This is a critical discussion that belongs in the classroom, and a disappointing absence in this text. There is no index, which make it difficult for students to comprehend some key concepts. The table of contents is clear and provides easy navigation within the text. This text covers several, if not all, the bases needed to fully appreciate art making processes, historical perspectives, variations, time periods, methods, criticism, purposes, associations, and artists. Reviewed by Anthony Marchetti, Full-Time Faculty, Minnesota State on 5/4/19, This textbook is an impressive guide to the introduction of art and visual literacy. The text covers information listed in the table of contents adequately. Content adequately covers the subjects it purports to include. The authors have written using clear language and vocabulary that are appropriate and relevant to the early college student. This is very user-friendly. I tested a number of the links (but not all) and they worked, but I've found links are one of the most problematic additions to course content, because the links often break. Keywords: #kolams, #art, #traditions, #Tamil Nadu. Reviewed by Bob Casper, Adjunct Faculty, Boise State University on 1/9/19, I used it a supplement for a Webdesign course, reinforcing artistic concepts, and it was well received by the students. However, the lack of contemporary art examples makes some of the content less relevant to the life of the contemporary student. The text is free of significant interface issues, easy to navigate , with clear images. Structure, flow, sequencing and logic are amongst the greatest strengths of this text. Image captions in the text should include mediums, date and location information, which would help with quick reference and to classify a work illustrating an era. While appropriation, as covered in Chapter 11, is an integral part of the contemporary artworld, it is also presented as acceptable and normalized. 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. The text effectively references images and graphics that are either included in the text or linked on the web. While this text is not based only on contemporary art, it uses many examples of current art throughout. As an artist and college instructor myself, I can easily follow all the information but my students would be challenged to absorb much of the technical aspects of the art presented as it jumps around in application from selfies and digital art to Renaissance to ancient works. The book starts with fundamental concepts (what is art, art materials and techniques, describing art, finding the meaning, etc.) This book covers a broad range of areas that are typically included in a college level art appreciation book. The text cleverly utilizes open access images. To its credit, the text concludes with a chapter devoted to ethics and art. Topics and subtopics are broken up into manageable blocks of text that should retain student interest. Some of these online textbooks are open-licensed electronic versions of print books. Elementary Calculus. Images shown and links to artists are mostly of Western Art/ Artist, very few examples , in comparison, of Non-Western Art/Artist. This is a decent textbook for cherry-picking specific topics from, but all together it is not a great text to use as a tool for creating course structure. Ich habe diese zudem mit kurzen inspirierenden Gedanken versehen. read more. Reviewed by Arianne Fernandez, Full - Time Lecturer, LaGuardia Community College on 5/21/18, The range of topics this book covers provides a great resource for teaching students the basics of visual art and introducing them to various media and techniques as well as the process of art making, from multiple. yes I drew all of theses. read more. Because it covers so many different areas—it doesn’t go into a lot of depth in any one area. The text is quite clearly divided into chapters and subheadings, and there is a "Key Terms" section at the end of every chapter. read more. This text is pretty Eurocentric. without providing context. For example, there are a number of texts that present Art Appreciation through a thematic structure. Because of its logical structure and clear writing style, this text would provide an accessible introduction to the highly complex field of visual art for undergraduate community college, college, or university students. There were no grammatical errors that I was able to detect. The text departs from standard introductory surveys by referring to objects from different cultures and historical periods that have been selected to illustrate the myriad functions of art, that is, art as map, religious work, “secular icon”, etc. Again, I didn't start seeing major problems here until around page 200. The themes address in the text are sufficiently supported and explored with ideas and artwork reproductions that flesh out the major social issues contained within the artwork. In the section “11.5 Ethical Considerations in the Collecting and Display of Art,” Nazi looting is criticized but there’s no mention of the colonial plunder that still resides in American and European institutions. read more. If anything, I think the effort to be inclusive of cultures is overdone. 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 PDF interface was a strength of this work - links to outside content supplement the text. The text appears free of grammatical errors. The text is ready friendly, written in straightforward accessible prose. The inclusion of an entire chapter devoted to “Art and Ethics” is refreshing, and somewhat overdue. This should be strengthened more. The images were presented within the appropriate text and were displayed clearly. Any weblinks used within the text would have to be checked and maintained. read more. read more. It can also be used to support other texts where more specific art movements are discussed. Key terms placed in bold text makes it possible for readers to easily locate if going back and forth from text to key term definitions, located at the end of each chapter. People who have made a disciplined study of art can offer ideas about what art is important and why.” 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. 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. Consider Anasazi examples, such as Pueblo Pintado or Mesa Verde as part of early architecture. The divisions are clear and logical. The European art tradition dominates the discussion, with some allowance for Chinese and Japanese. These broken links were especially disappointing when they failed to show works by underrepresented artists, such as Jaune Quick-to-See Smith (page 168). The text has a nice mixture of old and new art, and examples of contemporary art could easily be updated. I also found the various case studies that are used to guide the reader in applying theories and methods to be very effective. The text was inclusive of a variety of races, ethnicities and backgrounds. In places it seems imprecise and too rambling, needing much more concise and to the point verbiage. Reviewed by Kimberly Jones, Associate Professor, Sweet Briar College on 1/29/20, While the text is relatively comprehensive, I wish that it would have cast the net wider in terms of art forms to include a more extensive coverage of film, video games, textiles, typography, etc. The organization of the chapters and subheadings is logical and makes sense. The text is organized thematically and does not offer a chronological survey of the history of art. The “find” feature works well, and overall it was easy to use the extext. However, this text also misses the opportunity to address cultural appropriation. 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. Terms that may not seem clear to the reader are defined at the end of each chapter. Read more. In other words, illustrations fit the need and are usually of good quality and reference the dialog effectively. Chapter titles and section sub heads are very broad and do not help with pinpointing the location of information. Even while it is non-linear or chronological, the text nonetheless covers terms and ideas... For an art appreciation textbook, there is no set of required information that must be included and, therefore, a textbook's comprehensiveness is somewhat subjective. Considering how entry level and accessible the text is, it is also fairly comprehensive. I could see this as a supplement to an introductory art history course as well. Sections could be combined for instructional purposes The textbook contains a few typographical errors but nothing major. Chapters include examples of Western and non-Western art and architecture. While there are some typos, the formatting and use of citation is more distracting. My Account My Purchases Sign Off Advanced Search Browse Collections Rare Books Art & Collectibles Textbooks. I think it would be better suited for an aesthetics course than my introductory one. The thematic (as opposed to purely chronological or geographical) approach and interface allows the soaring comprehensiveness of this text to take a... This text covers almost all of the bases one would expect for an introductory class. I encountered numerous typos and grammatical errors, mostly in the form of missing punctuation, missing words, missing letters, and awkward sentence constructions. Some of the content is overly simplified , and some important artistic movements are omitted. I may even consider adopting it for my introductory course. Text is very inclusive and comprehensive in this matter. read more. The topics in the text are presented in a logical, clear fashion, but smoother transitions between the different chapters would help. The concepts presented flow smoothly from one postulation into the next. The textbook, however, lacks significant references to contemporary art. Here is the rub, I am confused by the organization here. Choosing what to include or how much to include of one topic or concept can truly make or break it for a textbook. We also published a limited number of titles as print editions. All of the links I checked were operational, but as one might expect, the quality and size of images and text varied from website to website. Its chapter and sub headings suggest a view where art is fully relational to its users, whether they are individuals, communities or nations. … Most of the technical information is well presented with good visuals to back it up. The writing throughout the text is consistent. Reviewed by Meridyth Espindola, Adjunct Professor, Bunker Hill Community College on 6/26/20, This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples. There are also some terms listed in the glossary that do not appear in the corresponding chapter. Read War Of Art: Break Through the Blocks and Win Your Inner Creative Battles book reviews & author details and more at Amazon.in. The vocabulary is written in bold type and the end chapter glossary provided enforces the vocabulary. A unique text with a compelling choice of images and topics, and worthy entry in the expanding but still very limited field of art appreciation/visual culture textbooks. Search the world's most comprehensive index of full-text books. As there is no index of Artists, it can be tricky to locate movements using the 'find text' function. I was impressed by the mention of postcolonial topics, and even the addition of 4-D in relation to formal descriptions. This text offers a lot of relevant material, especially given that it’s free for students to access. The content of the textbook is generally error free. See comment 4 above. When I decided to use this text, my main concern was regarding whether the content would be easy to connect to my prior courses' designs. It would be helpful if were either more examples of contemporary art along side the more historical examples or if there was final chapter on art post-1960. Care is given throughout to maintain a consistent tone, level of detail, and depth in the text. That said, the glossary of terms is thorough and appropriate. Each chapter is organized consistently with learning outcomes, an introduction, a series of content sections that could be assigned at different points in the course, followed by a recap section entitled ‘Before You Move On,” and a list of key terms. Of necessity, the textbook provides links to works of art that are not reproducible in the textbook due to copyright issues. While the discussion of some specific works are at times perhaps too narrow, and draw upon singular, declarative statements in order to support a point, the authors generally promote critical thinking and exploration of broad concepts. The information as far as approaches to understanding art in general don’t change. Its biggest problem is the lack of inclusion of non-western examples in its presentation. The text covers a broad survey of art including many art forms. The memorial is below ground level but the book claims that this reflects “the belief that the Vietnam War was initially conducted ‘beneath the surface,’ that is, unknown to most Americans.” However, in the 1995 documentary, “A Strong Clear Vision” the designer (Maya Lin) explains a totally different reason why it is underground. Chapter 8: Art and Identity contains 21 pages and has 5 subsections. This text, however lacks a comprehensive index or glossary. Reviewed by Nancy Pettigrew, Associate Instructor, Tidewater Community College on 8/15/17, For an art appreciation textbook, there is no set of required information that must be included and, therefore, a textbook's comprehensiveness is somewhat subjective. Although, Eurocentric approaches are common in art education it is perhaps more appropriate to intentionally be inclusive of non-western traditions. Sentences are easily understood and the use of art-specific vocabulary (along with providing a glossary at the end of each chapters) shows students appropriate use of target vocabulary. Seemed to work well and present ideas and concepts that were relevant to for my students. Chapter 10 discusses masks, but only examples one. It is appropriately written for students who are introducing themselves to art, and contains a minimum of jargon and hyperbole. In broad terms it does introduce a wide range of cultures and artforms which is wonderful but would be overwhelming to my population. The book is unbiased (if there is any bias, it's very slightly European. The interface of this book is very clear and easy to use. There were many sections of the text that seemed to be specifically aimed at addressing current trends in art production and interpretation. Others are self-published online books, or course notes which are so thorough that they serve as an alternative to a conventional textbook. o The outside links to artworks are necessary to view significant artwork that is not in the creative commons directly at this point. read more. These conceptual discussions bookend chapters focused of the materials of art, and later chapters effectively circle back to themes briefly presented in the introductory chapter. One keen advantage of this text is the authors' clever division of the material into cogent modules that mesh well with poignant themes currently driving the discipline of art history and also the best courses at colleges and universities. Writing seemed consistent throughout. dceta.ncert@nic.in 011 2696 2580 NCERT, Sri Aurobindo Marg, New Delhi-110016 011 2696 2580 NCERT, Sri Aurobindo Marg, New Delhi-110016 The book is arranged by topics or themes which is typical for most art appreciation books. The interface appears many and a bit distracting. The book is arranged well and is easy to comprehend. There are no perceivable grammatical mistakes. The text is arranged in a format that would allow updates to be easily implemented. The material is introductory which is positive in that it is very accessible to readers and thus would not be too intimidating to students new to this subject. The inclusion of "fourth dimensional" art is particularly helpful in discussing contemporary art. In this way, the text serves as an indispensable resources in introductory design and art history courses, as well as upper-level seminars focused on interpretation, methodology, and philosophy of art. By analyzing historical artworks in depth and including works from non-Western cultures – African, Asian cultures- and women -which despite significant contributions are always glossed over In introductory texts- providing a global platform for students. The text included accurate information regarding styles and movements and theory associated with art. This is palpably obvious even under the discussion 4.5.1 Cultural Style in Chapter 4. The text is easily and readily divisible into smaller reading sections that can be assigned at different points within a course. Text formatting unobtrusively guides the viewer to important concepts and key terms. Because the artist’s name is misspelled twice in this section, students may encounter difficulties finding a reproduction of the work independently. Small suggestion, though. So many art texts try to push specific agendas pertaining to narrow views of what art is or is supposed to be and this book avoids that in a very skillful manner. There are also some terms I've never seen used before (e.g. 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. Other opportunities to confront biased Western narratives could occur in the sections focused on mahogany harvesting in the Caribbean (p. 88), Manifest Destiny (p. 161-162), and discussions of transatlantic trade in general. 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. Chapters discuss forms and materials, the processes of describing and interpreting art, aesthetics, architectural form, art and identity, art and... The images are very detailed and include helpful close ups. read more. The text includes eleven chapters divided into sections. One of the strengths is the use of imagery from various time periods within each chapters as opposed to the standard chronological approach to an art history course. My only concern is that there is no index, nor is there a bibliography (unless I missed them). These links can be clunky and I would be concerned that students will not take the time to click on them all while reading the textbook. Understandably, some sections are significantly longer, but multiple images can be a contributing factor to the increased length. The second half almost gives too many examples of some ideas and becomes confusing for students. There is no index at the end of the book, but this is not a problem as online PDFs can all be searched using the 'find text' function. While many of verbs are measurable such as identify, name, analyze, distinguish, explain, etc., the verb "understand" is used frequently in the outcomes and is not measurable based on Bloom's Taxonomy of educational objectives. The flow and voice are consistent. For example, the section on The Dome of the Rock in Chapter Six is a sensitive topic, but the writers treated it with historical accuracy and cultural and religious sensitivity. The text could do with some examples of ideas and images about diverse cultures that the learner in the introductory class can later build upon. If there are some anime that you would want me to add please leave a comment or give me message. This is merely a sample. The organization is logical and would be in a manner that I would present in my course. 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. For example, the inclusion of the chapter on the Significance of Materials is not typically included in an art appreciation textbook. There will be more images and updates. Introduction to Art: Design, Context and Meaning is an appropriate title for this text. The text successfully presents art as both an individual and collective enterprise, appropriately offering a variety of ways to explore its multiple functions, from self-identity and spirituality to commerce and communication. The text approaches the critical analysis of visual art from distinct perspectives that are clearly signaled by chapter headings. Many thanks to the authors, editor, and publisher who have generously shared this work. Original paintings, fine art prints, objets d'art, jewellery, and much more for you at Mojarto. Enjoyable read and could be used alone or with supplemental material. It’s a lot for a work to cover, and is generally successful, if sweeping, in doing this. At many points I berated myself for failing to present material so clearly in my own classes! The current trend being followed in the present day for purchase of books and commodities is through online. The wrong title is listed in a few image captions. The text is quite internally consistent, without notable contradictions in its key propositions and theses. See newest books. It does not delve too deeply, but that is a plus for the beginner and/or typical non-artist using this resource. More depth could be used in some areas. The book is very well organized. Images by pre-modern American and European women artists are refreshing and demonstrate efforts to go outside the traditional canon. Locating relevant topics from the table of contents and then quickly finding those topics within the text was thoughtfully accommodated with the section titles at the top of each page. Find museum exhibition catalogues, art and photography monographs, artist's books and photo books at ARTBOOK.COM, alongside titles on architecture, design, urban studies, visual culture, and experimental writing. The book has accurate historical and cultural facts, and includes the correct titles of works and artists. This textbook is ambitious and covers a lot of ground—both theoretically and historically. For instance, in the printmaking section, they do not show an art example for each process, so the students reading would have no idea what a screen print even looks like. It would be great to see a more inclusive second edition of this book. The text gives examples of varied types of art from diverse cultures. I appreciated the inclusion kinetic art and new media within the comprehensive list of formal elements for 2D, 3D, 4D art, and found the overview of Aesthetics to be intentionally geared toward contemporary readers. This is a big plus for those of us that teach at community colleges. Terms are defined at the end of each chapter. Though likely a result of copyright issues, to present most contemporary accounts as a block of black text visually diminishes their importance. The chapters are clearly defined as are the concise, themed subsections. “Icon”, in art, may have multiple meanings according to the culture that produced the artifact and its use by those members of that group. The text does not show any outright bias against any specific cultural, racial or ethnic groups. Finally, in Chapter 4, there is a discussion on formal analysis, which really should have been included in, or put after, chapter 2 since it discussed the elements and principles. It focuses on the nuts and bolts of learning about and discussing art and its context, and combines these with some considerable information on art history, It therefore aptly fits the needs of... Also, more contemporary image examples would only strengthen this title. Given the way in which artists'/styles/concepts are presented in chapters, by necessity some ideas can only be examined contextually, and require a broader framework for understanding. In their attempt to be succinct, a choice, I imagine, made to keep the reader engaged, I'm afraid some important content is lost. Each chapter begins with a list of learning outcomes, and ends with a section titled “Before You Move On,” which reviews key concepts, and provides a list of study questions. Introduction to Art: Design, Context, and Meaning offers a comprehensive introduction to the world of Art. However, the text presents basic and surface level information and lacks in depth views on any one topic. Plus, it would serve as a notice that the following text is about an image that needs to be viewed via a link. For example, if using Indigenous names, use tribal identifiers, such as Piikani for those who identify as Blackfeet. Perhaps having the link at the beginning of the paragraph would have worked better. An index and the end of the text would be helpful. Finally, there are some omissions of topics in favor of narrowing or less important topics that would necessitate some supplemental teaching materials or lessons. read more. It certainly provides a solid foundation for visual literacy and aligns with content in standard art history courses. In the discussion of two and three dimensional art (with highlights on materials and techniques), almost all illustrations and examples are western art, with some minimal references to Chinese and Japanese preferred materials for art, and their processes. I am not quite sure what sort of student your text would address in so much as it is technical and expansive while not really addressing the needs of the novice in art history. The content incorporates relevant and informed perspectives on crucial art world debates, including issues of ethical circulation of cultural property and material culture. It is a comprehensive technical manual, teaching everything belonging … read more, As other reviewers have noted, the text covers elements of design, rationale, context, and impact for and of making art. read more. I appreciated the broad questions posed to the reader, and found them to be very interesting and engaging (i.e. I encountered some variation from conventional transliterations of artist’s names (ex: Do Ho Suh is spelled Do Ho Su, page 92, and Wassily Kandinsky is spelled Vasily Kandinsky, page 106). The text is a bold work in terms of content coverage. This text represents an important contribution in the effort to make art and the study of art accessible to students. On page 208, paragraph three, the authors are referring to a conceptual artist, but they omit the word artist, and don't define what a conceptual artist is. The book has an overall good and consistent structure. The interface is the only area of this text that needs some improvement. In my opinion the first half would work better to introduce students to visual art. Related content can be found in different chapters of the text. provided in the imagery. This would be more visually impactful. The text's treatment of anthropological and art historical detail is meticulous. Reviewed by Renee Couture, Assistant Professor of Art, Umpqua Community College on 2/1/18, This book covers just about everything needed for teaching students the basics of visual literacy and introducing them to art. I don’t agree that the text can be easily absorbed or supplanted into an existing course as it is initially challenging in the early chapters to define art without giving students the tools to make these decisions and injects historical imagery again without a way for placing it in a useful framework.

Ohio Cities By Population, Telluride Weather Cam, Government Budget And Its Components Class 12, Axe Throwing Target Stencil, Ricky Van Shelton Don't Overlook Salvation, Walking Tall Imdb, Lord Of Hosts Church Youtube, Codechef C++ Problems, No Deposit Houses Hamilton,