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LA Times Today: Behind the scenes at the Pasadena Showcase House of Design Los Angeles Times

Table Of Content

• Ready for the Next Step?
• Snap Lens Lab @ Otis College 2024 Info Session
• U. of Texas at Austin - Moody College
• LA Times Today: Behind the scenes at the Pasadena Showcase House of Design
• Otis College Events
• The Fundamentals: What Are the Principles of Art?
• Opinion: Open Wall nights could lead to the next artistic visionary

This makes the text scalable for classes that meet multiple times per week, once per week, or on accelerated schedules. In the area of visual elements and principles of design, I do wish they went more into depth. The authors organized the text effectively, considering the amount of material covered (see above). I appreciate how the authors include a set of learning outcomes at the start of each chapter and have "tests" throughout as well as "key concepts" and glossaries.

Ready for the Next Step?

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The thematic (as opposed to purely chronological or geographical) approach and interface allows the soaring comprehensiveness of this text to take a digestible and highly modular form. The position of the writing seems to be educator and student centric, with pedagogical concerns. Art historical (or disciplinary) outcomes aren’t the main focus here—and that should please those looking for an introductory or non-major textbook. I imagine this would facilitate the outline and planning of a course—where course outcomes could be developed with this text in mind as opposed to developing the course and then searching for an appropriate textbook and supplements. There are issues with consistency in use of terms, and citations/websites etc. I also wonder about the sources and context with regards to the discussion of historical development of art.

Snap Lens Lab @ Otis College 2024 Info Session

This particular text would require me to heavily supplement information, in which case I might as well toss the text and curate content that comes from multiple modalities myself. The text is modular, with sections delineated out into broader ideas that are then explored specifically, that can be viewed independently if needed. As an example, in the chapter on Protest and Shock, the most recent example is from 2001. There is a plethora of protest art from recent years, for example, BLM to the continued LGBTQ+ rights movements. Each chapter is broken down into subsections that are easy to pull out and assign in a different order than they are presented or as part of another course. The book is arranged thematically throughout, and the format is the same for each chapter.

U. of Texas at Austin - Moody College

It could use more examples of art from the non-Western world for some sections to provide better balance. The text is written with smaller rather than larger sections and is follow throughout the chapters of the book. The text is ready friendly, written in straightforward accessible prose. The definitions of terminologies accurate and simplified for readers to grasp the concepts quickly. However, it may require updating in the next three years to expands coverage particularly the diversity of the subject matter covered, illustrations, and invariably to bring new content into the chapters.

LA Times Today: Behind the scenes at the Pasadena Showcase House of Design

These lists are barely adequate and probably confusing to neophyte students with no art background. For instance, in 1.9 KEY TERMS, p.30, Icon is described primarily as often religious. “Icon”, in art, may have multiple meanings according to the culture that produced the artifact and its use by those members of that group. As an example, the image of “Isis” is an icon found throughout Egyptian culture with various “religious” as well as “power” and other cultural meanings. This criticism can be directed to all KEY TERMS lists in the text to some extent. The order of each chapter and its individual sections are easy to follow.

Each chapter also has a summary of key concepts and reinforces the themes developed throughout the text. The text displays consistency throughout and does a good job of integrating key terms and concepts throughout its chapters. The bolded key terms that appear as a glossary at the close of each chapter is especially helpful, as well as the "test yourself" sections and introductory concepts that start each chapter. Such stand-alone devices are a great boon to students and surely aid with comprehension.

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The template of the book is clear, nicely designed, and consistent. The writers have expressed their ideas in easy-to-understand language and have provided images and/or links to images to expand the learning experience visually. At the beginning of each chapter there is a list of learning objectives, and at the end of each chapter there is a review of key concepts, a test yourself section, and key terms. Through this Specialization, you will develop a deeper understanding of artists’ and designers’ materials, processes, and strategies for responding to social and cultural issues.

The format, vocabulary and tone of writing is consistent throughout the text. The text is fluid, and the language accessible in a way that would be suitable for different levels of students. The text follows a pattern of listing objectives, sectioning off each chapter, and following up with review concepts and terminology. Sections of the text can be assigned at different points within the course.

The majority of the examples provided are drawn from Western art historical traditions, but the authors also include examples from regions beyond the West—especially China, Japan, and India. The text features some examples from Nigeria, Ghana, and North American indigenous traditions, but greater attention to African, Latin American, Central and South Asian, Oceanic, and indigenous traditions would be welcome. The work of male artists, mostly drawn from the Western art historical canon, dominate the discussions; greater coverage of women artists would also be welcome. The Table of Contents is hyperlinked and clearly organized, and each chapter concludes with an excellent glossary of terms.

The text contains a wealth of information but the format and general layout of the chapters makes it a daunting task to absorb it into my course. I do really feel that a timeline of some sort coming later in the text is essential for students to place work in its social, political and historical context. All art can only be appreciated fully beyond its formal aspects when the viewer has access to the context in which it was created.

The 'learning outcomes' and 'test yourself' sections are also very well organized. It can help students understand the kinds of questions and testing done in art survey classes. This book covers a broad range of areas that are typically included in a college level art appreciation book.

There is a consistency in the way the material is presented in each chapter. Elements of the book followed a framework that as easily followed. When it really comes down to it, some issues of toughness may have come up here and there, but, all in it was acceptable for my student's level.

The book is well divided up, and I appreciate the integration of both historical and formal terms throughout, to offer new historical information throughout without becoming dense. While there are some typos, the formatting and use of citation is more distracting. As mentioned, the inclusion of large links in the midst of the text is frustrating as well as the lack of period to enclose this before beginning a new sentence. There are also things like the indentation in the footnotes that can be easily fixed.

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Table Of Content

• Biola University
• A new Kobe Bryant statue has multiple errors. It's not the first memorial with typos
• Syracuse University
• Undergraduate Students by Ethnicity23
• Ithaca College
• Modern and Contemporary Art and Design Specialization

Art students require a text that provides insight into the revelatory role of visual art within human consciousness. This text is far too pedantic and does not invite exploration and imagination by the students in interpreting the works of art presented. The text is easily and readily divisible into smaller reading sections that can be assigned at different points within a course. One can cherry-pick whole chapters or sub-sections within a chapter to align with various subunits of a course without presenting much disruption to the reader.

Biola University

The reading acuity and age-appropriateness of the terminology, vocabulary and description are adequate and what I would expect for a college-level resource material. Again, the terms at the end of each chapter provide an easy reference tool for any language that a reader might not be familiar. It not only helps in the reading and retention of the material, but creates a great study guide for review after the reading of each section. I do feel the inclusion of maps to place the art in the world would greatly advance comprehension. I don’t think students will likely access links referenced within the text though I appreciate the concept so that can create a navigational problem if the art is essential to understanding the concept.

A new Kobe Bryant statue has multiple errors. It's not the first memorial with typos

We will aim to provide the differences between the two while also intentionally applying the terms interchangeably. Jeffery A. LeMieux is Professor Emeritus of Art at the College of Coastal Georgia. He is a practicing artist with works in private and public collections including the University System of Georgia Board of Regents and the College of Coastal Georgia. He holds an M.F.A in 2D Studio Art from the University of Wisconsin-Madison, and a B.S. His area of specialization is college level art foundations and art appreciation which he has been teaching for over 20 years.

Syracuse University

Specific terms are written in bold text with their definitions listed at the end of each chapter. This text is current enough for the average art appreciation class. Since it is mostly based on works of the past, it will need little updating. I found this textbook to be accurate and unbiased, although more examples of Non-Western art could have been added.

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Some of the CH 11 pages and titled CH 10 at the end of the text. Seemed to work well and present ideas and concepts that were relevant to for my students. The design could be improved, including the sub-headings and organization of images.

Will I earn university credit for completing the Specialization?

Chapter 9 equally engaged with the role of visual culture in contemporary societies by addressing Art and Power (propaganda, both symbolic and documentary), and offered an interesting dialog on building visual literacy. This chapter addresses the role and limits of media in recording or presenting images of power, and also addresses how imagery can appear “objective,” but can often contain specific messages. I found this to be extremely relevant, especially given the role of visual imagery in popular culture and social media. The chapter on Ethics is also quite relevant, and highlights the perception of visual culture and how it changes over time. Finally, the discussion on appropriation is very timely, as is the component that addresses museums.

There are several principles of design in art, some sources explore it as 10, while others see it as six or seven. Some can also be grouped together as the concepts are similar, but it should be noted not to be confused by the close similarities of some. This text does cover the material its title implies at an introductory level. In the chapter on describing art some major stylistic movements were omitted. The approach to describing art changes relevant to the time period and that is not addressed here by omitting some of the major Art movements like Impressionism, Cubism, Realism, photography and digital imagine.

Ithaca College

A broader cultural range of examples would be more helpful, however, this is something an instructor can easily amend within classroom lecture or discussion. The inclusion of "fourth dimensional" art is particularly helpful in discussing contemporary art. In general, the discussions could be edited to offer a more precise and concise analysis that is less conversational and more direct. Right now it reads as if the authors are pandering a bit to a student audience by invoking memes, selfies, and other ostensibly trendy cultural phenomena. In general, the illustrations and figures are crisp and high resolution.

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And, as mentioned earlier, the labels for the works of art are in need of correction with emphasis placed on the artwork rather than open source. The book does a decent job of touching on a few global art examples, but could do better. The text is great on clarity and accessibility, written in a way that most entry-level students could understand.

Likewise, while it is great that the text is peppered with hyperlinks to images on the web, many of the links are not valid. The hyperlinks work, however, the linked images or pages are often missing. The text is current but could give more focus on art since the 1960s and inclusion of more women artists. This text also does not contain enough modalities in presenting the information. There are no supplemental videos, hands-on projects, or audio components.

For example, Chapter 7, which focused on architecture, was more intentional toward representing global perspectives and works of art, which I found to be very helpful in understanding global art production. I also appreciated how Chapter 10 highlighted global engagement with sacred structures, sites, rituals, and performances, as well as their significance. The text integrates all of the key areas traditionally covered in an art appreciation course with an emphasis on cultivating an art specific vocabulary and understanding the materials of art. The authors incorporate a wide variety of artistic media, traditions, styles, time periods, and regions into their discussions.

Updating content should present no problems in terms of ease of implementation. The text is comprehensive, offering a wide range of material on the subject. Still, many of the other chapters are more than sufficient in terms of comprehensiveness.