- Art education author, photographer, and artist.edit
The title of this book is Interpreting Art: Reflecting, Wondering, and Responding and it was written by Terry Michael Barrett. This edition of Interpreting Art: Reflecting, Wondering, and Responding is in a Paperback format. This books... more
The title of this book is Interpreting Art: Reflecting, Wondering, and Responding and it was written by Terry Michael Barrett. This edition of Interpreting Art: Reflecting, Wondering, and Responding is in a Paperback format. This books publish date is October 2002 and it has ...
Research Interests:
Research Interests:
Research Interests:
Where do teachers and learners stand in music education research? A multi-voiced call for a new ethos of music education research
the photographs of Robert Mapplethorpe in his exhibition The Perfect Moment hanging in its Contemporary Arts Center. The center and its director have been indicted by a grand jury on obscenity charges--two counts of pandering pornography.... more
the photographs of Robert Mapplethorpe in his exhibition The Perfect Moment hanging in its Contemporary Arts Center. The center and its director have been indicted by a grand jury on obscenity charges--two counts of pandering pornography. Seven photographs are at issue in the indictments. About some of these and similar images, Hilton Kramer (1989) wrote in a Sunday edition of the New York Times: "I cannot bring myself to describe these pictures in all their gruesome particularities, and it is doubtful that this newspaper would agree to publish such a description even if I could bring myself to write one " (p. 1). Grace Glueck (1989), another critic for the New York Times, however, did describe them: "The Mapplethorpe show is a retrospective of the artist's work that contains images depicting homosexual and heterosexual erotic acts and explicit sadomasochistic practices in which black and white, naked or leather clad men and women assume erotic poses. Along with ...
Research Interests:
illustrate the distinction between denotations and connotations, Barthes (W77) provided his interpretive analysis of a photographic magazine ad for Panzani spaghetti products that appeared in a French magazine. The ad shows cellophane... more
illustrate the distinction between denotations and connotations, Barthes (W77) provided his interpretive analysis of a photographic magazine ad for Panzani spaghetti products that appeared in a French magazine. The ad shows cellophane packages of uncooked spaghetti, a can oftomato sauce, a cellophane package of Parmesan cheese, and tomatoes, onions, peppers, and mushrooms emerging from an open string shopping bag. Yellows and greens predominate against a red background. The Panzani label is on the can and cellophane packages. Barthes identifies three parts of the ad: the linguistic message, the denoted image, and the connoted image. The linguistic message is the word Pa /I za /I i, which is both denotational and connotational. Barthes explains that the word denotes a brand name of the packaged products, but that it connotes,just by the way it sounds, "Italianicity" for non-Italian speakers. (It would not have that connotation in Italy for Italian readers because they would...
Research Interests:
It sounds good when knowing the lessons for teaching art criticism in this website. This is one of the books that many people looking for. In the past, many people ask about this book as their favourite book to read and collect. And now,... more
It sounds good when knowing the lessons for teaching art criticism in this website. This is one of the books that many people looking for. In the past, many people ask about this book as their favourite book to read and collect. And now, we present hat you need quickly. It seems to be so happy to offer you this famous book. It will not become a unity of the way for you to get amazing benefits at all. But, it will serve something that will let you get the best time and moment to spend for reading the book.
Research Interests:
Over the years I have come to believe that the most important thing I do as an art educator is to involve people in the interpretation of art. This article is based on and furthers a set of principles I wrote to guide people in... more
Over the years I have come to believe that the most important thing I do as an art educator is to involve people in the interpretation of art. This article is based on and furthers a set of principles I wrote to guide people in interpretive endeavors in a chapter on interpretation in Criticizing Art: Understanding the Contemporary (1994a) and then in an article for art teachers (1994b). I began this investigation of interpretation in years prior when attempting to discover and articulate how photographic images mean (1977, 1986,1990,1997a), and then broadened my thinking and writing to include criticism of art (1989, 1992) and images in popular visual culture (1991). My thoughts on interpretation are very much influenced by the writings of aestheticians, art critics, literary theorists, art and photography historians, and art educators concerned with meaning in art. Although my research on art interpretation draws heavily upon the thinking of scholars, equally importantly, it is inf...
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
This collection of lessons is meant to be a practical guide to help teachers engage children in art criticism. The lessons generally follow a similar format. Most suggest an age group but may be modified for use with younger or older... more
This collection of lessons is meant to be a practical guide to help teachers engage children in art criticism. The lessons generally follow a similar format. Most suggest an age group but may be modified for use with younger or older students. Several authors suggest variations and extensions for lessons that include studio activities. A broad range of topics is embraced including popular art, the built and natural environment, multicultural concerns, and formalist and political contemporary museum art. Most of the lessons stress contemporary artifacts. Lessons include: (1) "Creating a Climate for Talking about Art" (Sandra Kay Mims); (2) "A Potpourri of Questions for Criticizing Realistic Paintings" (Karen A. Hamblen); (3) "Constructing Meaning: A Gaming Strategy" (Richard A. Ciganko); (4) "Investigating Criteria for Judgments" (Sally Hagaman; Polly Wolfe); (5) "Collaborative Art Criticism: Not Mine, Not His, Not Hers-But Our Critique!&q...
Research Interests:
The topic of art appreciation is vast: An internet search of art appreciation yielded about 3,540,000 results. The complexity of the concept of art appreciation is its overlap with related concepts of aesthetic response, art history, art... more
The topic of art appreciation is vast: An internet search of art appreciation yielded about 3,540,000 results. The complexity of the concept of art appreciation is its overlap with related concepts of aesthetic response, art history, art criticism, art education, aesthetic education, and art museum education. Appreciation is also affected by understandings of concepts of perception, sensibility, interpretation, taste, preference, and evaluation or judgment. Appreciation is meshed with beauty and beauty to aesthetic experience. In aesthetic philosophy as well as in daily living, concepts of beauty and appreciation are applied to nature, works of art, and a wide range of artifacts. Art appreciation is generally assumed and often explicitly claimed to be the desired outcome of art education. This chapter attempts to map philosophical terrains of “art appreciation,” exemplify acts of appreciation in the visual arts, briefly explore the history of teaching for art appreciation in the United States, and sample some educational strategies for appreciation. The purpose of the chapter is to expand notions of the concept of art appreciation, to devalue “disinterested” appreciation in favor of engaged appreciation, to broaden the candidates for appreciation, including an appreciation of the “interpreting-self ” and the “interpreting-other,” and to motivate empirical investigations of appreciation.
Research Interests:
This article is about visual art criticism, with many examples drawn from the criticism of photography.1 There are several accounts of criticism, and this one adds to them from different perspectives-from within and without, from... more
This article is about visual art criticism, with many examples drawn from the criticism of photography.1 There are several accounts of criticism, and this one adds to them from different perspectives-from within and without, from practicing criticism and teaching art. It is both about reading criticism and doing criticism as a means of better understanding critical activities and how they can aid in appreciating works of art. Unfortunately students and the public usually don't equate criticism with appreciation because in everyday talk the term "criticism" has pejorative connotations: it is used to refer to the act of making judgments, usually negative judgments, and the act of expressing disapproval. Mass media also reinforce the notion of critics as judges of art: movie reviewers give out one to four stars, and the words of critics most often quoted are judgments-"The best play of the season!" "Dazzling!" "Brilliant!"-because these are the words that sell tickets.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
... Analysis of Elementary School Children's Preferences for the Liveliest Art" (Carole Cox); "Children's Representations of Time in Music" (Carolyn Hildebrandt); "The Effects ... Function of the 1983 Getty... more
... Analysis of Elementary School Children's Preferences for the Liveliest Art" (Carole Cox); "Children's Representations of Time in Music" (Carolyn Hildebrandt); "The Effects ... Function of the 1983 Getty Institute for Educators on the Visual Arts" (Jean C. Rush, W. Dwaine Greer, and ...
Research Interests:
Research Interests:
ABSTRACT A TA reflects on his work with the ill, elderly, and their caregivers, in the context of his own experience with cancer.
Research Interests:
Research Interests:
Research Interests:
... Title: Children and Television: Lessons from Sesame Street. Full-Text Availability Options: ... Pub Types: Books. Abstract: An historical record is presented of the processes by which the children'stelevision program, Sesame... more
... Title: Children and Television: Lessons from Sesame Street. Full-Text Availability Options: ... Pub Types: Books. Abstract: An historical record is presented of the processes by which the children'stelevision program, Sesame Street, was created, developed, and implemented. ...
Research Interests:
Research Interests:
... Bartlett, George Baselitz, Jean-Michel Basquiat, Romare Bearden (2), Phoebe Beasley, Bernd & Hilla Becher, Lynda Benglis, Jake Berthot, Joseph ... Stoppe, Robert Storr (4), Marita Sturken, Paul Taylor, Lisa Tickner, Marcia Tucker,... more
... Bartlett, George Baselitz, Jean-Michel Basquiat, Romare Bearden (2), Phoebe Beasley, Bernd & Hilla Becher, Lynda Benglis, Jake Berthot, Joseph ... Stoppe, Robert Storr (4), Marita Sturken, Paul Taylor, Lisa Tickner, Marcia Tucker, Brian Wallis (2), Stephen Westfall (2), Janet ...
Research Interests:
The study of professional art critics' lives and works raises issues and provides subject matter which can ultimately enhance the teaching and learning of art criticism in the classroom. This parti...
Research Interests:
Research Interests:
Research Interests:
... 3Artists' work we exam-ine includes that made by Richard Avedon, Romare Bearden, Deborah Butterfield, Edward Hopper, Barbara Kruger, Jacob Lawrence, Annie Leibovitz, Rene Magritte, Robert Mapplethorpe, Picasso, Sean Scully,... more
... 3Artists' work we exam-ine includes that made by Richard Avedon, Romare Bearden, Deborah Butterfield, Edward Hopper, Barbara Kruger, Jacob Lawrence, Annie Leibovitz, Rene Magritte, Robert Mapplethorpe, Picasso, Sean Scully, Lorna Simpson, Carrie Mae Weems ...
Research Interests:
Talking About Student Art Barrett, T. (1997). Worcester, MA: Davis. 106 pages. ISBN: 87192-361-0. Reviewed by Paul Duncum, University of Tasmania, Launceston There have been numerous proposals to facilitate art criticism in the classroom,... more
Talking About Student Art Barrett, T. (1997). Worcester, MA: Davis. 106 pages. ISBN: 87192-361-0. Reviewed by Paul Duncum, University of Tasmania, Launceston There have been numerous proposals to facilitate art criticism in the classroom, usually of adult art. These have mostly taken the form of lockstep sequences of activities, paradigmatically description, analysis, interpretation, and evaluation (see Duncum, 1994, for a review). There have been far fewer descriptions of how these work in the classroom and, to my knowledge, Barrett's text is the first attempt to document what happens when students are asked to critique each others' work. This is a clearly written, and, for its target audience of pre- and in-service teachers, a very useful book. It brings together scholarship, though very lightly worn, classroom experience, and, in my view, a sensitivity rare among academics as to how to write for teachers. Barrett manages to situate the reader inside a wide variety of classrooms with what appear to be real rather than ideal children. Classrooms differ in terms of socioeconomic profiles, ethnic mixes, and grades, with a fairly even spread from early elementary to upper high school. Most of the book consists of extracts from specific lessons taught in classrooms by the author. The words used by both the children and the author are recorded and interpreted by the author's reflections. The reader is thereby invited to step inside not only the classroom but also the author's thinking process. Much of the book's strength lies in the author's honesty about where things went astray. Because the children are frequently less than perfect, and because oftentimes the point of lessons emerges only in progress, or even in hindsight, mistakes are sometimes made. I had the feeling I was reading about genuine interchanges. The critiques Barrett offers are clearly different from typical studio critiques for adult students, which tend to be teacher directed and are often highly critical of individual student effort. One example will suffice to indicate this difference: With a class of second graders, he asks students why they used pastel colors in their batiks. They answer in terms of certain technical limitations, which leads onto a discussion, that he initiates, on other things the children could recommend that he should keep in mind when making batiks. What Barrett offers is not a format but examples of lessons that have as their common thread getting children to think beyond the immediately obvious. In doing so, he demonstrates when, in his view, to coach, when to coax, and how to question. Mostly, he works on getting children to recognize what they already know tacitly or are learning during a lesson, but he is prepared to both correct and challenge them to extend their knowledge. I appreciated the author's various strategies for dealing with the propensity of elementary children to value high realism and his stress on the desirability of focusing on meaning and ideas rather than skill. Despite the fact that students often possess little skill in discussing art, he shows it is quite possible for even very young children, as well as diffident adolescents, to find pertinent things to say about both their own and their peers' artwork. …
Research Interests:
This study is a metacritical examination of published essays by three professional critics of Richard Avedon's exhibition," In the American West." Its purpose is to determine if, how, and for what purposes critics describe... more
This study is a metacritical examination of published essays by three professional critics of Richard Avedon's exhibition," In the American West." Its purpose is to determine if, how, and for what purposes critics describe artworks. It finds that these particular critics describe at ...
Research Interests:
... Inter national social activist Margaret Wheatley (2002) explains: Human conversation is the most ancient and easiest way to cultivate the conditions for change?12 personal change, community and organi zational change, planetary... more
... Inter national social activist Margaret Wheatley (2002) explains: Human conversation is the most ancient and easiest way to cultivate the conditions for change?12 personal change, community and organi zational change, planetary change. ... (David Leighty, 2007) ...
Research Interests:
Art interpretation is described as a clinical approach in assisting individuals to move toward ever higher levels of wellness. Using it with healthy as well as ill individuals prompts participants to attend to the connection between... more
Art interpretation is described as a clinical approach in assisting individuals to move toward ever higher levels of wellness. Using it with healthy as well as ill individuals prompts participants to attend to the connection between themselves and the larger world. Asking individuals in a group setting to look closely at art, to make a connection between what they see and their own life experiences, can help them give voice to emotional experiences that help them connect to one another within a community. The exercise can sharpen perceptual and cognitive skills as well as provide the impetus to increase communication. Very often, participants responded to conversational prompts with new insights that were mediated through the use of the observed works of art. Making such connections, mentally, spiritually, emotionally, and socially, is helpful in developing coping skills that teach such patients new ways to not only survive but also to thrive despite their health challenges.
Research Interests: Psychology, Nursing, Communication, Health Promotion, Art Therapy, and 15 moreDementia, Cognition, Holistic Nursing, Medicine, Holistic Health, Holistic care, Humans, Coping, Neoplasms, Art Interpretation, Learning Methods, Cognitive Skills, Personal Satisfaction, Life Change Events, and attitude to health
Research Interests:
... Criticizing Art With Others Terry Barrett Criticism I have been involved with art criticism for more ... of the teens read lips, some could hear with the help of microphone and amplifier ... they were settled, I showed them several... more
... Criticizing Art With Others Terry Barrett Criticism I have been involved with art criticism for more ... of the teens read lips, some could hear with the help of microphone and amplifier ... they were settled, I showed them several laTge reproductions of twentieth century paintings depicting ...
Research Interests:
... for example, matadors, pop-culture images of Santa Claus and Donald Duck, iconic profiles of Abraham Lincoln and Christopher Columbus, with ... In one biting rejection, Mario Cutajar (1992) dismisses the p factices of Levine and... more
... for example, matadors, pop-culture images of Santa Claus and Donald Duck, iconic profiles of Abraham Lincoln and Christopher Columbus, with ... In one biting rejection, Mario Cutajar (1992) dismisses the p factices of Levine and fellow postmodernists like Jeff Koons, who ...
Research Interests:
Research Interests:
... Related Books: Why Is That Art?: Aesthetics and Criticism of Contemporary Art ... Publisher Notes: Why Is That Art? addresses common questions that viewers raise about contemporary art: Why is that art? Why is it in an art museum? Who... more
... Related Books: Why Is That Art?: Aesthetics and Criticism of Contemporary Art ... Publisher Notes: Why Is That Art? addresses common questions that viewers raise about contemporary art: Why is that art? Why is it in an art museum? Who says it's art? If I did this, would it be art? ...
... There can only be true 27 or false statements, however difficult to determine, regarding description ... the foremost journal of serious photography, was his introduction of writings of his own and others in the late 1950's about... more
... There can only be true 27 or false statements, however difficult to determine, regarding description ... the foremost journal of serious photography, was his introduction of writings of his own and others in the late 1950's about a method to experience photographs called Heading ...