E-books: Art

The challenge of how to integrate art and technology in education faces educators all around the world. Approaches for addressing this challenge in ways that enhance the learner's educational experience can be found in different cultures and in different disciplines. Embracing the idea of collaboration among art and technology educators and practitioners, was what Menano and Fidalgo proposed to the authors of the chapters in this book. This book presents ideas that help educators to re-evaluate and re-think how to approach art and technology in the educational setting and offers solutions to develop new experiences for students and communities. Each chapter presents teaching practices and successful activities that address the challenges facing art and technology education professionals. Along with descriptions of the learners, the settings, the schools and the communities in which they work, the authors share their thoughts and concerns about the changing educational landscape around them. The authors are respected and experienced instructors who are engaged with the use of art and technology and each chapter reflects the authors' diverse practices, their students at different educational levels, and the different educational and socio-cultural contexts in which the learning and teaching takes place. The authors hope that the varied approaches presented in this book will motivate educators to connect beyond the classroom as well as to embrace new strategies and think more creatively and broadly about educational practices.

This provocative study asks why we have held on to vivid images of the Nazis' total control of the visual and performing arts, even though research has shown that many artists and their works thrived under Hitler. To answer this question, Pamela M. Potter investigates how historians since 1945 have written about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts have been colored by politics of the Cold War, the fall of communism, and the wish to preserve the idea that true art and politics cannot mix. Potter maintains that although the persecution of Jewish artists and other "enemies of the state" was a high priority for the Third Reich, removing them from German cultural life did not eradicate their artistic legacies. Art of Suppression examines the cultural histories of Nazi Germany to help us understand how the circumstances of exile, the Allied occupation, the Cold War, and the complex meanings of modernism have sustained a distorted and problematic characterization of cultural life during the Third Reich.

Art in England fills a void in the scholarship of both English and medieval art by offering the first single volume overview of artistic movements in Medieval and Early Renaissance England. Grounded in history and using the chronology of the reign of monarchs as a structure, it is contextual and comprehensive, revealing unobserved threads of continuity, patterns of intention and unique qualities that run through English art of the medieval millennium. By placing the English movement in a European context, this book brings to light many ingenious innovations that focused studies tend not to recognize and offers a fresh look at the movement as a whole. The media studied include architecture and related sculpture, both ecclesiastical and secular; tomb monuments; murals, panel paintings, altarpieces, and portraits; manuscript illuminations; textiles; and art by English artists and by foreign artists commissioned by English patrons.

Art and Value is the first comprehensive analysis of art's political economy throughout classical, neoclassical and Marxist economics. It provides a critical-historical survey of the theories of art's economic exceptionalism, of art as a merit good, and of the theories of art's commodification, the culture industry and real subsumption. Key debates on the economics of art, from the high prices artworks fetch at auction, to the controversies over public subsidy of the arts, the 'cost disease' of artistic production, and neoliberal and post-Marxist theories of art's incorporation into capitalism, are examined in detail. Subjecting mainstream and Marxist theories of art's economics to an exacting critique, the book concludes with a new Marxist theory of art's economic exceptionalism.

Munch'sThe Scream. Van Gogh'sStarry Night. Rodin'sThe Thinker. Monet'sWater Lilies. Constable's landscapes. The 19th century gave us a wealth of artistic riches so memorable in their genius that we can picture many of them in an instant. At the time, however, their avant-garde nature was the cause of much controversy. Professor Laurie Schneider Adams vividly brings to life the paintings, sculpture, photography and architecture, of the period with her infectious enthusiasm for art and detailed explorations of individual works. Offered fascinating biographical detailsand the relevant social, political, and cultural context, the reader is left with a deep appreciation for the works and an understanding of how revolutionary they were at the time, as well as the reasons for their enduring appeal.