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Digital images, Internet resources, presentation and social software, interactive animation, and other new technologies offer a host of new possibilities for art history instruction. Teaching Art History with New Technologies: Reflections and Case Studies assists faculty in negotiating the digital teaching terrain. The text documents the history of computer-mediated art history instruction in the last decade and provides an analysis of the increasing number of tools now at the disposal of art historians. It presents a series of reflections and case-studies by early adopters who have not just replaced older materials with new, but who have advanced the discipline's pedagogy in doing so. The essays illustrate how new technologies are changing the way art history is taught, summarize lessons learned, and identify challenges that remain. Given the transitional state of the field, with faculty ranging from the computer-phobic to the computer-savvy, these case studies represent a broad spectrum, from those that focus on the thoughtful integration of new technologies into traditional teaching to others that look beyond the familiar art history lecture or seminar format. They provide both practical suggestions and theoretical models for historians of art and visual culture interested in what computer-mediated applications have been successful in art history teaching and where such new approaches may be leading us.
Learn how to use digital technologies to provide a rich new entry-point for art students to make meaning, express their thoughts, and visualize their ideas. Through the lens of artistic development, this book offers a rich scope and sequence of over 50 technology-based art lessons. Each lesson plan includes the art activity, learning level, lesson objective, developmental rationale, list of materials, and suggested questions to motivate and engage students. The authors’ pedagogical approach begins with inquiry-based exploratory activities followed by more in-depth digital art lessons that relate to students’ interests and experiences. With knowledge of how technology can be used in educationally sound ways, educators are better equipped to advocate for the technological resources they need. By incorporating technology into the art classroom—as a stand-alone art medium or in conjunction with traditional studio materials—teachers and students remain on top of 21st-century learning with increased opportunities for innovation. Book Features: Guidance for technology use in the K–12 art curriculum, including specifics for adopting sequential strategies in each grade.Cost-effective strategies that place teachers and students in a position to explore and learn from one another.Developmental theories to help art teachers and curriculum designers successfully incorporate new media.Engaging digital art lessons that acknowledge the role technologies play in the lives of today’s young people.Novel approaches to art education, such as distance learning, animation, 3D printing, and virtual reality.
Publisher's description: In Educating Artists for the Future, some of the world?s most innovative thinkers in higher education in art and design offer fresh directions for educating artists for a rapidly evolving post-digital future. Their creative redefinition of art at the interdisciplinary interface where scientific enquiry and new technologies shape aesthetic and cultural values offers groundbreaking guidelines for art education in an era of emerging new media. This is the first book concerned with educating artists for the post-digital age, propelling artists into unknown territory. A culturally diverse range of art educators focus on teaching their students to create artworks that explore the complex balance between cultural pride and global awareness. They demonstrate how the dynamic interplay between digital, biological, and cultural systems calls for alternative pedagogical strategies that encourage student-centered, self-regulated, participatory, interactive, and immersive learning. Educating Artists for the Future charts the diaphanous boundaries between art, science, technology, and culture that are reshaping art education.
The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on trans-disciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education.
This book provides classroom practice and research studies that verify Reacting to the Past (RTTP)—a student-centered, active learning pedagogy that provides college students and faculty unique teaching and learning opportunities—as a high impact practice for student learning and engagement. The overarching objective of this book is to collect practices and evidence from multiple disciplines and institution types regarding the efficacy of RTTP in higher education classroom settings. At its core, RTTP is a game-based pedagogy with published games on some of the most conflicted moments of human history. While RTTP is deeply grounded in theory and literature that suggests its approaches can be impactful, deep and broad examinations of RTTP pedagogies in a range of course settings have not been extensively performed until now. This book provides guidance and an evidence-base on which to build RTTP practices.
Successfully leverage technology to enhance classroom practices with this practical resource. The authors demonstrate the importance of educational technology, which is quickly becoming an essential component in effective teaching. Included are over 100 organized classroom strategies, vignettes that show each section’s strategies in action, and a glossary of classroom-relevant technology terms. Key research is summarized and translated into classroom recommendations.
The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on trans-disciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education.
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes.
In The Globalization of Renaissance Art: A Critical Review, Daniel Savoy assembles an interdisciplinary group of scholars to evaluate the global discourse on early modern European art. Over the course of eleven chapters and a roundtable, the contributors assess the discourse’s goal of transcending Eurocentric boundaries, reflecting on the strengths and weaknesses of current terms, methods, theories, and concepts. Although it is clear that the global perspective has exposed the artistic and cultural pluralism of early modern Europe, it is found that more work needs to be done at the epistemological level of art history as a whole. Contributors: Claire Farago, Elizabeth Horodowich, Lauren Jacobi, Thomas DaCosta Kaufmann, Jessica Keating, Stephanie Leitch, Emanuele Lugli, Lia Markey, Sean Roberts, Ananda Cohen-Aponte, and Marie Neil Wolff.