Chapter 11 is also disappointing—with non-western art having been plundered systematically for a long time and its placement in First World museums being increasingly problematic, it is not even mentioned. I found it to be a very useful text that presents complex concepts in a manner that non-specialists will easily understand. I also found the various case studies that are used to guide the reader in applying theories and methods to be very effective. The text presents content in a clear and concise manner, and I found the “Test Yourself” questions to be well constructed, approachable, and effectively open ended (when appropriate). Having read many co-authored texts on specific subjects, the voice of the work is consistent and reads as though one author was the source for the entirety of the book. This is important, especially for a subject such as art, so the reader can begin to develop their own assessment of the topic without struggling through many different styles of evaluation.

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You can access your lectures, readings and assignments anytime and anywhere via the web or your mobile device. Creative Bloq is part of Future plc, an international media group and leading digital publisher. While many criticised the practicality of such intricate handicrafts in the modern, industrialised world, the influence of the movement endures to this day. Jordan Anthony is a film photographer, curator, and arts writer based in Cape Town, South Africa. Anthony schooled in Durban and graduated from the University of the Witwatersrand, Johannesburg, with a Bachelor of Art in Fine Arts. During her studies, she explored additional electives in archaeology and psychology, while focusing on themes such as healing, identity, dreams, and intuitive creation in her Contemporary art practice.

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Positive space is the object or subject itself in a work art, for example, if a pair of scissors is drawn, the positive space would be the pair of scissors. The negative space is the space around the subject, in this case, the pair of scissors and the area in the loops of the scissors would constitute the negative space. Shape relates closely to form, but the main difference is that a shape refers to two-dimensionality. It is often described as “flat”, with only length and width, and does not have the same appearance of volume that a form has. Similarly, shapes can also be grouped under the categories, geometric or organic. There are different types of forms, namely, organic, and geometric forms. Organic forms can originate from nature and are more random and asymmetrical; geometric forms Making Art Web Design are described as “mathematical”, namely, the cylinder, cube, cone, or pyramid, and sphere.

Both the written text and the visual design facilitate a clear hierarchy of information and digestible content. The text is not overly self-referential and would be easy for any professor to cherry-pick sections to assign to students. I think the strongest chapters in this book that any intro to art class could benefit from are chapters 1, 5, and 11. Each chapter opens with Learning Outcomes and ends Key Concepts, Test Yourself, and Key Terms sections to check for understanding. Although the image examples left out info on size, media, date and location of the art work. I liked how it helps the reader travel through continents with different styles, modes, histories, and artists.

• As an introduction, this book provides an excellent basis for discussion with students.
• Incorporating web design isn’t all it takes to create a successful website — you must incorporate good web design.
• Because of its modularity it would be easy for an instructor to assign specific areas to establish a basic foundation and then provide supplementary material for in-depth explorations of chosen topics.
• Rib vaults are found in the nave, the choir, the transept, and the chapels of the cathedral.

A broader cultural range of examples would be more helpful, however, this is something an instructor can easily amend within classroom lecture or discussion. The images were presented within the appropriate text and were displayed clearly. The size of the PDF makes searching for a specific term or section a bit difficult, but otherwise there are no problems with the interface. The terminology used is consistent and works to expand on the content for proceeding chapters. Textbooks can be excellent but still not substitutes for the instruction of the hands on manipulation of materials.

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Between Chapter 1 & 2, for example, there is only one image of Aboriginal origin. Consider Anasazi examples, such as Pueblo Pintado or Mesa Verde as part of early architecture. There are thousands of cultural groups across the globe that use masks for purposes from theater to holidays. I believe the thematic approach to the material is far more relevant to today’s student than the classic approach based on historical progression. The chapters are judiciously chosen and are placed in a logical order. Again, the only thing old-fashioned here are the relentless insistence on using the western canon as the basis of discussion.

Chapter 3 then gets into the intrinsic value of materials, which already seems of out place in this textbook as it seems like something more relevant to an art history class than an introduction to art class. Finally, in Chapter 4, there is a discussion on formal analysis, which really should have been included in, or put after, chapter 2 since it discussed the elements and principles. Material is organized thematically rather than chronologically using a comparative model. The chapters on forms, materials, description, symbolic interpretation, aesthetics, architectural form, identity, power, ritual, and ethics, also encourage the reader to make connections to contemporary art and culture. Key concepts are reviewed in the chapter summaries and each chapter has a list of questions that can be used by the student to review the material as well as a glossary of key terms.

I think it would be easy to organize this text anyway you like when teaching, although the flow, the way one chapter leads into another, is nice, so I personally would not change it. I believe the text is organized in a way so as to easily implement updated material. I do wish the authors would have expanded their discussions a bit more. In their attempt to be succinct, a choice, I imagine, made to keep the reader engaged, I’m afraid some important content is lost. The quality of images and text for those links varied from website to website. The typography, image formatting, and layout system do a nice job of keeping information easy to read and navigate. The text’s treatment of anthropological and art historical detail is meticulous.

Including glossaries at the end of each chapter is a great way for students to have ready access to key definitions. Although the text incorporated examples from different cultural and geological region, the majority of the discussions are Eurocentric in perspective. More attention to Asian, African, Pacific and the Americas would give the content more diversity. The “Test Yourself” section at the end of each chapter is a great addition to check for understanding. This is an aspect that needs improvement, as many of the links do not work or the linked images and pages are missing. In other cases, when referring to previously discussed images, the labeling tends to be incorrect. It is frustrating that the links within the body of the text are so long and that they are not enclosed with a period, which distracts the reader.