Art History by
The most student-friendly, contextual, and inclusive survey is now personalized, digital, and mobile for today''s students. nbsp; Art History, 5/e continues to balance formal analysis with contextual art history in order to engage a diverse student audience. Authors Marilyn Stokstad and Michael Cothren, both scholars as well as teachers, share a common vision that survey courses should be filled with as much enjoyment as learning, and that they should foster an enthusiastic, as well as an educated, public for the visual arts. nbsp;nbsp; nbsp; This revision is the strongest and most comprehensive learning program for measuring student progress and improving student success in attaining the outcomes and goals of the art history survey course. Not only does the text address four overarching goals of the survey course, the new MyArtsLab further develops and reinforces these outcomes and skills with market-leading learning tools such as personalized study plans for each student and multimedia assets geared towards addressing different learning styles and abilities, such as chapter audio, student videos, Closer Looks, architectural panoramas and much more. The end result is a complete learning program designed to increase students'' success with a personalized, digital and a highly mobile learning experience. nbsp; Teaching and Learning Experience This program will provide a better teaching and learning experience--for you and your students. It: Personalizes Learning with MyArtsLab: MyArtsLab is an online homework, tutorial, and assessment program. It helps students prepare for class and instructors gauge individual and class performance. Creates a Modern Mobile Digital Experience: Make learning easy and convenient with our on-the-go eTexts and key learning applications. Pearson Custom eText provides instructors and students with a whole new online customizable learning experience. Includes Tools to Improve Critical Thinking: Key Learning Outcomes encourage students to think critically about visual arts as part of the larger world. Engages Students: Updated scholarship, MyArtsLab, and the readability of the text provide a wonderful engaging student experience. Provides Outstanding Instructor Support: With a wealth of online resources, instructors have videos, images, and teaching support materials to create a dynamic, engaging course. Note: You are purchasing a standalone product; MyArtsLab does not come packaged with this content. If you would like to purchase both the physical text and MyArtsLab search for ISBN-10: 0205949487 / ISBN-13: 9780205949489. This package includes: 0205206565 / 9780205206568 NEW MyArtsLab with Pearson eText -- Valuepack Access Card nbsp;and 0205873472 / 9780205873470 Art History nbsp; ALERT:nbsp;Before you purchase, check with your instructor or review your course syllabus to ensure that younbsp;select the correct ISBN. Several versions of Pearson's MyLab & Mastering products exist for each title, including customized versions for individual schools, and registrations are not transferable. In addition,nbsp;you may need a CourseID, provided by your instructor, to register for and use Pearson's MyLab & Mastering products. nbsp; Packages Access codes for Pearson's MyLab & Mastering products may not be included when purchasing or renting from companies other than Pearson; check with the seller before completing your purchase. nbsp; Used or rental books If you rent or purchase a used book with an access code, the access code may have been redeemed previously and you may have to purchase a new access code. nbsp; Access codes Access codes that are purchased from sellers other than Pearson carry a higher risk of being either the wrong ISBN or a previously redeemed code. Check with the seller prior to purchase.
The Art of Art History by
A new edition of this key anthology, examining the origins, history, and contemporary developments in the field of art history through close readings of the most influential and innovative writings on the visual arts, focusing on the past two centuries. Each section is introduced by a critical overview of key issues such as art as history; aesthetics; form, content, and style; anthropology; meaning and interpretation; authorship and identity; and the phenomenon ofglobalization.
Fifty Key Texts in Art History by
Fifty Key Texts in Art History is an anthology of critical commentaries selected from the classical period to the late modern. It explores some of the central and emerging themes, issues and debates within Art History as an increasingly expansive and globalised discipline. It features an international range of contributors , including art historians, artists, curators and gallerists. Arranged chronologically, each entry includes a bibliography for further reading and a key word index for easy reference. Text selections range across issues including artistic value, cultural identity, modernism, gender, psychoanalysis, photographic theory, poststructuralism and postcolonialism. Rozsika Parker and Griselda Pollock Old Mistresses, Women, Art & Ideology (1981) Victor Burgin's The End of Art Theory: Criticism and Postmodernity (1986) Homi Bhabha The Location of Culture: Hybridity, Liminal Spaces and Borders (1994) Geeta Kapur When was Modernism in Indian Art? (1995) Judith Butler's Gender Trouble (1999) Georges Didi Huberman Confronting Images. Questioning the Ends of a Certain History of Art (2004)
Methods and Theories of Art History by
Art historical theory is a forum of intense, often passionate debate. This book provides an accessible introduction to the range of critical theories used in analyzing art. It covers a broad range of approaches, presenting individual arguments, controversies, and divergent perspectives. This second edition has been updated to reflect recent scholarship in contemporary art. Clearly written, this book is ideal for the undergraduate student or anyone interestedin the world of ideas.
Principles of Art History by 
The Shaping of Art History by
In this provocative book, Patricia Emison invites the reader to consider and reconsider how past thinkers--from Pliny and Alberti to Freud and Fried--have conceptualized the history of Western art. What a book review attempts to be for a book, this extended essay attempts to be for several hundred years' worth of books in a field: an indicator of problems with the old attempts and hopes for the new ones. It is a defense of art history for those outside the field who question its reliability or even its importance; it is a critique of art history for those in the field who may have been preoccupied with looking at trees but who might be interested in trying to see the forest.
Teaching and learning emergent research methodologies in art education by 
Art Education Beyond the Classroom by
This compendium engages art critics, art educators, and art therapists in a conversation about artists with disabilities in non-traditional settings. For the sake of clarity, this population is subsumed under the term 'Outsider.' The idiosyncratic, often passionate and self-taught nature of 'Outsider' art has captured the interest of the members of these fields, posing provocative questions about the social order and its inherent exclusion. The contributors to this volume hope to arrive at not further division, but a continuum suitable for the human condition.
Understanding Art Education by
What is distinctive about art and design as a subject in secondary schools? What contribution does it make to the wider curriculum? How can art and design develop the agency of young people? Understanding Art Education examines the theory and practice of helping young people learn in and beyond the secondary classroom. It provides guidance and stimulation for ways of thinking about art and design when preparing to teach and provides a framework within which teachers can locate their own experiences and beliefs. Designed to complement the core textbook Learning to Teach Art and Design in the Secondary School, which offers pragmatic approaches for trainee and newly-qualified teachers, this book suggests ways in which art and design teachers can engage reflexively with their continuing practice. Experts in the field explore: The histories of art and design education and their relationship to wider social and cultural developments Creativity as a foundation for learning Engaging with contemporary practice in partnership with external agencies The role of assessment in evaluating creative and collaborative practices Interdisciplinary approaches to art and design Developing dialogue as a means to address citizenship and global issues in art and design education. Understanding Art Education will be of interest to all students and practising teachers, particularly those studying at M Level, as well as teacher educators, and researchers who wish to reflect on their identity as an artist and teacher, and the ways in which the subject can inform and contribute to education and society more widely.
Readings in Primary Art Education by
"Readings in Primary Art Education "focuses on the challenges of and approaches to teaching art to primary-school students. Drawn from articles originally published in the "International Journal of Art and Design, "this volume gathers the work of the best scholars in the field and provides a critical framework for developing methods of teaching art to young students. Capturing the key issues and debates that are shaping both curricula and practice, "Readings in Primary Art Education" is an essential starting point for anyone involved in art education. This collection of essays will be a welcome addition to art and design education and will be of interest to those active in primary art and design education, including practicing teachers and scholars.
Studio Life by
Artist and writer Sarah Trigg embarked on an ambitious field expedition across the United States in 2009, interviewing more than two hundred artists in their studios. Through conversations with a wide spectrum of painters, performance artists, sculptors, photographers, video artists, and others, Trigg set out to investigate contemporary artmaking practices. The result is Studio Life, a fascinating photographic and written account of visits with one hundred of these artists, including William Wegman, Pat Steir, John Baldessari, Carol Bove, Rashid Johnson, Peter Halley, Fred Tomaselli, Tony Oursler, Jim Shaw, Michelle Grabner, Tauba Auerbach, Trenton Doyle Hancock, Dana Schutz, David Altmejd, and many others. Trigg asks her subjects to share the stories behind significant objects and working habits, focusing on six categories: mascots, collected objects, rituals, makeshift tools, residue, and habitats. These talismans and behaviors provide a framework for artists to reveal insights into their practices and the nature of the creative life. Intriguing and often humorous anecdotes emerge--of one studio's mysterious sealed vault, another's resident bunny--and countless sources of inspiration are unearthed: vintage comics, purses, and kitschy figurines; faded yearbooks and treasured cards and letters; and one handwritten reminder to "Quit Feelin' Sorry for Yourself." In addition, a visual index provides an image and biographical information for each artist. Accessible and relevant for amateur aesthetes and art-world professionals alike, Studio Life offers an insider's view of the artistic process, an alternative approach to understanding art, and a compendium of today's most compelling work.
The Studio Reader by
The image of a tortured genius working in near isolation has long dominated our conceptions of the artist’s studio. Examples abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a “factory,” artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. The Studio Reader pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist’s practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually—at the center of an art world that careens across institutions, markets, and disciplines. A companion for anyone engaged with the spectacular sites of art at its making, The Studio Reader reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.
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