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Many art appreciation instructors base their final grades not only on the quizzes and exams they give, but also on the report students make during a visit to their local museum.
Flexible organization, inclusive illustration program, expanded media resources.
This is a preassembled package of Gateways to Art: Understanding the Visual Arts (978-0-500-84134-1) and Gateways to Art's Journal for Museum and Gallery Projects (978-0-500-84131-0). A flexible structure that supports teaching and learning, a global perspective, and a focus on visual analysis have quickly made Gateways to Art the best-selling book for art appreciation. Gateways to Art's Journal for Museum and Gallery Projects prepares students for museum visits and guides them on how to develop visual analysis skills and make connections with what they have learned in class.
Navigating the wealth of artworks in any museum or gallery can prove to be a challenge for first-time visitors. Indeed, students frequently do not get the most from their first visit to a museum or gallery because they are intimidated by an environment that is unfamiliar to them. In light of this challenge, the authors of Gateways to Art, First Edition have used their many years of teaching experience to produce an accompanying Journal carefully designed to help students learn as much as they can during their visit.
Published in conjunction with an exhibition at The Museum of Modern Art, Talk to Me thrives on an important late 20th-century cultural development in design: a shift from the centrality of function to that of meaning. From this new perspective, objects contain information that goes well beyond their immediate use or appearance, providing access to complex systems and networks and acting as gateways and interpreters. Whether openly and actively, or in subtle, subliminal ways, things talk to us, and designers write the initial script that lets us develop and improvise the dialogue. Talk to Me focuses on objects that involve direct interaction, such as interfaces, information systems, communication devices, and projects that establish a practical, emotional or even sensual connection between their users and entities such as cities, companies, governmental institutions, as well as other people. The featured objects range in date from the early 1980s - beginning with the first Graphic User Interface, developed by Xerox Parc in 1981 - with particular attention given to projects from the last five years and to several ones currently in development. Included are a diverse array of examples, from computer and machine interfaces to websites, video games, devices and tools, and installations. Organized thematically, Talk to Me features essays by Paola Antonelli, Jamer Hunt, Alexandra Midel, Kevin Slavin, and Koi Vinh. By introducing design practices that are becoming increasingly crucial to our world, the book presents a highly distilled sample of today's best design production that uses technology in creative and unexpected ways, showing how rich and deep design's influence will be on our future.
The world's leading visual arts textbook supports the new AP* Art History course redesign in every possible way.
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
In today's art world many strange, even shocking, things qualify as art. In this book, Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, along with the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art.