Table Of Content
An exception to this is the chapter on Art and Ethics, which addresses recent controversies in the field. The text makes reference to art from a wide variety of cultures and to the experience of people from diverse backgrounds. It is true that many of the artworks and artists are familiar and part of a standard canon of Western art and its cultural touchstones. However, each chapter also contains references to non-Western art, and a cross-cultural approach is evident throughout the book, not only in isolated chapters. Overall there is an attempt to draw from different cultures to connect to the themes and concepts without being overly biased.
Lancang-Mekong Cooperation Art & Design Award launched in Beijing - China Daily
Lancang-Mekong Cooperation Art & Design Award launched in Beijing.
Posted: Fri, 26 Apr 2024 09:19:30 GMT [source]
Architecture
These subtopics are well related to chapter themes, but by themselves could be used as lessons or topics for assignments. Beyond the first two chapters, the tone of which is more introductory, it seems as though instructors could and should feel free to present chapter and subtopics in whatever order serves their needs. The text is flexible and relational to the degree that some, but not all, chapters and/or subtopics would need to be used in a course. Given the modular organization of sub-topics within chapters, the text could be efficiently updated, and it is easy to see how instructors could insert their own material into chapters. The sub-topics contain plenty of specific examples, yet it is always possible to trace their connection to the chapter’s larger ideas. The text is organized thematically and in terms of large ideas, thus guaranteeing a degree of longevity and future relevance.
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Table of contents, key terms and “Test Yourself” sections are comprehensive and helpful from a teaching perspective. The text seems to be free of any overt bias, and authors attempt to bring a variety of viewpoints to bear on the art and ideas they present. The text is well balanced between the authors’ assertions and well-documented quotes and information from a variety of sources. Each chapter is organized into topic/theme and subsections that are meant to connect back to the theme of the chapter. While this is a good way to allow for quick access there is room for further development both by the authors and also within the classroom setting and by the teacher. Generally clear and readable, although as mentioned elsewhere in this review, at times overly simplistic and rambling and repetitive.
Degrees at Otis College
And although there are numerous sub-divisions in this chapter it is still reads as large blocks of text. Text boxes might be a more effective manner to present the content in a more accessible manner for our current student populations. The sections and chapters of this book are appropriately divided in a way that makes the subject digestible.
All Students by Ethnicity23
Some KEY TERMS terminology is lacking in completeness or accuracy. Perhaps it is because the editors wished to make definitions simple, too simple. Bias is toward pleasing everyone while skimming over important iconographic details of the art forms examined. Dialog needs to be aimed at describing the iconographic content of art rather than ancillary historic events. The topics and objectives of each chapter are clear and flow in a logical format. While there could be an argument for some readjustment of chapter ordering, it progresses in a thoughtful format.
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This idea is deceptively hard to teach, and even experienced art students are confused by Complimentary Colors. Though the text does include some contemporary artists, like Mel Chin, the examples are outdated. For a survey it has relevance, but it is not relevant for an upper division art history course. The book does not include much material post-1960, lacks representation beyond Europe and Western civilization, and is light on female contributions. The images are great examples; however, they do not include any information that most professors would include in their lectures and PowerPoints—artist, title, date, medium, location.
As an introduction, this book provides an excellent basis for discussion with students. The chapters and content are relevant, presented in a clear concise manner, and are supported by facts. The text is divided into chapters that can be digested in one reading assignment or broken into shorter assignments.
The Fundamentals: What Are the Principles of Art?
One could PDF the source and include that, or just include the images directly. As stated above this text is pretty typical in so far as the overrepresentation of Western cultures (and cultures generally accepted by the Western Canon like Egypt or China) in textbooks. Finally, while it is fairly comprehensive in describing other ideas, like materials, Formal vocabulary, and themes it's not very comprehensive on the application of those ideas.
Arts and Crafts
The chapters on forms, materials, description, symbolic interpretation, aesthetics, architectural form, identity, power, ritual, and ethics, also encourage the reader to make connections to contemporary art and culture. Key concepts are reviewed in the chapter summaries and each chapter has a list of questions that can be used by the student to review the material as well as a glossary of key terms. The chapters on forms and materials support the study of art based on media. In the discussion of interpretive methods, the reader also gains insight into the role of the viewer as well as the artist in determining meaning and is asked to consider the continued relevance of artistic expression.
Some of the art elements that create movement can be the placement of different lines. It is strange that there is a chapter on Architecture alone as an art form. The arrangement of sections allow for each to be taken separately as necessary. The chapters can be presented in different order or omitted altogether. The "key terms" section is also helpful in its definition of terms that are introduced in that chapter. The book does a good job of being varied and unbiased, especially when describing art made in varying regions by peoples with different ethnic backgrounds.
Some chapters need expanding, or the instructor can mix and match chapters in this text with other supplementary material in areas that are lacking. The inclusion of an entire chapter devoted to “Art and Ethics” is refreshing, and somewhat overdue. While the thematic approach is important, the chapters read as disjointed and the text is at places overly general and at times repetitious.
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