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The authors skillfully combine a philosophical and pragmatic approach, exploring the cognitive processes behind children’s painting. To deepen children’s understanding, the book suggests meaningful tasks for each phase of imagery and offers methods for encouraging children to discuss the concepts involved in their work. Focusing on children from 1-1/2 to 11, the authors include in this second edition: a more detailed discussion about painting in the preschool; an expanded description of techniques effective in motivating five- and six-year-olds; and a stronger emphasis on painting as a more central, rather than occasional, activity in all classrooms. “Experience and Art is a lean, wise, and useful book . . . that speaks to those who teach children.” —From the Foreword by Elliot W. Eisner
Teaching in the Art Museum investigates the mission, history, theory, practice, and future prospects of museum education. In this book Rika Burnham and Elliott Kai-Kee define and articulate a new approach to gallery teaching, one that offers groups of visitors deep and meaningful experiences of interpreting art works through a process of intense, sustained looking and thoughtfully facilitated dialogue.--[book cover].
"Learning Mind: Experience Into Art is astonishing in its range of authors, depths of perception, and subjects, gliding elegantly among three thematic clusters, from 'Being of Being an Artist' to 'Making Art and Pedagogy' and, finally, to 'Experiencing Art.' The editors have brilliantly and imaginatively realized the promise of their anthology's tantalizing, terse title."--Moira Roth, author of Traveling Companions/Fractured Worlds "Jacob and Baas have gathered together an exceptional group of some of the most articulate writers about art of this generation, as well as some of the most intelligent, thoughtful, esteemed and socially engaged artists. The Learning Mind invites them to speak from their own experiences with art; what emerges are important biographical moments of insight about the way art is a device for transforming consciousness."--Jennifer Gonzalez, University of California, Santa Cruz
“There are more than 50 creative prompts for the artist (or artist at heart) to explore. Take the title of this book as affirmation, and get started.” —Fast Company More than 50 assignments, ideas, and prompts to expand your world and help you make outstanding new things to put into it Curator Sarah Urist Green left her office in the basement of an art museum to travel and visit a diverse range of artists, asking them to share prompts that relate to their own ways of working. The result is You Are an Artist, a journey of creation through which you'll invent imaginary friends, sort books, declare a cause, construct a landscape, find your band, and become someone else (or at least try). Your challenge is to filter these assignments through the lens of your own experience and make art that reflects the world as you see it. You don't have to know how to draw well, stretch a canvas, or mix a paint color that perfectly matches that of a mountain stream. This book is for anyone who wants to make art, regardless of experience level. The only materials you'll need are what you already have on hand or can source for free. Full of insights, techniques, and inspiration from art history, this book opens up the processes and practices of artists and proves that you, too, have what it takes to call yourself one. You Are an Artist brings together more than 50 assignments gathered from some of the most innovative creators working today, including Sonya Clark, Michelle Grabner, The Guerrilla Girls, Fritz Haeg, Pablo Helguera, Nina Katchadourian, Toyin Ojih Odutola, J. Morgan Puett, Dread Scott, Alec Soth, Gillian Wearing, and many others.
"delightful, readable, and scholarly. The volume is profusely and well illustrated, each art example is clearly labelled and dated, and superb supplementary references for illustrations and supplementary suggestions for further reading are added to complete the study." Choice
Installation art has modified our relationship to art for over fifty years by soliciting the whole body, demonstrating its sensitivity to space, surroundings, and the living beings with which it is constantly interacting. This book analyses this modification of perception through phenomenological approaches convoking Husserl, Heidegger, Merleau-Ponty, as well as Levinas, Depraz, and the neuroscientist Varela. This theoretical framework is implicit in the various case studies which revisit works that have become classic or emblematic by Carl Andre, Bruce Nauman, Dan Graham; inaugural experiments that remain available only through photographic and written archives by Jean-Michel Sanejouand, Philippe Parreno, as well as the influence of the mode in the realm of music. The book also examines the transference of this Western form to Asia, revealing how it resonates with ancient Asian representations and practices—often associated with the spiritual. The distinct chapters underpin the role of space as a metaframe, the common ground of the various installations. While the nature and agency of space varies—from social, historical space, leisurely or political space, inner psychological space, to shared empty space—these installations reveal the chiasm between the individual body and the outside space. The chapters bear testimony of the process in which the physical journey of the spectator’s body within a material—at times invisible—space and its structural components takes place in time, as a succession of micro-experiences. ‘Installation art as experience of self, in space and time’ adds to the existing literature of art history a level of theoretical, experiential and transcultural analysis that will make this inquiry relevant to both university students and independent researchers in the academic fields of philosophy, psychology, aesthetics, art theory and history, religious and Asian studies.
The Art Experience: An Introduction to Philosophy and the Arts takes readers on an engaging and accessible journey that explores a series of fundamental questions about the nature of art and aesthetic value. The book’s 12 chapters explore three questions: What makes something a work of art? How should we experience art to get the most out of it? Once we understand art, how should we evaluate whether it is good or bad? Philosophical theory is illustrated with concrete examples: the paintings of Frida Kahlo, the music of Johann Sebastian Bach, the masks of the Nso people, and many others. Classic questions are balanced with cutting-edge challenges, such as Linda Nochlin’s work on the exclusion of women from the artistic canon. The Art Experience presupposes no prior knowledge of philosophy or art, and it will be of interest to any reader seeking an accessible and engaging introduction to this field. Along the way, readers learn how philosophical theories can affect our real-world experiences with painting, music, theater, and many other art forms. Key Features Accessible for any college student: assumes no knowledge of philosophy, art theory, or any artistic medium Organizes topics conceptually, rather than historically, allowing students to more easily grasp the core issues themselves rather than tracing their historical evolution Offers readers a large number of contemporary examples and a consistent focus on the way theory can affect people’s real-world experiences with art Explores questions about bias – for example, whether the artistic canon has excluded some groups unfairly and whether definitions of art are Western-biased
This three-part exploration of the art process takes students on a journey to discover more about themselves, learn about art history and the art of other cultures, and create imaginative designs of their own. The 72 tried-and-tested activities include family crests, kites, masks, mobiles, puppets, scrolls, and book jackets. Each project is described succinctly, with the purpose, materials, description, and steps clearly laid out. Grades 4-6. Illustrated. Good Year Books. 176 pages.
Thomas Alexander shows that the primary, guiding concern of Dewey's philosophy is his theory of aesthetic experience. He directly challenges those critics, most notably Stephen Pepper and Benedetto Croce, who argued that this area is the least consistent part of Dewey's thought. The author demonstrates that the fundamental concept in Dewey's system is that of "experience" and that paradigmatic treatment of experience is to be found in Dewey's analysis of aesthetics and art. The confusions resulting from the neglect of this orientation have led to prolonged misunderstandings, eventual neglect, and unwarranted popularity for ideas at odds with the genuine thrust of Dewey's philosophical concerns. By exposing the underlying aesthetic foundations of Dewey's philosophy, Alexander aims to rectify many of these errors, generating a fruitful new interest in Dewey.