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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