Teaching art history

Google Arts & Culture ofrece una serie de recursos interactivos que pueden ser utilizados para la mejora de la docencia en Historia del Arte. A través del presente texto mostramos la aplicación que dicha plataforma ha tenido en nuestras clases de pintura del siglo xix, dentro de la asignatura de Arte del siglo XIX del grado en Historia del Arte de la Universidad de Zaragoza. Describimos las principales utilidades de Google Arts para la enseñanza de esta materia y presentamos un proyecto de innovación docente llamado «Relatos diversos», en el que el alumnado ha creado su propia galería en redes sociales, abordando cuestiones tradicionalmente excluidas del currículo de la asignatura como la perspectiva de género, las referencias a la diversidad étnica y de orientación sexual, o la presencia del movimiento obrero en el arte decimonónico.

The changing needs of students in higher education classrooms require the incorporation of new techniques and methodologies that seek to better engage students and foster both cognitive and social development in the classroom. The inclusion of project-based learning methodology has been studied in various learning environments, however, there exists a gap in research on project-based learning through the lenses of higher-education, the humanities, and, specifically, art history. This study answers the following questions: a. How can a project-based learning environment function in a higher education classroom; b. How do students perform when faced with a project-based learning activity in art history; and c. How can we better design this project-based learning environment? Utilizing qualitative data, this study develops a clearer understanding of the function of project-based learning theory in a college-level art history classroom, its effects on student learning, and the theory’s implications in higher education as a whole. Ultimately, this project-based learning environment allowed students to work collaboratively together to address a driving problem while developing socially and cognitively in the process. This study posits that the utilization of project-based learning theories across higher-education could, in actuality, revolutionize and alter society’s view of higher education and its merit.

This article was translated from the French by Kit Schluter. It is a first-person narrative adapted from my earlier writing on Western nudes censored in art history textbooks at a women's university in Saudi Arabia. It describes in detail both the censored images and the local context.

У раду je представљена вежба „Нове слике старих мајстора“ коју ауторка
спроводи у оквиру наставе историје уметности са студентима ликовног одсека на Факултету уметности Универзитета у Приштини – Косовској Митровици, а која одговара на проблемски приступ настави у савременом добу. Сагледавање историјско-уметничке баштине је студентима дато као изазов на који треба да одговоре производњом сопственог визуелног рада. Њиме интерпретирају задати уметнички феномен и изражавају разумевање његове вредности, како у савременом добу тако и кроз историју. Ова вежба као део наставног метода подстиче креативност и критички однос према изнова поствареном предмету историјско-уметничке баштине. Такође, одговор је на једну савремену наставну праксу названу „showing seeing“ (W.J.T.Mitchell, 2002), којом се проблематизује искуство виђеног. Инсистира се на субјективном гледању које помера границу виђеног, а што је оствариво само интерактивном организацијом наставе током које студенти показују (showing) оно што виде/о чему уче (seeing). Упориште за овакав метод тражимо у епистемолошкој промени коју доноси филозофија постмодернизма, а која почива на плурализму теоријских и методолошких приступа предмету проучавања. У контексту наставног процеса, она иницира питање довољности метода једне дисциплине да одговори на питања која провоцира сам предмет истраживања дате дисциплине. Историја уметности шири своје поље проучавања ка компатибилним научним дисциплинама (естетици, визуелној култури, антропологији, музеологији, херитологији) те је нужно трансформисати и наставну праксу.

Кључне речи: настава историје уметности, баштина, уметност, постмодернизам, Факултет уметности, визуелне интерпретације

Ορφανίδης, Γ. (2020). Τέχνη, Σημειωτική και Πολιτισμική Ανθρωπολογία. Θεωρητικές και Διδακτικές Προσεγγίσεις για τα Φιλολογικά Μαθήματα και τα Θρησκευτικά στο Σύγχρονο Σχολείο. Το παράδειγμα των Ελληνορωμαϊκών Χρόνων (Εργαστήριο). Στο: Ε. Βρετουδάκη, Λ. Ζεμπετάκη, Β. Καλοκύρη, κ.άλ. (Επιμ.). Πρακτικά του 3ου Πανελλήνιου Συνεδρίου της Περιφερειακής Διεύθυνσης Πρωτοβάθμιας & Δευτεροβάθμιας Εκπαίδευσης: Ερευνώ, διδάσκω, μαθαίνω: Αναζητώντας τον μίτο στον λαβύρινθο της σύγχρονης εκπαίδευσης, Β' Τόμος (Ηράκλειο, 1-4 Οκτωβρίου 2020), Ηράκλειο: ΠΔΕ, 449-460.

https://conf.pdekritis.gr & http://synedria.pdekritis.gr/index.php/el/

Art, Semiotics and Cultural Anthropology. Theoretical and Didactic Approaches for the Philological and Religious Courses in the Modern School. The example of the Graeco-Roman Times.

In the fall of 2013 I began teaching my art history survey without the use of a textbook. Aside from cost considerations for students—which were significant—my motivations for making this change included a desire to teach objects from outside the traditional canon and the opportunity to use more primary and secondary texts. As successful as that semester was, teaching the survey textbook-free has highlighted both the advantages and the challenges of doing so. Some challenges, such as convincing students to do the readings, are familiar ones; others, such as finding organizational structures outside the textbook mold, are more novel. In this paper I will discuss the specifics of my textbook-free survey, focusing on my assignments, readings, and classroom activities. I will also consider the ways my courses—and many other surveys—are still limited and defined by the textbook tradition. Finally, I will propose new ways of considering the survey in order to more fully leave the textbook behind, such as teaching from local collections and exploring art history through video games, movies, and other artifacts of modern visual culture.

Kastorian workshop (1480-1510) and early italian art. Contribution to the planning of autonomous learning during the covid-19 period

Το θέμα της παρούσας μελέτης είναι διττής φύσης. Από τη μια πλευρά, σχετίζεται με την παρουσίαση των στοιχείων της Πρώιμης Ιταλικής Αναγέννησης («διεθνές γοτθικό στυλ») που συναντώνται στη ζωγραφική παραγωγή ενός πολύ ιδιαίτερου κύκλου καλλιτεχνών με κέντρο την πόλη της Καστοριάς – και εν συνεχεία με επιρροή σε όλο το χώρο της Βαλκανικής – κατά τη Μεταβυζαντινή Περίοδο (1480-1510). Πιο συγκεκριμένα, μεταξύ άλλων, δίνεται το χρονικό και γεωγραφικό πεδίο δράσης του «Εργαστηρίου», ενώ παράλληλα αναλύονται ευσύνοπτα βασικά στοιχεία συγκρότησής του, με έμφαση στα χαρακτηριστικά που υιοθετήθηκαν από τη ζωγραφική της Δύσης κατά το Trecento και το Quattrocento, τόσο σε επίπεδο τεχνοτροπίας, όσο και σε επίπεδο θεματικής ποικιλίας. Από την άλλη πλευρά, γίνεται λόγος για τη διδακτική εφαρμογή όλων αυτών στο μάθημα της Ιστορίας (Β΄ Τάξη Λυκείου) υπό το πρίσμα της αυτόνομης (autonomous) (ή ανακατευθυνόμενης, self-directed) μάθησης (learning), καθώς πολλάκις ιδιαίτερες συνθήκες, όπως στην προκειμένη περίπτωση η πανδημία της νόσου covid-19, επηρεάζουν αξιοσημείωτα τη συνήθη λειτουργία των σχολικών μονάδων, με αποτέλεσμα μια εκ του σύνεγγυς διδασκαλία να καθίσταται αρκετά δύσκολη, έως και αδύνατη. Με άλλα λόγια, επισημαίνεται ένας εναλλακτικός τρόπος οργάνωση του διδακτικού υλικού βασισμένος στην κριτική ερμηνεία της θεωρίας του συμπεριφορισμού (behaviorism) με απώτερο στόχο την ενεργοποίηση των μαθητών/μαθητριών, χωρίς τη φυσική «παρεμβολή» του/της εκπαιδευτικού, όντας οι ίδιοι/ίδιες εκτός σχολικών αιθουσών. Όλα τα παραπάνω ακολουθούν το περιεχόμενο και τη φιλοσοφία των αναθεωρημένων Αναλυτικών Προγραμμάτων και των Οδηγών  των Εκπαιδευτικών.

The subject of the present study is of a dual nature. On the one hand, it explores the cultural connection between the Early Italian Renaissance (international Gothic style) and the paintings of a very special circle of artists, which centered around the city of Kastoria (1480-1510).  On  the  other  hand,  it  proposes  the  didactic  application  of  the  above  in  the History Lesson (2nd Grade of Senior High School) in light of autonomous (or self-directed) learning, as oftentimes special conditions, such as the covid-19 pandemic, affect the normal functioning  of  schools  significantly. A non-distant  learning  becomes  difficult  or  even impossible. Therefore, an alternative way of organizing the teaching material is proposed, one  that  is  based  on  the  critical  interpretation  of the  theory of  behaviorism. The  ultimate goal  is the personal  engagement  of  students,  i.e.  the  search  for  knowledge  without  the physical “intervention” of the teacher and of course away from the classroom. This didactic method / technique follows the content and philosophy of the revised Curricula and Teacher Guides of the Ministry of Education (Greece)

Ορφανίδης, Γ. (2020). Καστοριανό εργαστήριο (1480-1510) και πρώιμη ιταλική τέχνη. Συμβολή στο σχεδιασμό της αυτόνομης μάθησης την περίοδο της νόσου covid-19. Symbol-e (της Ιεράς Μητροπόλεως Κυρηνείας, Κύπρος), 9, 77-99.

https://periodiko.metropolisofkyrenia.com.

Through a combination of interviews and research center site visits, the following topics were explored:
• The role of art history research centers in supporting digital art history
• Challenges in art history teaching, research, and scholarship in the digital
realm
• Access to digital tools, services, and resources needed by the discipline
• Digital pedagogy in art history
• The role of digital publishing in the discipline
• Current and potential partnerships
• Sources of innovation in the field
• The role of funding agencies in supporting digital art history.

Book section of a volume on visual culture in the Arab Peninsula, edited by Nadia Mounajjed.

My contribution presents a case of image politics through a contemporary practice of iconoclasm: female nudes censored by female faculty in Western art history textbooks at a women’s college in Saudi Arabia. I describe the various marks made by the censors using paint, ink, and pasted paper. I also describe the context and the challenges faced by art history teachers trying to bridge the gap between local values and a discipline steeped in the Western tradition.

About the book: This edited volume is the outcome of a workshop held at the University of Cambridge as part of the Third Gulf Research Meeting in July 2012. Excerpts from the foreword by Jack Persekian: “This anthology was instigated by the observation that the “visual turn” – rigorously analyzed in recent decades by prominent scholars, predominantly vis-à-vis Western culture – is a central, fascinating, and defining phenomenon in the Gulf region as well, and that it merits deep and nuanced research. … The desire to shed light on the role of visual culture in the construction of the nascent collective identity of the Gulf is a unifying thread that runs through the seven essays that comprise this volume. The wealth of accessible and well-documented sources linked with the region’s young history provide a unique opportunity to reflect upon broader themes, such as nation building, Orientalism, the legacies of colonialism, and the challenges of post-colonialism. Beyond this, the essays also raise theoretical and methodological queries pertaining to the emerging field of visual studies and its potential relevance and applicability to the study of non-Western cultures. … The authors tackle in-depth a number of issues: art education, museology, photography, architecture, and urban culture.” With essays by Nadia Mounajjed, Sharmeen Syed and Uns Kattan, Lucile Dupraz, Pamela Erskine-Loftus, Butheina H. Kazim, David Kendall, Enrique Martínez, and Aurel von Richthofen.

Στο παρόν άρθρο παρουσιάζεται μία εφαρμοσμένη διαθεματική διδακτική πράξη με τη μορφή project, που υλοποιήθηκε κατά το εαρινό εξάμηνο 2017 στα πλαίσια της διδασκαλίας του μαθήματος Ιστορία Ενδύματος στο Τμήμα Σχεδιασμού και Τεχνολογίας Ένδυσης στο Τ.Ε.Ι. Κεντρικής Μακεδονίας. Η προσέγγιση που υιοθετείται βασίζεται στο πολιτισμικό διαθεματικό μοντέλο διδασκαλίας των γνωστικών πεδίων της Ιστορίας της Τέχνης και του Ενδύματος, με στόχο την καλλιέργεια κριτικής και δημιουργικής σκέψης, την ενθάρρυνση της ενεργητικής συμμετοχής των φοιτητών και της ανάπτυξης της προσωπικότητάς τους μέσω του βιώματος. Για τη θεωρητική στήριξη της δράσης αυτής στηριζόμαστε στη γνωστική προσέγγιση της μάθησης και σε σημειολογικές μελέτες αναφορικά με τον επικοινωνιακό ρόλο του ενδύματος. Στη συνέχεια, επικεντρωνόμαστε στη σπουδαιότητα της δημιουργίας βιωμάτων και της καλλιέργειας της δημιουργικότητας μέσω της ενεργητικής εμπλοκής σε μία δραστηριότητα. Παρουσιάζονται το θεωρητικό πλαίσιο, ο σκοπός και οι στόχοι του project και, τέλος, σχολιάζονται και αξιολογούνται τα αποτελέσματα της εκπαιδευτής αυτής προσέγγισης.

"We have neglected the gift of comprehending things through our senses. Concept is divorced from percept, and thought moves among abstractions. Our eyes have been reduced to instruments with which to identify and to measure; hence we suffer a paucity of ideas that can be expressed in images and in an incapacity to discover meaning in what we see. Naturally we feel lost in the presence of objects that make sense only to undeluted vision, and we seek refuge in the more familiar medium of words. ... The inborn capacity to understand through the eyes has been put to sleep and must be reawakened."
Rudolf Arnheim: Art and Visual Perception, 1974, p. 1

This is https://www.academia.edu/9984501/Queen_Elizabeth_I_meets_the_Boojum without text

Related: https://www.academia.edu/10429829/Seeing_Letters_Skulls_and_Faces

2015-04-10: Friendly license for using these comparisons: CC BY-NC-ND 3.0 (https://creativecommons.org/licenses/by-nc-nd/3.0/)

2015-04-18: Father Time × 3

2016-05-08: Added one image (page 4)

During the nineteenth century art history classes in the Venice academy of fine arts are held by lecturers with very different cultural backgrounds. This article investigates the programs and didactic supports used by teachers in a political and institutional context which was characterized by changes. Under its first lecturer, marquis Pietro Selvatico Estense (1850-59), art history plays an active role in the implementation process of his reform of elementary design. The first chair of art history, Antonio Dall’Acqua-Giusti (1865-93), gives up this pragmatic approach conceived for the concrete use made by contemporary artists. Dall’Acqua’s teaching method aims to emphasize the link between art history and civil history in the context of the recently established Kingdom of Italy, when particular attention is paid to Renaissance and local traditions. His humanistic approach to art history as part of general artistic culture will be undermined by the philosopher Angelo Conti (1895-97), whose short, but intense period of teaching accentuates the active role of viewing during field trips to Venice and its surroundings.

The contents of art history in Croatian grammar schools had initially been included within the Drawing subject. From the mid-20 th century, they were combined with the contents from history. From 1960, both Visual Arts and Music had been equal components within the Art course, but in 1994 it formally became a full independent subject in grammar schools. The last educational reform generated a new subject curriculum in 2019 that completely reorganized the subject and brought it closer to contemporary educational principles. In vocational schools during the 1960s, however, a large number of teaching programs contained contents implemented from visual arts as a part of Croato-Serbian Language and Literature course, together with the basics of aesthetic education. However, they were left out in the later programs from most schools during the 1990s, which happened again in the most recent educational documents that were issued in the last several years. The aim of this paper is to discuss the position and specific qualities of Visual Arts subject or topics from the field of visual arts (art history), as well as the changes this subject has underwent during various educational reforms, by means of analysing the teaching programs of grammar and vocational schools in Croatia from the mid-20 th century to the present day.*

In Academics, Artists, and Museums: 21st-Century Partnerships, edited by Irina Costache and Clare Kunny.
https://www.crcpress.com/Academics-Artists-and-Museums-21st-Century-Partnerships/Costache-Kunny/p/book/9781138300781
Book Summary:

Collaboration and interdisciplinary practice in the museum are on the rise. Academics, Artists, and Museums examines twenty-first century partnerships between the museum and higher education sectors, with a focus on art museums and exhibits.

The edited volume offers detailed analysis of how innovative curatorial relationships between museums and academia have sought to engage new, younger, audiences through the collaborative transformation of museums and exhibitions. Thematic topics explored include the forming and nature of interdisciplinary partnerships, the integration of museum learning into higher education, audience engagement, and digital technology. With a particular emphasis on practice in the US, the range of projects discussed includes those at both widely recognized and lesser known institutions, from The Met to the Tohono O’odham Nation Cultural Center in the US, to Ewha University Museum in South Korea, and Palazzo Strozzi in Italy. The role of art and the work of the artist are firmly positioned at the core of many of the relationships explored.

Academics, Artists, and Museums advocates for the museum as an experimental ‘laboratory’ where academia, art and the museum profession can combine to engage new audiences. It is a useful resource for museum professionals, artists, scholars, and students interested in collaboration and innovative practice.

La storiografia, che pretende di studiare solo l’arte antica ignorando il contemporaneo in quanto manchevole di storicizzazione, o che guarda all’arte come a un processo vettoriale dalle origini all’epoca moderna (anche spingendosi discretamente in avanti), si mortifica talvolta in una raffinata ma inerte filologia, oppure scambia la cronologia per un evoluzionismo d’andamento altalenante, fra periodi di elevazione e altri di decadenza; in altre parole, o si presenta come pura registrazione archeologica, o stigmatizza certi periodi, stili e contenuti a favore di altri, guardando soprattutto alla permanenza o all’assenza di elementi, che appartengono al gusto, a un momento, persino a un’estetica, ma difficilmente possono essere considerati assoluti. Peraltro, lasciando il pubblico in una sorta di ignoranza indotta, nell’interdizione da quanto oggi accade in campo artistico.
Queste unità di lavoro, all'interno del progetto FACE TO FACE curato da Giorgio de Finis, vogliono proporre dieci modi diversi, alcuni dei quali già sperimentati, di utilizzare l’arte contemporanea, i suoi strumenti, i suoi principi, per leggere l’arte del passato. La sostengono queste convinzioni: 1) che il contemporaneo si offra come vocabolario ideale per linguaggi non più parlati, non tanto perché ne sia una traduzione nelle abitudini visive attuali ma, al contrario, perché, rovesciando o opponendosi alla mistica dell’esperienza estetica, scopre le componenti del pensiero per immagini; 2) che il confronto fra l’universo visuale che oggi ci appartiene e quello remoto o remotissimo si dispone sul parallasse di una nuova comprensione del mondo, quando non di riscrittura della storia; 3) che prima di andare a cercare nell’arte solo ciò che vogliamo trovare, relegando a non-arte ciò che non lo contiene, possa essere utile sforzarsi di riconoscere il quantum artistico esistente, benché sconosciuto o non riconoscibile coi nostri assiomi.