Art history, similar to many other subjects, requires an introductory textbook. Its function should be to expose the new student to the foundations of art, such as the elements, principles, and historical contexts. Past introductory art history books, however, have severely limited the student’s knowledge and comprehension of what constitutes as art by focusing solely on European works. In doing so, the texts only depict one type of aesthetic standards and the new student may become disinterested with art in general because he or she does not agree with that particular standard. That person might also feel alienated with the lack of women and minority artists included alongside the traditional European male artist. Thus, introductory textbooks …show more content…
This fact may provide an explanation as to why a majority of past introductory art history texts tend to be focused on European art. By beginning with the west, authors choose to slowly ease new students into art history. It would, therefore, be an easy task of analyzing and understanding European history through the different lens of art since they are already very familiar with it more than other areas of the world. Yet, such an approach creates an isolated picture of art and reinforces the overall concept that western societies are the center of the world. While art history is supposed to encompass all kinds of artwork, this narrow perspective can only depict half of the pieces of art on earth. As a result, it is necessary that introductory textbooks to art history include countries outside the western sphere. This not only expose the students to more artwork, but it will enable them to have a deeper appreciation of each piece. This allows students to have a better understanding of how a country’s aesthetics might influence another country’s …show more content…
An introductory book’s decision to focus on European art can hinder new students’ further studies of art in many ways. For instance, most western countries share similar aesthetics values with each other. The text indirectly conveys that these aesthetics standards are superior to others through the fact that multiple countries follow them. In addition, it teaches that there is one correct aesthetic principle by refusing to have the students learn the other types. Both of these elements condition the new students to be narrow-minded. Such a lack of tolerance can make learning new art forms, whether they are from nonwestern countries or the newest art movement, difficult. The inclusion of other countries in the introductory art history textbook, however, can minimize this effect. Due to their nature, aesthetics are very subjective. What is defined as aesthetically pleasing in one country differs entirely in another country. Being introduced to some different aesthetic values before he or she forms any strong opinion of which one is more preferable to him or her, the new student can see from an outside perspective why a county might find a particular aesthetic aspect admirable. Another example in how a concentration on European art in the introductory book can negatively influence new students’ future learning in this field is to cause them to feel alienated. They might not agree with the western aesthetics or with the fact that only
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My friends, after traveling through the Asian continent and Japan, I continued on to the Americas. The art in the Americas has three regions, North America, Central America, and South America. Each region has a very distinct aspect to their forms of art. All cultures have some kind of art. Being curious about art, I have collected samples from five different areas. The following works of art are very different from European art, but there are still some similarities. The similarities of the human spirit are evident in the following images.
The Map of Art History essay is about how art history uses disciplines in societies to represents itself through order and classification. From many observations and theories it considers three subject: first is the listing of fields in art history, second is the library system is for categorizing art books, and third is the plotting of space and time in art history from survey texts. Also in the discussion the writer talks about the geography of art history such as where does the idea appear from? Other questions he asked was how and why do disciplinary classifications aspire are global remain local? What are the consequences of our continued use of mappings that have their beginnings and backgrounds in geopolitical spaces that no longer exist?
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
The questionable influence and dominance of western culture is at the forefront of a new form of seemingly ephemeral diplomatic history that is termed ‘new internationalism’. Internationalism itself is not really a new concept, and is basically a system based on equality for all people and cultures on a global scale. In the global art world ‘new internationalism’ is an active topic and was the focus of a 1994 INIVA Symposium entitled, A New International Symposium. The topics discussed included: Recording the International; Art, History and the Modern Museum; Beyond Diversity and Difference; Curatorship and International Exhibitions.1 During his lecture at the symposium, sculptor, essayist and poet Jimmie Durham puts forth the idea that, “…Europeans seem to think that, as art is their invention, effective art is within a developed vocabulary and accent…”2 This kind of statement emphasizes the enormous task of disuniting ‘actual’ art history from that recorded under the influence of western culture, and it demonstrates the long-standing influence of imperial thinking.
In education today, art studies are not often viewed as a priority for students and they very frequently get cut from school’s curriculum due to a lack of proper funding. Howeve...
Edmund Burke Feldman was an Alumni Foundation Distinguished University Professor of Art at the University of Georgia. He was an art educator as well as an art historian. He has written several books about art including The Philosophy of Art Education, First Edition, 1995. The primary focus of this paper is to inform and show what Doctor Feldman thought was important to art teachers by correlating the practices of teaching art to the issues of philosophy Doctor Feldman wanted to bring together both subjects of art education and art teaching. He outlined the principle issues of art education and provided art teachers with a way of creating goals for teaching art.
Art in Europe is ready to take another pathway and explore more into other artwork. Europeans were exposed to the fascination of eastern Asian art through the stories of Marco Polo who claimed to have the only knowledge of the Asian life due to living there for a period of time. He shared his experience with everyone else in Europe. More and more people became greatly captivated by the detailed
Art is completely severed from morality and according to aestheticism, is autonomous from society’s expectations and views during any age (Shewan 97). Oscar Wilde himself even states in the preface of Dorian Gray that “There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all,” which strongly reflects the ideas of aestheticism and its independence from moral influence (1). Whether a person views an artwork as moral or aesthetic also depends on a person’s outlook.
For over two thousand years, various philosophers have questioned the influence of art in our society. They have used abstract reasoning, human emotions, and logic to go beyond this world in the search for answers about arts' existence. For philosophers, art was not viewed for its own beauty, but rather for the question of how art and artists can help make our society more stable for the next generation. Plato, a Greek philosopher who lived during 420-348 B.C. in Athens, and Aristotle, Plato’s student who argued against his beliefs, have no exceptions to the steps they had to take in order to understand the purpose of art and artists. Though these two philosophers made marvelous discoveries about the existence of art, artists, and aesthetic experience, Plato has made his works more controversial than Aristotle.
Aesthetics is the theoretical study of the arts and related types of behavior and experience. It is traditionally regarded as a branch of philosophy, concerned with the understanding of beauty and its manifestations in art and nature. However, in the latter 20th century there developed a tendency to treat it as an independent science, concerned with investigating the phenomena of art and its place in human life. Yet, what in a field with a hazy line in between being classified as a science or study of beliefs is considered data for determining what can be studied? It can simply be drawn to the only three things involved in the process of art : The creator, the person experiencing, and the art itself.
Today most art education programs are made up of four components. One of these components is art aesthetics. Aesthetics is the study of the nature of a piece of artwork. It analyzes the work by asking specific questions regarding the artist and the piece. The viewer becomes the judge in a sense. It tries to discover what the artwork might be representing. They could also ask what type of emotion the artist was trying to convey in their work. The viewer also takes part in analyzing the physical aspects and characteristics of the work. It focuses on the use of color, sequence and synchrony of an artwork. It notes the artist’s craftsmanship, artistic ability and proficiency in technique (Hoffman 1999).