrees. The majority of faculty members with earned doctorates (PhD or EdD) were listed as art history professors (37) and the remaining as professors of art education (4). This evidence suggested that art/design faculty members, who did not hold doctoral degrees, were teaching art history courses in 45% of the sample CCCU institutions. Also, 60% of the 42 institutions included studio faculty members teaching art/design courses with the non-terminal MA or MS degree. CCCU art/design programs often listed faculty members with the MA or MS, or the MFA degree as teaching in the same department. Campus visits by the CCCU/CIVA Study Director in 2009 found that art/design faculty members and professional practitioners not holding terminal art degrees often brought valuable skills to their programs. However, overall, the standout art/design departments were ones where the majority of their faculty members held MFA degrees. There was also a minimum of one to two full-time professors with earned doctoral degrees teaching art history or art education courses. These graduate preparations, along with active professional experiences, enabled art/design faculty members to provide quality teaching and learning for their students that balanced art skills, techniques, histories, and intellectual development. NASAD recognizes the Master of Fine Arts as the appropriate terminal degree for studio faculty. At the same time, the Association recognizes that some highly qualified artist-teachers may hold other academic degrees; others may not hold any academic degrees. In such cases, the institution should base appointments on experience, training, and expertise at least equivalent to those required for the Master of Fine Arts degree in the appropriate field. Academic degrees are a pertinent indicator of the teacher s qualifications for instructing in theoretical, historical, and pedagogical subjects. In general, the Doctor of Philosophy and comparable doctorates are the appropriate terminal degrees in these fields. (NASAD, 2009)

23 Site-visit formal interviews with 26 CCCU department chairpersons indicated that 85% of their studio faculty members were also practicing artists or art historians engaged in research. Interviewees reported that heavy teaching loads competed with time to produce works of art or publish research. Only 46% of department chairs said there was campus workspace available for their studio faculty members. When available, the work areas often co-existed with departmental classrooms. In some newly constructed CCCU visual arts facilities, studio spaces were combined with faculty offices (Appendix D.1, D.2). Department chair interviewees provided little information concerning their institutions exhibition/publication expectations for studio or design faculty members with MFAs to advance to professor status. Additionally, department chairs did not elaborate on publishing requirements or professional writing expectations for art faculty members with earned doctorates to advance in rank. Individual CCCU institutions determined the means by which terminal visual arts graduate programs and professional experiences were made equitable for their faculty members seeking rank advancements (see Figure 48). Department chair interviewees from rural CCCU institutions frequently spoke of the difficulties associated with hiring highly qualified art/design faculty members to teach in their programs. Finding faculty members with a combination of the appropriate terminal degrees, a strong resume, and a Christian faith was reported as a serious challenge. This was especially true when filling part-time faculty art/design positions. Limited choices and less remuneration sometimes led to hiring adjunct faculty practitioners with non-terminal degrees and/or part-time art faculty who were simply compatible with the Christian faith (Figure 49). Overview 21 Warner Sallman Collection and Art Gallery, Anderson University, Anderson Indiana

24 Standards of Quality and CCCU Art and Design Programs National Art and Design Accrediting Agencies The CCCU/CIVA National Study of Art and Design Programs was conducted to provide a quantitative and qualitative examination of art and design programs in liberal arts Council for Christian Colleges and Universities members and affiliates. Expectations of the National Association of Schools of Art and Design/NASAD Standards (info@arts-accredit.org), the College Art Association/CAA Standards and Guidelines ( and the National Art Education Association/NAEA national and state standards ( provided vital tools for examining the CCCU art/design programs. The National Association of Schools of Art and Design/NASAD is composed of schools and individuals representing the highest traditions and aims in the education of the artist and designer. These members have proven, by the fact of their membership and activity in the organization, their deep interest in fostering high standards for art and design education (NASAD, 2009). The mission of NAEA is to promote art education through professional development, service, advancement of knowledge, and leadership (NAEA website.) 22 Appendix E provides benchmark information about program quality found on the websites of these three major professional visual arts organizations. Key college or university level art/design program expectations are underlined in selected sections for the purposes of this 2010 CCCU/CIVA National Status Report. It is recommended that the reader consult the websites of these national art/design associations directly to read their complete listings of standards and guidelines. An inclusion of essential sections as seen in Appendix E will provide the reader with a basic reference tool. CCCU/CIVA National Survey: Phase I, Question 27 data indicated that few CCCU art/design programs were accredited by a national arts agency. NASAD accreditation (commonly considered the national gold standard) was held by only 6 (13.3%) of the 45 responding institutions (Figure 27). Yet information collected during 31 formal and informal site-visit interviews with department chairs indicated the majority (58%) of departments had used guidelines from one or more of these national organizations to inform their program reviews and curriculum development. NASAD Standards were selected most frequently, however one institution found CAA Standards more beneficial. Department chairs often reported in site-visit interviews that they had gathered comparative information about art/ design curricula in other CCCU institutions during program review cycles. In so doing, when externally accredited CCCU art/design departments were used as a point of comparison, national standards were indirectly represented in the data. Comparative investigations between CCCU programs were most often conducted when departments wanted to update and/or add to their curricula. They looked for current practices in other institutions to support academic proposals that would keep their own programs competitive. The CCCU/CIVA National Survey: Phase I data (Figure 27) indicated that the individual State Departments of Education Art Teacher Preparation Program Standards, published in collaboration with the NAEA, were more commonly utilized for external accreditation of art education programs in CCCU art/design departments than NASAD Art Education Standards. Some site-visit interviewees reported their CCCU programs used state visual arts standards to also inform the content and practice of their broader curricula when compiling their accreditation self-studies. State art education standards focused on sequential learning in the visual arts, teaching methods, and a balanced preparatory curriculum between seeing, reading, thinking, writing, speaking, and creating.

25 When participating CCCU art/design programs held no external visual arts accreditations, CCCU/CIVA National Survey: Phase I respondents simply listed their institution s regional accrediting association (i.e. WASC, SACS.) When asked during site-visit interviews as to why their program held no external visual arts accreditations, the most common response from art/design department chairs was, We re not ready yet. Budgetary considerations for the cost of the accreditation and membership dues were also frequently cited. There were no indications that the chairs considered NASAD or other national accreditations to be insignificant. CCCU Characteristics The members and affiliates of the Council for Christian Colleges and Universities agree to the following guidelines: Institutional Type and Accreditation Offer comprehensive undergraduate curricula rooted in the arts and sciences. Be located in North America. Have non-probationary regional accreditation (U.S. campuses only). Overview Christ-Centered Mission Have a public, board-approved institutional mission or purpose statement that is Christ-centered and rooted in the historic Christian faith. Curricular and extra-curricular programs reflect the integration of scholarship, biblical faith and service. Employment Policy Hire as full-time faculty members and administrators only persons who profess faith in Jesus Christ. Cooperation Have been, are now, and will continue to be supportive of other Christian colleges. Have a commitment to advance the cause of Christian higher education through active participation in the programs of the Council. 23 Institutional Integrity Demonstrate responsible financial operations. Have institutional practices, which reflect high ethical standards. Conduct fund raising activities in a manner consistent with the standards of the Evangelical Council for Financial Accountability. The CCCU members and affiliates often define themselves as distinctive from larger secular universities. During site-visit interviews, faculty and administrators confirmed that a Christian worldview was the prevailing ethos on their campuses. It was also necessary for their institutions memberships in the Council for Christian Colleges and Universities. Most art/design department chairs indicated that faith and learning was integrated throughout their programs. Twenty of the interviewees reported they had formal capstone assignments for senior students on issues of faith and their lives as future artists/designers (Appendix D.2). In the CCCU/CIVA National Surveys: Phase I and Phase II, 100% of the responding CCCU department chairs confirmed that faith in Jesus Christ was a criterion for full-time faculty employment at their institution. However, in the blind Phase II survey, 20% of 46 respondents said that a Christian faith was not required for their part-time faculty members (Figure 49).