Art and Design The New York Times
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The book feels a bit out of date as it is, though not in danger of becoming more so over time. The PDF interface was a strength of this work - links to outside content supplement the text. Still, there is room for more of this type of content in this text. The authors are consistent in their use of terminology throughout and each chapter is set up the same.
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As mentioned below in “Clarity”, the writing is clear—but undergraduate students might be more immediately engaged with the material if it was more often connected to a contemporary iteration of the social issue at hand. We are introduced to Maria Luisa of Parma immediately within the Class section (8.3.4)—which I find quite interesting. However, I wonder if an undergraduate or non-major might desire a class reference that they can relate more to? At least at first, and then delve into something more “historical”? I’m thinking a bit of the Oxford University Press’ A Very Short Introduction series here. Overall, this is a great introductory text that discusses important styles, concepts and historical context.
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The text does reference itself (i.e. "this text," etc.) on occasion, but such references are minimal. The text gives examples of varied types of art from diverse cultures. There are good visual examples from historical to contemporary. The text is well-written, easy to read, and follows a natural hierarchy of information. Visually, the page formatting is digestible, easy to follow, and well organized. This text is more inviting than other digital resources because of the visual design system in place.
Art and Design
We will outline eight art principles below, with some grouped together, and a brief explanation of each. These are, namely, balance, contrast/emphasis, movement, rhythm, variety, unity/harmony, pattern/repetition, proportion, and scale. Pamela Sachant is an art history professor at North Georgia College & State University located in Dahlonega, Georgia. The text compares works of art from different cultures and seems inclusive, objective, and balanced in terms of the items included and the content. The chapters and sections within the chapters are clearly delineated. There are on average, eight sections in every chapter, making it easy to divide the text into discrete units and easy to refer to specific topics.
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I also found the subheadings to be very thoughtful in expounding upon the overall topic in each respective chapter. It is very easy to navigate through the various subunits, and the overall content is very appropriate in building an effective discussion of the various topics at hand. Another strength of this text is its consistency in presenting and disseminating content. The authors developed a number of components that are found in each chapter which draw the reader's attention to recognizing and applying key concepts. I found each chapter to be clearly and effectively structured, with appropriate subheadings and use of bold text to highlight important ideas and terms. I also found that the overall content maintained a consistency in tone, in spite of the fact that multiple contributors were working on any given chapter.
It provides readers with the foundational tools of understanding how to more formally assess art and the creation of many different kinds of visual representation. There are plenty of cultural references to the context of historical examples as well as the impact that art and design has had on society and the importance of art as a timeless reflection of the world. The structure of the book is an easy introduction into many different aspects of the study of art. I really enjoyed the inclusion and focused chapter on architecture within the greater context on art.
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. 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.
The text covers a broad survey of art including many art forms. Photography, digital media and relational aesthetics examples are lacking throughout the text. Chapters include examples of Western and non-Western art and architecture.
The text is written in organized and well-flowing prose that introduces and explains the ideas, the technical terminology, and the historical flow of the material it covers. Using hyperlinks to supplemental content is a terrific way for students to obtain details on particular objects. This text represents an important contribution in the effort to make art and the study of art accessible to students. Undergraduates studying art appreciation will benefit from the accessible prose, clear design layout, and high-quality in-text illustrations. The text is arranged thematically rather than chronologically and is internally consistent throughout. Each chapter is well organized and easy to follow with a consistent arrangement that will be especially helpful for students as they study key points presented in the text.
In addition, often I felt a bit confused when I started reading about a work of art that did not have a printed picture to accompany it. I found myself glancing around the page trying to find the image that I was reading about only to see that later in the paragraph there was a link. Perhaps having the link at the beginning of the paragraph would have worked better. Plus, it would serve as a notice that the following text is about an image that needs to be viewed via a link. A few of the links brought me to pages that were no longer active.
The text begins generally, moves to historical, practical, and knowledge-based content, and finishes with conceptual/philosophical content. One area to improve might be in the learning outcomes at the beginning of each chapter. While many of verbs are measurable such as identify, name, analyze, distinguish, explain, etc., the verb "understand" is used frequently in the outcomes and is not measurable based on Bloom's Taxonomy of educational objectives. The text focuses mainly on historical art history, and will not quickly become obsolete. The text would be quite accessible for undergraduate college or university students. The concepts discussed are adequately introduced and the terms are well defined.
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