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WEEKLYBOOKS WE LOVE
Art History Teaching Resources (AHTR) is a peer-populated platform for art history teachers. AHTR is home to a constantly evolving and collectively authored online repository of art history teaching content including, but not limited to, lesson plans, video introductions to museums, book reviews, image clusters, and classroom and museum activities. ASSIGNMENTS & RUBRICS Assignments & Rubrics. Written Assignments. The Museum Response Paper template can be used as an assignment once or twice during the semester as a way to a) have your students undertake a concise written exercise that b) asks them to look closely at one object (or two if you’d like them to compare and contrast) and c) also asks them toengage
MODERN ART (1900–50) Cubism: a semi-abstract movement in early twentieth-century (mostly) French art—exemplified here in the work of Pablo Picasso—that continued the formal project begun with Paul Cézanne’s analysis of form, often geometricizing figures and collapsing traditional naturalistic notions of depth and perspective. JEWISH AND EARLY CHRISTIAN ART This lecture is organized around three themes: art as an expression of religious identity, art as an expression of social standing, and the difference between style and subject matter. Another important point to clarify is the name of this section—students often think that “Jewish” and “Early Christian” apply to style, when it really applies to the subject matter. PREHISTORY AND PREHISTORIC ART IN EUROPE Michelle Millar Fisher (author) is a co-founder of Art History Teaching Resources (AHTR) and a PhD Candidate in Art History at the CUNY Graduate Center. She’s been a part-time faculty member at Parsons The New School for Design and an adjunct lecturer at Baruch College. From summer 2019, she is the Ronald C. and Anita L. Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. EIGHTEENTH- AND NINETEENTH-CENTURY SCULPTURE The history of eighteenth- and nineteenth-century sculpture is a huge area encompassing various countries and a multitude of techniques and processes that are sometimes difficult for professors to tackle, especially if sculpture is not in their area of expertise. In this lesson plan, I have selected the most prominent and most widelydiscussed
QUEER ART: 1960S TO THE PRESENT Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of Curatorial Studies. You can check out more of her work at https://gc-cuny.academia. edu/TaraBurk. Amy Raffel (editor) is a PhD candidate at the CUNY Graduate Center.She has a Master’s degree in Contemporary Art history from the Institute of Fine Arts (NYU) and has taught EUROPEAN AND AMERICAN ARCHITECTURE (1750–1900) One of the best sources is Leland Roth’s Understanding Architecture: Its Elements, History, and Meaning, second edition (Westview Press, 2007).If you are looking for information on European architecture see Barry Bergdoll’s European Architecture 1750–1890 (Oxford University Press, 2000) and Sir John Summerson’s The Classical Language of Architecture, twentieth printing (MIT Press, 2001). UNDERSTANDING GEOMETRY AND CATHEDRAL DESIGN THROUGHSEE MORE ON ARTHISTORYTEACHINGRESOURCES.ORG PROTO-RENAISSANCE IN ITALY (1200–1400) The suggested timeframe of 1200–1400 roughly stems from the Italo-Byzantine period in the Late Medieval period to the cusp of the Renaissance. The material included focuses exclusively on Italy, centered on artistic developments in the rivaling schools of painting in the city-states of Florence and Siena. The term Proto-Renaissanceimplies
ART HISTORY TEACHING RESOURCESABOUTLESSON PLANSRESOURCESE-JOURNALAHTRWEEKLYBOOKS WE LOVE
Art History Teaching Resources (AHTR) is a peer-populated platform for art history teachers. AHTR is home to a constantly evolving and collectively authored online repository of art history teaching content including, but not limited to, lesson plans, video introductions to museums, book reviews, image clusters, and classroom and museum activities. ASSIGNMENTS & RUBRICS Assignments & Rubrics. Written Assignments. The Museum Response Paper template can be used as an assignment once or twice during the semester as a way to a) have your students undertake a concise written exercise that b) asks them to look closely at one object (or two if you’d like them to compare and contrast) and c) also asks them toengage
MODERN ART (1900–50) Cubism: a semi-abstract movement in early twentieth-century (mostly) French art—exemplified here in the work of Pablo Picasso—that continued the formal project begun with Paul Cézanne’s analysis of form, often geometricizing figures and collapsing traditional naturalistic notions of depth and perspective. JEWISH AND EARLY CHRISTIAN ART This lecture is organized around three themes: art as an expression of religious identity, art as an expression of social standing, and the difference between style and subject matter. Another important point to clarify is the name of this section—students often think that “Jewish” and “Early Christian” apply to style, when it really applies to the subject matter. PREHISTORY AND PREHISTORIC ART IN EUROPE Michelle Millar Fisher (author) is a co-founder of Art History Teaching Resources (AHTR) and a PhD Candidate in Art History at the CUNY Graduate Center. She’s been a part-time faculty member at Parsons The New School for Design and an adjunct lecturer at Baruch College. From summer 2019, she is the Ronald C. and Anita L. Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. EIGHTEENTH- AND NINETEENTH-CENTURY SCULPTURE The history of eighteenth- and nineteenth-century sculpture is a huge area encompassing various countries and a multitude of techniques and processes that are sometimes difficult for professors to tackle, especially if sculpture is not in their area of expertise. In this lesson plan, I have selected the most prominent and most widelydiscussed
QUEER ART: 1960S TO THE PRESENT Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of Curatorial Studies. You can check out more of her work at https://gc-cuny.academia. edu/TaraBurk. Amy Raffel (editor) is a PhD candidate at the CUNY Graduate Center.She has a Master’s degree in Contemporary Art history from the Institute of Fine Arts (NYU) and has taught EUROPEAN AND AMERICAN ARCHITECTURE (1750–1900) One of the best sources is Leland Roth’s Understanding Architecture: Its Elements, History, and Meaning, second edition (Westview Press, 2007).If you are looking for information on European architecture see Barry Bergdoll’s European Architecture 1750–1890 (Oxford University Press, 2000) and Sir John Summerson’s The Classical Language of Architecture, twentieth printing (MIT Press, 2001). UNDERSTANDING GEOMETRY AND CATHEDRAL DESIGN THROUGHSEE MORE ON ARTHISTORYTEACHINGRESOURCES.ORG PROTO-RENAISSANCE IN ITALY (1200–1400) The suggested timeframe of 1200–1400 roughly stems from the Italo-Byzantine period in the Late Medieval period to the cusp of the Renaissance. The material included focuses exclusively on Italy, centered on artistic developments in the rivaling schools of painting in the city-states of Florence and Siena. The term Proto-Renaissanceimplies
EUROPEAN AND AMERICAN ARCHITECTURE (1750–1900) One of the best sources is Leland Roth’s Understanding Architecture: Its Elements, History, and Meaning, second edition (Westview Press, 2007).If you are looking for information on European architecture see Barry Bergdoll’s European Architecture 1750–1890 (Oxford University Press, 2000) and Sir John Summerson’s The Classical Language of Architecture, twentieth printing (MIT Press, 2001). ART OF ANCIENT EGYPT Jennifer Sarathy (author) is a PhD Candidate at the CUNY Graduate Center.. Amy Raffel (editor) is a PhD candidate at the CUNY Graduate Center.She has a Master’s degree in Contemporary Art history from the Institute of Fine Arts (NYU) and has taught Introduction to Modern Art as a Graduate Teaching Fellow at Lehman College since 2010.Currently, Amy is a genome contributor for Artsy and editor NORTHERN RENAISSANCE ART (1400–1600) The revolutionary qualities of the Northern Renaissance—and its continuity with the past—can be explored in an hour and fifteen minutes through a variety of examples, including: “Purgatory” and “Anatomical Man” from Les Très Riches Heures du Duc de Berry, France, 1413–6, Illuminated manuscript. “January” and “February”, pages from the calendar of Les Très Riches Heures QUEER ART: 1960S TO THE PRESENT Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of Curatorial Studies. You can check out more of her work at https://gc-cuny.academia. edu/TaraBurk. Amy Raffel (editor) is a PhD candidate at the CUNY Graduate Center.She has a Master’s degree in Contemporary Art history from the Institute of Fine Arts (NYU) and has taught PREHISTORY AND PREHISTORIC ART IN EUROPE Thank you for comments. I used to teach history and geography incorporating art into both. I had side rs (ages 13-17) create art in style of the period–Greek terra cotta pots using India ink and plant pints; Chinese/Japanese scrolls with Popsicle sticks with just a’proverb’ understand English one side and copied characters on other; butcher paper lining the hall walls with ‘prehistoric SIXTEENTH-CENTURY NORTHERN EUROPE AND IBERIA The sixteenth century in Northern Europe and Iberia saw serious religious upheavals and great economic shifts. Within the art world itself, refinement in the use of oil paints and the re-emergence of Classical motifs further energized artists and patrons. During the sixteenth century, political, social, and religious turmoil oftenmanifested
BUDDHIST ART AND ARCHITECTURE BEFORE 1200 All three developed in India, but Vajrayana was, and still is primarily a Tibetan Buddhist practice and is usually discussed later in Survey II—Art and Architecture of India after 1200. In each phase, changes to the Buddhist catechism were made and the images of the faith were adapted accordingly. ART AND LABOR IN THE NINETEENTH CENTURY Alice J. Walkiewicz (author) is a Ph.D. Candidate at the CUNY Graduate Center.She has taught at Parsons School of Design since 2011 and the Pratt Institute since 2013. She specializes in nineteenth-century European and American art, and her dissertation explores the intersection of gender, labor, and art in the late nineteenth century. GENDER IN NINETEENTH-CENTURY ART Alice J. Walkiewicz (author) is a Ph.D. Candidate at the CUNY Graduate Center.She has taught at Parsons School of Design since 2011 and the Pratt Institute since 2013. She specializes in nineteenth-century European and American art, and her dissertation explores the intersection of gender, labor, and art in the late nineteenth century. “CELTIC” CROSSES AND WHITE SUPREMACISM The so-called “Celtic Cross,” “Sun Cross,” or “Odin’s Cross” that WS groups use is visually quite different from the medieval examples. Generally, it is a simple, bold cross, often equal-armed, and surrounded by a circle. It was developed from a symbol used by the Norwegian Nazi party during WWII. ART HISTORY TEACHING RESOURCESABOUTLESSON PLANSRESOURCESE-JOURNALAHTRWEEKLYBOOKS WE LOVE
Art History Teaching Resources (AHTR) is a peer-populated platform for art history teachers. AHTR is home to a constantly evolving and collectively authored online repository of art history teaching content including, but not limited to, lesson plans, video introductions to museums, book reviews, image clusters, and classroom and museum activities. ASSIGNMENTS & RUBRICS Assignments & Rubrics. Written Assignments. The Museum Response Paper template can be used as an assignment once or twice during the semester as a way to a) have your students undertake a concise written exercise that b) asks them to look closely at one object (or two if you’d like them to compare and contrast) and c) also asks them toengage
TWENTIETH-CENTURY PHOTOGRAPHY Background reading might include the survey textbook, a selection of thematic essays from the Metropolitan Museum of Art’s Timeline of Art History, and the Smarthistory essay on twentieth-century photography.. Video resources include the BBC series The Genius of Photography, a great resource from which clips could be viewed in class.The Getty’s video on Dorothea Lange’s Documentary PREHISTORY AND PREHISTORIC ART IN EUROPE Michelle Millar Fisher (author) is a co-founder of Art History Teaching Resources (AHTR) and a PhD Candidate in Art History at the CUNY Graduate Center. She’s been a part-time faculty member at Parsons The New School for Design and an adjunct lecturer at Baruch College. From summer 2019, she is the Ronald C. and Anita L. Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. UNDERSTANDING GEOMETRY AND CATHEDRAL DESIGN THROUGHSEE MORE ON ARTHISTORYTEACHINGRESOURCES.ORG JEWISH AND EARLY CHRISTIAN ART This lecture is organized around three themes: art as an expression of religious identity, art as an expression of social standing, and the difference between style and subject matter. Another important point to clarify is the name of this section—students often think that “Jewish” and “Early Christian” apply to style, when it really applies to the subject matter. QUEER ART: 1960S TO THE PRESENT This lecture is a brief overview of the ways in which queer art can intervene in past traditions of art, critique the present, and imagine new futures. Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of CuratorialStudies.
PROTO-RENAISSANCE IN ITALY (1200–1400) The suggested timeframe of 1200–1400 roughly stems from the Italo-Byzantine period in the Late Medieval period to the cusp of the Renaissance. The material included focuses exclusively on Italy, centered on artistic developments in the rivaling schools of painting in the city-states of Florence and Siena. The term Proto-Renaissanceimplies
DECOLONIAL STRATEGIES FOR THE ART HISTORY CLASSROOM Decolonial Strategies for the Art History Classroom A zine for sharing exercises and resources assembled by Amber Hickey and Ana Tuazon “CELTIC” CROSSES AND WHITE SUPREMACISM The so-called “Celtic Cross,” “Sun Cross,” or “Odin’s Cross” that WS groups use is visually quite different from the medieval examples. Generally, it is a simple, bold cross, often equal-armed, and surrounded by a circle. It was developed from a symbol used by the Norwegian Nazi party during WWII. ART HISTORY TEACHING RESOURCESABOUTLESSON PLANSRESOURCESE-JOURNALAHTRWEEKLYBOOKS WE LOVE
Art History Teaching Resources (AHTR) is a peer-populated platform for art history teachers. AHTR is home to a constantly evolving and collectively authored online repository of art history teaching content including, but not limited to, lesson plans, video introductions to museums, book reviews, image clusters, and classroom and museum activities. ASSIGNMENTS & RUBRICS Assignments & Rubrics. Written Assignments. The Museum Response Paper template can be used as an assignment once or twice during the semester as a way to a) have your students undertake a concise written exercise that b) asks them to look closely at one object (or two if you’d like them to compare and contrast) and c) also asks them toengage
TWENTIETH-CENTURY PHOTOGRAPHY Background reading might include the survey textbook, a selection of thematic essays from the Metropolitan Museum of Art’s Timeline of Art History, and the Smarthistory essay on twentieth-century photography.. Video resources include the BBC series The Genius of Photography, a great resource from which clips could be viewed in class.The Getty’s video on Dorothea Lange’s Documentary PREHISTORY AND PREHISTORIC ART IN EUROPE Michelle Millar Fisher (author) is a co-founder of Art History Teaching Resources (AHTR) and a PhD Candidate in Art History at the CUNY Graduate Center. She’s been a part-time faculty member at Parsons The New School for Design and an adjunct lecturer at Baruch College. From summer 2019, she is the Ronald C. and Anita L. Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. UNDERSTANDING GEOMETRY AND CATHEDRAL DESIGN THROUGHSEE MORE ON ARTHISTORYTEACHINGRESOURCES.ORG JEWISH AND EARLY CHRISTIAN ART This lecture is organized around three themes: art as an expression of religious identity, art as an expression of social standing, and the difference between style and subject matter. Another important point to clarify is the name of this section—students often think that “Jewish” and “Early Christian” apply to style, when it really applies to the subject matter. QUEER ART: 1960S TO THE PRESENT This lecture is a brief overview of the ways in which queer art can intervene in past traditions of art, critique the present, and imagine new futures. Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of CuratorialStudies.
PROTO-RENAISSANCE IN ITALY (1200–1400) The suggested timeframe of 1200–1400 roughly stems from the Italo-Byzantine period in the Late Medieval period to the cusp of the Renaissance. The material included focuses exclusively on Italy, centered on artistic developments in the rivaling schools of painting in the city-states of Florence and Siena. The term Proto-Renaissanceimplies
DECOLONIAL STRATEGIES FOR THE ART HISTORY CLASSROOM Decolonial Strategies for the Art History Classroom A zine for sharing exercises and resources assembled by Amber Hickey and Ana Tuazon “CELTIC” CROSSES AND WHITE SUPREMACISM The so-called “Celtic Cross,” “Sun Cross,” or “Odin’s Cross” that WS groups use is visually quite different from the medieval examples. Generally, it is a simple, bold cross, often equal-armed, and surrounded by a circle. It was developed from a symbol used by the Norwegian Nazi party during WWII. THEMATIC LESSON PLANS Proto-Renaissance in Italy (1200–1400) Northern Renaissance Art (1400–1600) Sixteenth-Century Northern Europe and Iberia. Italian Renaissance Art (1400–1600) Southern Baroque: Italy and Spain. Buddhist Art and Architecture in Southeast Asia After 1200. ChineseArt After 1279.
EUROPEAN AND AMERICAN ARCHITECTURE (1750–1900) One of the best sources is Leland Roth’s Understanding Architecture: Its Elements, History, and Meaning, second edition (Westview Press, 2007).If you are looking for information on European architecture see Barry Bergdoll’s European Architecture 1750–1890 (Oxford University Press, 2000) and Sir John Summerson’s The Classical Language of Architecture, twentieth printing (MIT Press, 2001). QUEER ART: 1960S TO THE PRESENT This lecture is a brief overview of the ways in which queer art can intervene in past traditions of art, critique the present, and imagine new futures. Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of CuratorialStudies.
BUDDHIST ART AND ARCHITECTURE BEFORE 1200 All three developed in India, but Vajrayana was, and still is primarily a Tibetan Buddhist practice and is usually discussed later in Survey II—Art and Architecture of India after 1200. In each phase, changes to the Buddhist catechism were made and the images of the faith were adapted accordingly. DECOLONIAL INTRODUCTION TO THE THEORY, HISTORY AND [Ed. note: As the Oxford University Research Center in the Humanities notes, this recent publication “draws on texts from recent picture and image theory, as well as on present-day Amerindian authors, anthropologists and philosophers question the power structure inherent in Eurocentric art discourses and to decolonize art studies, using Brazil’s arts, its theory and history as a case GLOBALISM AND TRANSNATIONALISM Michelle Yee (author) is a PhD student at the CUNY Graduate Center.. Jon Mann (editor) is an Adjunct Lecturer at Lehman College, a Senior Contributor at Artsy, and a lecture contributor and editor at Art History Teaching Resources and Art History Pedagogy and Practice.. Kaegan Sparks (editor) is a PhD student at the CUNY Graduate Center and a Publication Associate in Critical Anthologies at EIGHTEENTH- AND NINETEENTH-CENTURY SCULPTURE The history of eighteenth- and nineteenth-century sculpture is a huge area encompassing various countries and a multitude of techniques and processes that are sometimes difficult for professors to tackle, especially if sculpture is not in their area of expertise. In this lesson plan, I have selected the most prominent and most widelydiscussed
RACE AND IDENTITY
Michelle Yee (author) is a PhD student at the CUNY Graduate Center.. Amy Raffel (editor) is a PhD candidate at the CUNY Graduate Center.She has a Master’s degree in Contemporary Art history from the Institute of Fine Arts (NYU) and has taught Introduction to Modern Art as a Graduate Teaching Fellow at Lehman College since 2010.Currently, Amy is a genome contributor for Artsy and editor and “CELTIC” CROSSES AND WHITE SUPREMACISM The so-called “Celtic Cross,” “Sun Cross,” or “Odin’s Cross” that WS groups use is visually quite different from the medieval examples. Generally, it is a simple, bold cross, often equal-armed, and surrounded by a circle. It was developed from a symbol used by the Norwegian Nazi party during WWII. DECOLONIZING AND DIVERSIFYING ARE TWO DIFFERENT THINGS: A We (Amber and Ana) met in 2018 through our involvement with Interference Archive’s Education Working Group. Interference Archive is a volunteer-run space in Brooklyn centering the cultural production that emerges from social movements through an open stacks archival collection, exhibitions, and events. The Education Working Group facilitates the use of Interference Archive’s resources for ART HISTORY TEACHING RESOURCESABOUTLESSON PLANSRESOURCESE-JOURNALAHTRWEEKLYBOOKS WE LOVE
Art History Teaching Resources (AHTR) is a peer-populated platform for art history teachers. AHTR is home to a constantly evolving and collectively authored online repository of art history teaching content including, but not limited to, lesson plans, video introductions to museums, book reviews, image clusters, and classroom and museum activities. ASSIGNMENTS & RUBRICS Assignments & Rubrics. Written Assignments. The Museum Response Paper template can be used as an assignment once or twice during the semester as a way to a) have your students undertake a concise written exercise that b) asks them to look closely at one object (or two if you’d like them to compare and contrast) and c) also asks them toengage
TWENTIETH-CENTURY PHOTOGRAPHY Background reading might include the survey textbook, a selection of thematic essays from the Metropolitan Museum of Art’s Timeline of Art History, and the Smarthistory essay on twentieth-century photography.. Video resources include the BBC series The Genius of Photography, a great resource from which clips could be viewed in class.The Getty’s video on Dorothea Lange’s Documentary PREHISTORY AND PREHISTORIC ART IN EUROPE Michelle Millar Fisher (author) is a co-founder of Art History Teaching Resources (AHTR) and a PhD Candidate in Art History at the CUNY Graduate Center. She’s been a part-time faculty member at Parsons The New School for Design and an adjunct lecturer at Baruch College. From summer 2019, she is the Ronald C. and Anita L. Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. UNDERSTANDING GEOMETRY AND CATHEDRAL DESIGN THROUGHSEE MORE ON ARTHISTORYTEACHINGRESOURCES.ORGNOTRE DAME CATHEDRAL FACTSNOTRE DAME CATHEDRAL REPAIRSTHE NOTRE DAME CATHEDRAL FIRETHE NOTRE DAME CATHEDRAL FIRETHE NOTRE DAME CATHEDRAL HISTORYTHE NOTRE DAME CATHEDRAL HISTORY JEWISH AND EARLY CHRISTIAN ART This lecture is organized around three themes: art as an expression of religious identity, art as an expression of social standing, and the difference between style and subject matter. Another important point to clarify is the name of this section—students often think that “Jewish” and “Early Christian” apply to style, when it really applies to the subject matter. QUEER ART: 1960S TO THE PRESENT This lecture is a brief overview of the ways in which queer art can intervene in past traditions of art, critique the present, and imagine new futures. Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of CuratorialStudies.
PROTO-RENAISSANCE IN ITALY (1200–1400) The suggested timeframe of 1200–1400 roughly stems from the Italo-Byzantine period in the Late Medieval period to the cusp of the Renaissance. The material included focuses exclusively on Italy, centered on artistic developments in the rivaling schools of painting in the city-states of Florence and Siena. The term Proto-Renaissanceimplies
DECOLONIAL STRATEGIES FOR THE ART HISTORY CLASSROOM Decolonial Strategies for the Art History Classroom A zine for sharing exercises and resources assembled by Amber Hickey and Ana Tuazon “CELTIC” CROSSES AND WHITE SUPREMACISM The so-called “Celtic Cross,” “Sun Cross,” or “Odin’s Cross” that WS groups use is visually quite different from the medieval examples. Generally, it is a simple, bold cross, often equal-armed, and surrounded by a circle. It was developed from a symbol used by the Norwegian Nazi party during WWII. ART HISTORY TEACHING RESOURCESABOUTLESSON PLANSRESOURCESE-JOURNALAHTRWEEKLYBOOKS WE LOVE
Art History Teaching Resources (AHTR) is a peer-populated platform for art history teachers. AHTR is home to a constantly evolving and collectively authored online repository of art history teaching content including, but not limited to, lesson plans, video introductions to museums, book reviews, image clusters, and classroom and museum activities. ASSIGNMENTS & RUBRICS Assignments & Rubrics. Written Assignments. The Museum Response Paper template can be used as an assignment once or twice during the semester as a way to a) have your students undertake a concise written exercise that b) asks them to look closely at one object (or two if you’d like them to compare and contrast) and c) also asks them toengage
TWENTIETH-CENTURY PHOTOGRAPHY Background reading might include the survey textbook, a selection of thematic essays from the Metropolitan Museum of Art’s Timeline of Art History, and the Smarthistory essay on twentieth-century photography.. Video resources include the BBC series The Genius of Photography, a great resource from which clips could be viewed in class.The Getty’s video on Dorothea Lange’s Documentary PREHISTORY AND PREHISTORIC ART IN EUROPE Michelle Millar Fisher (author) is a co-founder of Art History Teaching Resources (AHTR) and a PhD Candidate in Art History at the CUNY Graduate Center. She’s been a part-time faculty member at Parsons The New School for Design and an adjunct lecturer at Baruch College. From summer 2019, she is the Ronald C. and Anita L. Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. UNDERSTANDING GEOMETRY AND CATHEDRAL DESIGN THROUGHSEE MORE ON ARTHISTORYTEACHINGRESOURCES.ORGNOTRE DAME CATHEDRAL FACTSNOTRE DAME CATHEDRAL REPAIRSTHE NOTRE DAME CATHEDRAL FIRETHE NOTRE DAME CATHEDRAL FIRETHE NOTRE DAME CATHEDRAL HISTORYTHE NOTRE DAME CATHEDRAL HISTORY JEWISH AND EARLY CHRISTIAN ART This lecture is organized around three themes: art as an expression of religious identity, art as an expression of social standing, and the difference between style and subject matter. Another important point to clarify is the name of this section—students often think that “Jewish” and “Early Christian” apply to style, when it really applies to the subject matter. QUEER ART: 1960S TO THE PRESENT This lecture is a brief overview of the ways in which queer art can intervene in past traditions of art, critique the present, and imagine new futures. Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of CuratorialStudies.
PROTO-RENAISSANCE IN ITALY (1200–1400) The suggested timeframe of 1200–1400 roughly stems from the Italo-Byzantine period in the Late Medieval period to the cusp of the Renaissance. The material included focuses exclusively on Italy, centered on artistic developments in the rivaling schools of painting in the city-states of Florence and Siena. The term Proto-Renaissanceimplies
DECOLONIAL STRATEGIES FOR THE ART HISTORY CLASSROOM Decolonial Strategies for the Art History Classroom A zine for sharing exercises and resources assembled by Amber Hickey and Ana Tuazon “CELTIC” CROSSES AND WHITE SUPREMACISM The so-called “Celtic Cross,” “Sun Cross,” or “Odin’s Cross” that WS groups use is visually quite different from the medieval examples. Generally, it is a simple, bold cross, often equal-armed, and surrounded by a circle. It was developed from a symbol used by the Norwegian Nazi party during WWII. THEMATIC LESSON PLANS Proto-Renaissance in Italy (1200–1400) Northern Renaissance Art (1400–1600) Sixteenth-Century Northern Europe and Iberia. Italian Renaissance Art (1400–1600) Southern Baroque: Italy and Spain. Buddhist Art and Architecture in Southeast Asia After 1200. ChineseArt After 1279.
EUROPEAN AND AMERICAN ARCHITECTURE (1750–1900) One of the best sources is Leland Roth’s Understanding Architecture: Its Elements, History, and Meaning, second edition (Westview Press, 2007).If you are looking for information on European architecture see Barry Bergdoll’s European Architecture 1750–1890 (Oxford University Press, 2000) and Sir John Summerson’s The Classical Language of Architecture, twentieth printing (MIT Press, 2001). QUEER ART: 1960S TO THE PRESENT This lecture is a brief overview of the ways in which queer art can intervene in past traditions of art, critique the present, and imagine new futures. Tara Burk (author) is a Philadelphia-based art historian. Her work appears in places such as WSQ and Journal of CuratorialStudies.
BUDDHIST ART AND ARCHITECTURE BEFORE 1200 All three developed in India, but Vajrayana was, and still is primarily a Tibetan Buddhist practice and is usually discussed later in Survey II—Art and Architecture of India after 1200. In each phase, changes to the Buddhist catechism were made and the images of the faith were adapted accordingly. DECOLONIAL INTRODUCTION TO THE THEORY, HISTORY AND [Ed. note: As the Oxford University Research Center in the Humanities notes, this recent publication “draws on texts from recent picture and image theory, as well as on present-day Amerindian authors, anthropologists and philosophers question the power structure inherent in Eurocentric art discourses and to decolonize art studies, using Brazil’s arts, its theory and history as a case GLOBALISM AND TRANSNATIONALISM Michelle Yee (author) is a PhD student at the CUNY Graduate Center.. Jon Mann (editor) is an Adjunct Lecturer at Lehman College, a Senior Contributor at Artsy, and a lecture contributor and editor at Art History Teaching Resources and Art History Pedagogy and Practice.. Kaegan Sparks (editor) is a PhD student at the CUNY Graduate Center and a Publication Associate in Critical Anthologies at EIGHTEENTH- AND NINETEENTH-CENTURY SCULPTURE The history of eighteenth- and nineteenth-century sculpture is a huge area encompassing various countries and a multitude of techniques and processes that are sometimes difficult for professors to tackle, especially if sculpture is not in their area of expertise. In this lesson plan, I have selected the most prominent and most widelydiscussed
RACE AND IDENTITY
Michelle Yee (author) is a PhD student at the CUNY Graduate Center.. Amy Raffel (editor) is a PhD candidate at the CUNY Graduate Center.She has a Master’s degree in Contemporary Art history from the Institute of Fine Arts (NYU) and has taught Introduction to Modern Art as a Graduate Teaching Fellow at Lehman College since 2010.Currently, Amy is a genome contributor for Artsy and editor and “CELTIC” CROSSES AND WHITE SUPREMACISM The so-called “Celtic Cross,” “Sun Cross,” or “Odin’s Cross” that WS groups use is visually quite different from the medieval examples. Generally, it is a simple, bold cross, often equal-armed, and surrounded by a circle. It was developed from a symbol used by the Norwegian Nazi party during WWII. DECOLONIZING AND DIVERSIFYING ARE TWO DIFFERENT THINGS: A We (Amber and Ana) met in 2018 through our involvement with Interference Archive’s Education Working Group. Interference Archive is a volunteer-run space in Brooklyn centering the cultural production that emerges from social movements through an open stacks archival collection, exhibitions, and events. The Education Working Group facilitates the use of Interference Archive’s resources forHome
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* Prehistory and Prehistoric Art in Europe * Art of the Ancient Near East * Art of Ancient Egypt* Aegean Art
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* Art Since 1950 (Part I) * Art Since 1950 (Part II) THEMATIC LESSON PLANSSEE ALL→ * Art and Cultural Heritage Looting and Destruction * Art and Labor in the Nineteenth Century * Art and Political Commitment * Art History as Civic Engagement * Comics: Newspaper Comics in the United States * Comics: Underground and Alternative Comics in the United States * Disability in Art History* Educating Artists
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li" data-cycle-log="false" data-cycle-pause-on-hover="true"> * Check out our e-journalArt History Pedagogy and Practice * Check out our e-journalArt History Pedagogy and Practice * AHTR WeeklyThe (Contemporary) Art History Mixtape: Setting the Tone in the Classroom with Music * AHTR WeeklyField Notes from an Experiment in Student-CenteredPedagogy
* Contact us!info@arthistoryTR.org * Teaching and Learning ResourcesSoTL Resources * AHTR WeeklyBringing the Museum to AP Art History—a Model forCollaboration
* Lesson PlansIslamic Art ART HISTORY TEACHING RESOURCES (AHTR) is a peer-populated platform for art history teachers. AHTR is home to a constantly evolving and collectively authored online repository of art history teaching content including, but not limited to, lesson plans, video introductions to museums, book reviews, image clusters, and classroom and museum activities. The site promotes discussion and reflection around new ways of teaching and learning in the art history classroom through a peer-populated blog, and fosters a collaborative virtual community for art history instructors at all career stages.FROM AHTR WEEKLY
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Online Teaching
BAPTISM BY FIRE: TIPS AND TACTICS FROM MY FIRST TIME TEACHING REMOTELYNovember 20, 2020
While I’ve had many years of experience working with digital tools and creating digital art history projects, the transition to distance learning provided me with an opportunity to get creative and try some things that were new. Here are a few tips and tricks that I used, which others may find useful as we continue to teach and learn in anonline environment.
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Teaching Strategies
CAN COVID-19 REINVIGORATE OUR TEACHING? EMPLOYING DIGITAL TOOLS FORSPATIAL LEARNING
November 14, 2020
Spatial learning provides exciting possibilities, unhindered by remote learning (and perhaps unbound by it?), combining the brain’s natural aptitude for spatial thinking with the contextualization possible through virtual environments.*
SoTL
CONDUCTING SOTL OF AN ONLINE ART HISTORY COURSE: USING DISCOURSE ANALYSIS OF DISCUSSION BOARDSNovember 1, 2020
For those of us who are just beginning to teach online, the concept of conducting scholarship of teaching and learning in addition to all of the other new responsibilities must sound about as much fun as running a virtual meeting while trying to homeschool new math.*
Teaching Strategies
Tool
RETHINKING THE CURRICULUM BY RETHINKING THE ART HISTORY SURVEYOctober 14, 2020
s a Renaissance art historian I am keenly aware of the passion that can be generated through “classic” works of art from the traditional Western survey, but it is long past the time that we stop prioritizing such a model. Doing so would not only be good for art history, but it might also offer the chance to lead by example for greater inclusivity and equity in higher education more broadly.*
Writing About Art
DECOLONIAL INTRODUCTION TO THE THEORY, HISTORY AND CRITICISM OF THEARTS
September 14, 2020
Written by Carolin Overhoff Ferreira, Associate Professor at the Department of History of ArtFederal at the University of São Paulo, this book “draws on texts from recent picture and image theory, as well as on present-day Amerindian authors, anthropologists and philosophers question the power structure inherent in Eurocentric art discourses and to decolonize art studies, using Brazil’s arts, its theory and history as a case study to do so.”*
Equity in Education
Online Teaching
Reflection
Student Voices
Teaching Strategies
STUDENT VOICES: THE ONLINE SWITCHAugust 14, 2020
Author: Xavier Lopez is a queer art history student who has attended San Francisco State University and Mt. San Antonio College. He is transferring to UC Berkeley this coming fall to pursue a B.A. in Art History. With a focus on Pre-Columbian Art, Lopez hopes to further educate himself on these Indigenous cultures along with*
Assignment
Lesson Plan
Online Teaching
CHOOSE-YOUR-OWN-ADVENTURE FORMAL ANALYSIS:UPDATING A CLASSROOM STAPLE FOR THE AGE OF REMOTE LEARNINGAugust 10, 2020
With some creativity and advanced planning, remote modalities can actually offer important silver linings to the art historical instructor. In particular, a well-designed, intentional rethinking of the classic formal analysis exercise has the potential to facilitate the inclusivity that we as instructors strive to foster.*
Assignment
Online Teaching
WHAT DO YOU SEE THAT MAKES YOU SAY THAT?: GALLERY TEACHING IN THE (ONLINE) ART HISTORY CLASSROOMJuly 31, 2020
This is a reflection on the Hammer Museum Student Educator’s recent shift to digital conversations about art. In the past few months, the educators have transitioned to facilitating conversations about works of art with adult and K-12 groups on Zoom. While the bodily relationship to works of art is lost in the digital sphere, aspects of the educator’s facilitation have become richer and more nuanced.*
Online Teaching
TEACHING ONLINE NOW
July 22, 2020
AHTR was founded as a space of community to share successes, failures, and reflections on teaching art history between peers. It was also founded so folks would not have to reinvent the wheel each time they taught; instead, they could expand the knowledge and experiences of colleagues. With this in mind, we have decided to devote the AHTR _Weekly_ to teaching art history online throughout the coming academicyear.
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Online Teaching
ART IN QUARANTINE ASSIGNMENTJuly 17, 2020
Like many of us, the sudden pivot to online and distance learning has inspired me to be more creative with assessments in the first year survey courses I am teaching this summer. For one particular assignment I am asking students to do their own Art in Quarantine challenge recreating works of art from our syllabus using themselves and objects from their own homes.*
Equity in Education
OER
Online Teaching
Tool
ART + FEMINISM REMOTE LEARNING GUIDEJuly 11, 2020
ART+FEMINISM HAS TOOLS FOR TEACHING WITH WIKIPEDIA THAT CAN BE EASILY ADAPTED FOR REMOTE LEARNING AND REMIXED TO ANY SUBJECT MATTER. These tools are made for the virtual space, creating a rich opportunity for students to contribute directly to the act of knowledge sharing and information advocacy while honing research and writing skills.*
CAA
Reflection
Teaching Strategies
THE ART HISTORY GENERALIST: CHALLENGES, STRATEGIES AND THE FUTURE OF TEACHING ART HISTORYMay 22, 2020
This week’s post is a summary of a CAA 2020 session panel of the same name. Introduction I’m an art history generalist in the School of Art & Design at the University of Wisconsin-Stout with my ArtHistoryTeachingResources.org is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
AHTR is grateful for funding from the Samuel H. Kress Foundation and the CUNY Graduate Center.Details
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