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Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 28 липня 2024

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1

FARRUJIA DE LA ROSA, A. JOSÉ. "A HISTORY OF RESEARCH INTO CANARIAN ROCK ART: OPENING UP NEW THOUGHTS." Oxford Journal of Archaeology 28, no. 3 (August 2009): 211–26. http://dx.doi.org/10.1111/j.1468-0092.2009.00325.x.

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2

Do Thi, Thach. "Adapting literature works taught in schools into music." Journal of Science Social Science 66, no. 2 (May 2021): 54–63. http://dx.doi.org/10.18173/2354-1067.2021-0025.

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Анотація:

Thanks to the interference and encounter with many arts, literary texts can be “recreated” to new forms of art which include music. This article will deal with the concept of adaptation, the formation history and the process of adaptation, the close relationship between music and literature, which is the basic of literary adaptation. In terms of music adaptation activitities in schools this article points out the pros and cons, thereby proposing some matters involving in methods of adapting literature to music.

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3

Mandolini, Nicoletta. "The Art of Smearing: How Is Feminist Decolonizing Artivism Received by Italian Newspapers? The Case of Montanelli’s Statue." Comunicação e Sociedade 42 (December 16, 2022): 245–58. http://dx.doi.org/10.17231/comsoc.42(2022).4025.

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On March 8, 2019, during a demonstration organised on occasion of the International Women's Day in Milan, members of the feminist collective Non Una Di Meno (not one woman less) Milano threw washable pink paint on the statue that commemorates the Italian journalist Indro Montanelli (1909–2001). The aim of exposing at a visual level the acclaimed writer’s controversial past was crucial to the group’s symbolic action. In fact, despite being a reference figure for many Italian intellectuals, Montanelli participated in the Abyssinian war in 1935 and, as a member of the fascist army, he engaged in a relationship with a 12-year-old local girl who acted as his wife and sexual object. The collective’s action, which can be labelled as a feminist decolonizing performance, has already been read as a form of artivism that manipulated the Italian’s artistic heritage with the objective of criticising the existing narrative on Italy’s colonial past. In this sense, an analysis of the resonance that journalistic coverage assigned to the event proves crucial for understanding the impact that such an action has had on Italian public opinion and the progress towards the country's mental decolonization. This article presents the findings of a qualitative analysis conducted on a corpus of 10 online newspaper articles published in the aftermath of the artivist performance on Montanelli’s statue. The study employs Foucauldian critical discourse analysis in order to identify the rhetorical strategies used by journalists to criticise or legitimate the feminist collective’s action. Among these strategies, particular attention is paid to those discursive techniques adopted to portray the act as a form of vandalism or, on the contrary, as a form of art. The aim is to show how the discourse on art versus non-art/vandalism is used to confirm (or overcome) the discursive limits imposed by the still dominant narratives on the nation’s colonial history as well as on the disposability of “othered” women’s bodies.

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4

Wheeler, Brannon M. "Report on the International Workshop on the Integration of lslamic Studies into Liberal Arts Curricula." American Journal of Islam and Society 15, no. 2 (July 1, 1998): 159–66. http://dx.doi.org/10.35632/ajis.v15i2.2192.

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On March 6-7, 1998 the incipient program in Comparative IslamicStudies at the University of Washington (UW) hosted an internationalworkshop on the Integration of Islamic Studies into Liberal ArtsCurricula. This workshop was sponsored by the Department of NearEastern Languages and Civilization, the Walter Chapin SimpsonCenter for the Humanities, the Henry M. Jackson School forInternational Studies, the Comparative Religion Program, the MiddleEast Studies Program, and the South Asian Studies Program. Aims of the WorkshopThe general aim of the workshop, discussing the integration of Islamicstudies into liberal arts curricula, can be divided into three areas. First,the workshop brought together about forty teachers and scholars, abouttwenty from the UW and twenty from across the United States andCanada. Most of these participants were professors teaching IslamicStudies or related discipliies at private and public colleges and Universities,although some secondary-level teachers also participated. The disciplinesrepresented ranged from religion, art history, geography, ethnomusicoIogy,history, comparative literahm, women’s studies, anthropology,biblical studies, and political science. This meeting allowed foropen cornmetion and the exchange of ideas among scholars who areotherwise separated from one another by institutional boundaries ...

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5

CALLOW, CHRIS. "Oral Art Forms and their Passage into Writing - Edited by Else Mundal and Jonas Wellendorf." Early Medieval Europe 18, no. 4 (October 27, 2010): 480–82. http://dx.doi.org/10.1111/j.1468-0254.2010.00307_7.x.

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6

Walkusz, Marta. "Discovered music collection of Friedrich Wilhelm Jüncke (1842–1897) as the beginning of research into the reconstruction of the old musical inventory." Z Badań nad Książką i Księgozbiorami Historycznymi 17, no. 3 (December 28, 2023): 471–94. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.806.

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Анотація:

This article attempts to determine the function of the discovered small collection of 19 pieces of music, owned by Friedrich Wilhelm Jüncke (1842–1897) stored in the Library of the Stanisław Moniuszko Academy of Music in Gdańsk. In the face of limited knowledge about the life of this merchant from Gdańsk, and then from Sopot, the discovery that, apart from numismatic items and so-called Gdansk door, he also collected musical items was a big surprise for the employees of the Art Inkubator, an institution that, since 2019, has been taking care of, e.g. Jüncke’s villa and cherishes the memory of the former owner of the building. The musical and bibliological characteristics of the music prints showed that Jüncke gathered them for collecting rather than for utilitarian purposes. The provenance entries found in two prints prove that Jüncke was not their first owner. In addition, the entries found in the next five prints may prove that after Jüncke’s death some items were in the possession of the Gdańsk NSDAP, and after the war they ended up in the aMuz Library. Undoubtedly, finding this small book collection contributes to supplementing the information about Jüncke and – indirectly – to expanding knowledge about the musical culture of Gdańsk in the period 1939–1945.

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7

McKeon, Penny. "The Sense of Art History in Art Education." Journal of Aesthetic Education 36, no. 2 (2002): 98. http://dx.doi.org/10.2307/3333760.

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8

Bonfiglio, Thomas Paul, and Mark A. Cheetham. "Kant, Art, and Art History: Moments of Discipline." German Studies Review 25, no. 1 (February 2002): 110. http://dx.doi.org/10.2307/1433254.

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9

Marmor, Max. "Art History and the Digital Humanities." Zeitschrift für Kunstgeschichte 79, no. 2 (December 30, 2016): 155–58. http://dx.doi.org/10.1515/zkg-2016-0014.

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10

Taylor, Sue. "Art History and Psychoanalysis." Journal of the American Psychoanalytic Association 52, no. 4 (December 2004): 1303–4. http://dx.doi.org/10.1177/00030651030520040103.

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11

Elkins, James. "Art History without Theory." Critical Inquiry 14, no. 2 (January 1988): 354–78. http://dx.doi.org/10.1086/448442.

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12

Duan, Lian. "Meta-Art History: Introduction to a Narratological Study of Art History." Signs and Media 1, no. 2 (September 22, 2021): 142–56. http://dx.doi.org/10.1163/25900323-12340008.

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Abstract This article outlines a narratological study of art history, discussing how to tell the story of art while telling the story. With this twofold purpose in mind, the author in this article draws the grande ligne of a narrative model on the one hand and proposes a historical argument about modern Chinese art on the other. The former aims at breaking down the boundary between intrinsic and extrinsic studies of art history, whereas the latter aims at proposing a main thesis about modern Chinese art. For the main thesis, the author argues that the development of Chinese art in the twentieth and the early twenty-first centuries is primarily determined by the interaction between the influence of Western art and the Chinese responses to the influence, and the response is driven by the Chinese anxiety of cultural identity over the last one hundred years. Although the topic of this article is centralized around modern Chinese art, the theorization of the methodological approach is to generalize the narrative model for the study of not only art history but also visual culture, critical theory, and relevant disciplines in the humanities.

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13

Chandler, Lisa, Alistair Ward, and Lisa Ward. "‘Immersed in Art’: Engaged learning in art and design history." International Journal of Education Through Art 17, no. 2 (June 1, 2021): 235–52. http://dx.doi.org/10.1386/eta_00063_1.

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Анотація:

Established approaches to art history pedagogy typically involve a primarily passive form of instruction incorporating the viewing of works projected on screens. While such approaches can convey valuable information, they can also contribute to student disengagement and do not necessarily support deep learning. This article examines three learning initiatives incorporating an immersive teaching space to determine how these forms of technology-enhanced active learning might enhance student comprehension and engagement. The article considers how learning design incorporating the affordances of such immersive environments can provide multimodal learning experiences that stimulate student imaginations and support learning and engagement in a manner that complements rather than replaces traditional modes of instruction.

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14

Castaneda, I. "Visual Culture, Art History and the Humanities." Arts and Humanities in Higher Education 8, no. 1 (February 1, 2009): 41–55. http://dx.doi.org/10.1177/1474022208098301.

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15

Richardson, John Adkins. "History of Art: Sartor Resartus." Journal of Aesthetic Education 24, no. 2 (1990): 107. http://dx.doi.org/10.2307/3332790.

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16

Carrier, David, and Didier Maleuvre. "Museum Memories. History, Technology, Art." Journal of Aesthetic Education 35, no. 2 (2001): 122. http://dx.doi.org/10.2307/3333680.

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17

Srinivasan, Doris Meth, Anand K. Coomaraswamy, and Jagdish Chandra. "Bibliography of Indian Art, History and Archaeology. Volume I. Indian Art." Journal of the American Oriental Society 106, no. 3 (July 1986): 603. http://dx.doi.org/10.2307/602144.

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18

Jill Fields. "Frontiers in Feminist Art History." Frontiers: A Journal of Women Studies 33, no. 2 (2012): 1. http://dx.doi.org/10.5250/fronjwomestud.33.2.0001.

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19

Preziosi, Donald. "The Question of Art History." Critical Inquiry 18, no. 2 (January 1992): 363–86. http://dx.doi.org/10.1086/448636.

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20

Fields, Jill. "Frontiers in Feminist Art History." Frontiers: A Journal of Women Studies 33, no. 2 (2012): 1–21. http://dx.doi.org/10.1353/fro.2012.a483539.

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21

Strong, William Y. "Piano history—Science and art." Journal of the Acoustical Society of America 85, S1 (May 1989): S65. http://dx.doi.org/10.1121/1.2027082.

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22

Efland, Arthur, and Peter Smith. "The History of American Art Education: Learning about Art in American Schools." Journal of Aesthetic Education 32, no. 3 (1998): 117. http://dx.doi.org/10.2307/3333315.

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23

Grishin, Alexander. "A New History of Australian Art: Dialectic between Indigenous and Non-Indigenous Art." International Journal of the Humanities: Annual Review 6, no. 7 (2008): 97–104. http://dx.doi.org/10.18848/1447-9508/cgp/v06i07/42490.

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24

Seel, Gerhard. "The Role of Art in History and the Art of the Future." Diogenes 59, no. 1-2 (February 2012): 158–67. http://dx.doi.org/10.1177/0392192113491923.

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25

Janson, Anthony F. "The Personal Importance of Art History." Journal of Aesthetic Education 25, no. 4 (1991): 121. http://dx.doi.org/10.2307/3332909.

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26

Kuhns, Richard. "Philosophical Art History: David Carrier's Method." Journal of Aesthetic Education 32, no. 4 (1998): 27. http://dx.doi.org/10.2307/3333382.

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27

Rice, Danielle, Virgina L. Fitzpatrick, Stephen Addiss, and Mary Erickson. "Art History: A Contextual Inquiry Course." Journal of Aesthetic Education 29, no. 2 (1995): 114. http://dx.doi.org/10.2307/3333460.

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28

Curtis, James M. "The Backpack Generation and Art History." Journal of Aesthetic Education 35, no. 1 (2001): 31. http://dx.doi.org/10.2307/3333769.

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29

Squire, Michael. "Art and Archaeology." Greece and Rome 69, no. 1 (March 7, 2022): 156–61. http://dx.doi.org/10.1017/s0017383521000322.

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Анотація:

My first title in fact comprises two independent books. Within a section dedicated to Graeco-Roman art and archaeology, the subject may come as something of a surprise: the case study is not ‘Greek’ or ‘Roman’, nor does it derive from the extended Mediterranean. Rather, From Memory to Marble analyses the Voortrekker Monument in Pretoria, inaugurated in 1949. Elizabeth Rankin and Rolf Michael Schneider have delivered a pair of volumes almost as monumental as the installation they describe, the first examining the context, origin, and legacy of the building's frieze, the second cataloguing its twenty-seven scenes. One of the many remarkable aspects of these two books is that both have been made available as free downloads. But what really stands out in the analysis is the ‘unconditional collaboration’ (5) between an art historian and a classical archaeologist: on the one hand, the project showcases how a broader art-historical training can enrich the traditional sorts of questions posed by classical archaeology, especially when it comes to issues of pictorial narrative; on the other, it demonstrates what classical archaeological formalism can offer to contemporary art history, and indeed larger debates about cultural history and contemporary identity politics. The result will be essential reading for anyone concerned with the legacy of classical ideas and imagery in South Africa.

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30

Berlo, Janet Catherine. "The Persistence of Vision: Current Issues in Native American Art and Art History." American Indian Culture and Research Journal 10, no. 3 (January 1, 1986): 65–70. http://dx.doi.org/10.17953/aicr.10.3.4558m744x23j77n1.

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31

Mosteller, John F. "The Future of Indian Art History." Journal of the American Oriental Society 109, no. 4 (October 1989): 597. http://dx.doi.org/10.2307/604084.

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32

Rea, William. "Review Articles : An African Art History?" Journal of Material Culture 2, no. 1 (March 1997): 115–20. http://dx.doi.org/10.1177/135918359700200106.

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33

Spivey, Nigel. "Art and Archaeology." Greece and Rome 60, no. 1 (March 12, 2013): 176–79. http://dx.doi.org/10.1017/s0017383512000344.

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Анотація:

The front cover of John Bintliff's Complete Archaeology of Greece is interesting. There is the Parthenon: as most of its sculptures have gone, the aspect is post-Elgin. But it stands amid an assortment of post-classical buildings: one can see a small mosque within the cella, a large barrack-like building between the temple and the Erechtheum, and in the foreground an assortment of stone-built houses – so this probably pre-dates Greek independence and certainly pre-dates the nineteenth-century ‘cleansing’ of all Byzantine, Frankish, and Ottoman remains from the Athenian Akropolis (in fact the view, from Dodwell, is dated 1820). For the author, it is a poignant image. He is, overtly (or ‘passionately’ in today's parlance), a philhellene, but his Greece is not chauvinistically selective. He mourns the current neglect of an eighteenth-century Islamic school by the Tower of the Winds; and he gives two of his colour plates over to illustrations of Byzantine and Byzantine-Frankish ceramics. Anyone familiar with Bintliff's Boeotia project will recognize here an ideological commitment to the ‘Annales school’ of history, and a certain (rather wistful) respect for a subsistence economy that unites the inhabitants of Greece across many centuries. ‘Beyond the Akropolis’ was the war-cry of the landscape archaeologists whose investigations of long-term patterns of settlement and land use reclaimed ‘the people without history’ – and who sought to reform our fetish for the obvious glories of the classical past. This book is not so militant: there is due consideration of the meaning of the Parthenon Frieze, of the contents of the shaft graves at Mycenae, and suchlike. Its tone verges on the conversational (an attractive feature of the layout is the recurrent sub-heading ‘A Personal View’); nonetheless, it carries the authority and clarity of a textbook – a considerable achievement.

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34

Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 82–98. http://dx.doi.org/10.17816/vgik11182-98.

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Анотація:

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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35

Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 102–15. http://dx.doi.org/10.17816/vgik112102-115.

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Анотація:

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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36

Khrenov, Nikolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 94–106. http://dx.doi.org/10.17816/vgik11394-106.

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Анотація:

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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37

Khrenov, Nikolay. "Modern Art History As a Human Science in a Situation of Cultural Turn." Journal of Flm Arts and Film Studies 11, no. 4 (December 30, 2019): 98–113. http://dx.doi.org/10.17816/vgik11498-113.

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Анотація:

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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38

Prokop, Ellen. "Digital Art History for the Masses? The Role of the Public Digital Art History Lab." Život umjetnosti, no. 105 (December 31, 2019): 196–213. http://dx.doi.org/10.31664/zu.2019.105.09.

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Анотація:

Digital Art History (DAH), which embraces massive datasets, innovative methodologies based on computational techniques, and collaborative paradigms, promises to offer new perspectives on the history of art. For example, DAH has the potential to shift the discipline’s focus from the traditional topics of inquiry to less explored aspects of the field—in short, to reposition the discipline’s central preoccupations with the issues of patronage, which are the concerns of the elite, to broader structures at work in a society, including the experiences of the marginalized. This displacement from center to periphery is not restricted to DAH research questions, but often applies to other aspects of DAH as well: to its status within the Digital Humanities (DH); to the demographic it frequently attracts; and to the infrastructure(s) developed to support it. Yet despite this potential, in many respects DAH occupies the periphery. This essay problematizes these issues as crystallized by the establishment of a digital art history lab at a privately funded library that serves the public, and explores one instance of how DAH has forced the North American academy to reflect further on the issues of privilege, access, and the future of art history.

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39

Mieli, Anna, and Margaret D’Ambrosio. "IRIS: Consortium of Art History and Humanities Libraries in Florence." Art Libraries Journal 30, no. 4 (2005): 26–31. http://dx.doi.org/10.1017/s0307472200014218.

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Florence in Italy, a renowned centre for art and culture, has been called a ‘living museum’ of the Italian Renaissance. Today it is also the site of a co-operative international project bringing the world’s scholarly community access to the bibliographic patrimonies of a group of special art and humanities libraries. The IRIS consortium is a unique resource for art historians, but it is also of value and use for anyone interested in the many aspects of this rich artistic period.

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40

Squire, Michael. "Art and Archaeology." Greece and Rome 66, no. 2 (September 19, 2019): 312–21. http://dx.doi.org/10.1017/s0017383519000123.

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Attributes are fundamental to the study of classical archaeology, just as they are to the discipline of art history at large. When it comes to identifying figures on an Attic vase – or for that matter the subject of a medieval fresco, Renaissance canvas, or Neoclassical statue – scholars regularly rely on the associative value of objects. Consider the ease with which we recognize ‘Heracles’ on the grounds of a club or lionskin; observe, too, how often a spiked wheel is understood to signal ‘St Catherine’, or a golden key to betoken ‘St Peter’. In all these scenarios, viewers have learned to ‘read’ certain objects in certain culturally conditioned sorts of ways. Despite their non-verbal medium, attributes come to function almost like textual labels: inserted within the field of visual representation, they inscribe an identity, narrative backdrop, or semantic context; they anchor the project of critical interpretation – and in doing so take on a significatory logic of their own.

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41

Mühlberger, Richard, and Richard Muhlberger. "After Art History, What? A Personal View of the Shaping of Art Museum Education." Journal of Aesthetic Education 19, no. 2 (1985): 93. http://dx.doi.org/10.2307/3332467.

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Simons, Gary. "W. M. Thackeray's Art Exhibition Reviews: Art Criticism, Newspaper Journalism, and Social History." Nineteenth Century Studies 28, no. 1 (January 1, 2014): 43–56. http://dx.doi.org/10.5325/ninecentstud.28.2014.0043.

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Murphy, Kevin D., and Sally O’Driscoll. "The Art/History of Resistance." Space and Culture 18, no. 4 (November 2015): 328–57. http://dx.doi.org/10.1177/1206331215596490.

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Carrier, David. "Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn from the Recent History of American Art Writing." Journal of Aesthetic Education 39, no. 1 (2005): 1–12. http://dx.doi.org/10.1353/jae.2005.0004.

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45

Perkinson, Henry J. "Arthur Efland's "A History of Art Education"." Journal of Aesthetic Education 25, no. 2 (1991): 38. http://dx.doi.org/10.2307/3333071.

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46

Robb, John. "Prehistoric Art in Europe: A Deep-Time Social History." American Antiquity 80, no. 4 (October 2015): 635–54. http://dx.doi.org/10.7183/0002-7316.80.4.635.

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Although many researchers have studied prehistoric European artthere has been virtually no attention paid to the broad prehistory of art as a specialized form of material culture: virtually all studies focus narrowly on single bodies of art. This paper presents a new approach to analyzing prehistoric art: quantitative deep time study. It analyzes a database of 211 art traditions from across Europe and from 40,000 B.C. to 0 AD.to identify changes in the amountnatureand use of prehistoric art. The results reveal clear long-term trends. The amount of art made increased sharply with the origins of sedentary farming and continued to rise throughout prehistory. New forms of art arise in conjunction with new ways of life: “period genres “ are closely tied into patterns of social change. There are also long-term shifts in aesthetics and the uses of art (such as a gradual shift from arts of ritual and concealment to arts of surface and display). These resultsthough preliminaryshow that a deep-time approach familiar from topics such as climate change is applicable to art; the resulting social history can illuminate both art and its social context.

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Meloche, Alysha, and Toni May. "Surveying the art history mystery: Student opinions of outcomes and value." Art, Design & Communication in Higher Education 21, no. 1 (April 1, 2022): 43–65. http://dx.doi.org/10.1386/adch_00046_1.

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Higher education professionals in art history agree that the downward trend of funding and enrolment will continue if changes to art history curriculum are not made that bring to light how relevant and helpful art history can be to students of all demographic populations and academic majors. This study seeks to explore student perspectives of how art history is currently being taught and their opinions on what outcomes art history class offers that they value. Current art history students completed a survey that assessed student perspectives about their art history class. Findings indicate that students value art history knowledge (AHKO) and find lecture to be efficient. However, they would also appreciate other instructional methods such as in-class activities, which they believe would help them learn critical thinking (CTO), and discussion and homework projects, which they believe would help them learn creativity. Students of all majors find AHKO, CTO, creativity to be valuable skills that are taught in art history.

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Benay, Erin E. "From campus to community: Art history as urban practice." Journal of Urban Cultural Studies 8, no. 1 (March 1, 2021): 109–19. http://dx.doi.org/10.1386/jucs_00036_1.

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Although public art has long been engaged with urban theory, few art history courses seek to similarly engage with the space of the city. This article considers what art does in the city and for whom, but it also suggests how Humanities professors in the university setting might harness the power of cooperative, community-engaged learning.

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Langa, Helen, Patricia Trenton, Melanie Anne Herzog, Elizabeth Sussman, Barbara J. Bloemink, Linda Nochlin, Kathleen D. McCarthy, Ellen Wiley Todd, and Kirsten Swinth. "Recent Feminist Art History: An American Sampler." Feminist Studies 30, no. 3 (October 1, 2004): 705. http://dx.doi.org/10.2307/20458996.

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Kramer, Kathryn, and Jay A. Clarke. "Negotiating History: German Art and the past." German Studies Review 27, no. 2 (May 2004): 361. http://dx.doi.org/10.2307/1433087.

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