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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.
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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.
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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.
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