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The author provides the ways in which children's knowledge of visual elements of art can be developed through simple but creative activities.
With balanced coverage of art across the chronological and geographical spectrum, UNDERSTANDING ART, 11th Edition, will guide you through beautifully reproduced images, and transport you to museums and monuments all over the world. Observe the artist's creative process from start to finish in a feature called Theory & Practice; learn to think critically about works of art in relation to one another and the context in which they were created with the Compare + Contrast feature; and gain a new understanding and appreciation of art and society by becoming familiar with art ranging from iconic works to that which surrounds you in everyday life. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
The Art of Understanding Art reveals to students and other readers new and meaningful ways of developing personal ideas and opinions about art and how to express them with confidence. Offers an inquiry—unique among introductory art texts—into the learning process of understanding and appreciating art Examines the multiple issues and processes essential to making, analyzing and evaluating art Uses cross-cultural examples to help readers develop comprehensive, yet personal, ways of looking at and thinking about art Includes an annotated glossary of the 'Art World', institutions and individuals that play a role in defining art as well as diagrams, textboxes callouts and other visual elements to highlight information and enhance learning Richly illustrated with over 40 images Suggests innovative class assignments and projects useful for developing lesson plans, and offers an online companion site for additional illustrations and information
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.
The global art market has recently been valued at close to $50bn - a rise of over 60% since the global financial crisis. These figures are driven by demand from China and other emerging markets, as well as the growing phenomenon of the artist bypassing dealers as a market force in his/her own right. This new textbook integrates, updates and enhances the popular aspects of two well-regarded texts - Understanding International Arts Markets and The Art Business. Topics covered include: Emerging markets in China, East Asian, South East Asian, Brazilian, Russian, Islamic and Indian art, Art valuation and investment, Museums and the cultural sector. This revitalized new textbook will continue to be essential reading for students on courses such as arts management, arts marketing, arts business, cultural economics, the sociology of arts, and cultural policy.
Even the youngest children in primary schools are now required not only to make art, but also to study it, developing an understanding of the huge variety of art and craft from different times and places. But how do teachers actually tackle this, when most have not studied art themselves? This collection brings together case studies to show how a variety of teachers have used one particular art collection as a focus for practical art. Throughout, the voices of the children involved show us how they react to their encounters with art objects. This wealth of first hand evidence and practical experience will benefit all teachers.
Have we completely missed the point of the modern western revolution in the arts? Hugh Moss thinks so, and here he presents a refreshingly original and thought-provoking new approach to understanding art. It not only makes sense of western art over the past century or more, but applies equally to the art of any culture at any time, all within one enlightening framework that, well ... works. This new perspective is impossible to ignore - a theory that places art right at the centre of the evolution of human consciousness, as a key driver of the process. Argued with intelligence, panache and wit, The Art of Understanding Art provides a delightfully entertaining read that will change the way you think about and look at art, whether you are a collector (or would like to be), a connoisseur, an academic, a student or of course an artist (or would like to be). It is illustrated with intriguing skill, depth and humour by Peter Suart.
This is a compelling exploration of the transformative power of art education through the personal journeys of several students. The book provides a complex theoretical explanation and insight that inspires personal reflection upon art pedagogy.
Our species has been searching for meaning throughout its evolutionary development. For us to understand one another, we must embark on a complex interpretative process. The aim of this text is to provide a theory of understanding and interpretation to clarify this communicative process.
Does art have any use or real purpose in today’s society? Why do governments around the world spend millions on art education? Rejecting the vogue for social and cultural accounts of the nature of art-making, this book is largely psychological in its approach to discussing art-making and its place in education. The ‘we’ in the title is intentionally polemical, with the author claiming a universal, i.e. pan-cultural basis for ‘art’-making activities - or rather activities which can be described as ‘creating aesthetic significance’. Developmental issues in art education are examined, together with the nature of learning in art, with reference to concept acquisition. Section two of the four sections which comprise the book, focuses upon some ‘mini case-studies’, detailing conversations with people talking about their art-making, together with some autobiographical reflections. Section three then considers the issues in art and learning which can be gleaned from various respondents’ accounts of their making activities; these include the nature of the artistic personality and the role of art in self-identity and self-esteem. Other topics touched upon include imagination, expression and creativity. The concluding section examines the notion of creating aesthetic significance as a fundamental human urge, drawing upon work done in evolutionary psychology. Whilst questioning whether schools as they are currently conceived are the best places for teaching and learning anything, an art curriculum based upon the acquisition of ‘threshold skills’, such as drawing, together with a gradual introduction to the appreciation of visual form is advocated. Declaring that schools of the early twenty-first century will soon be seen as as dated as the Victorian workhouse, the successful art room, with a learner-centred rather than discipline-centred philosophy is put forward as a model for schools and schooling.