A Statement on the Place of the History of Art in the Liberal Arts Curriculum

1944 ◽  
Vol 3 (3) ◽  
pp. 82 ◽  
Author(s):  
Millard Meiss ◽  
Alfred H. Barr ◽  
Sumner McK. Crosby ◽  
Sirarpie Der Nersessian ◽  
George Kubler ◽  
...  
Keyword(s):  
Liberal Arts ◽  
History Of Art ◽  
Arts Curriculum ◽  
History Of

Teaching With the Archive When the Archive Shuts Down

2021 ◽  
Vol 28 (2) ◽  
pp. 113-126
Author(s):  
Rebecca Maatta
Keyword(s):  
Liberal Arts ◽  
Medical Humanities ◽  
Book History ◽  
Ethical Issues ◽  
Human Remains ◽  
Health Sciences ◽  
Women's Bodies ◽  
Final Project ◽  
History Of Art ◽  
History Of

In this essay, I discuss the design of “Anatomy and the Archive,” a 300-level writing-intensive medical humanities class for students in the health sciences and liberal arts, and how I adapted when the 2020 COVID pandemic disrupted our plans to mount a gallery exhibition of archival anatomical textbooks as its final project. Students read about medical museums, the history of art and anatomy, book history, and ethical issues surrounding working with human remains, and they visited our campus’s cadaver lab. Experts in these fields guest lectured via Zoom and assisted students remotely to assemble the exhibition. When we were unable to visit a local archive or the gallery space, we brought some of the archive to the classroom and watched video tours of the gallery. Students successfully designed an exhibition “Between Beauty and Knowledge: Women’s Bodies in Anatomical Atlases,” which will open once COVID restrictions have lifted.

Anonymous IV as an Informant on the Craft of Music Writing

2006 ◽  
Vol 23 (3) ◽  
pp. 375-425 ◽  
Author(s):  
JOHN HAINES
Keyword(s):  
Liberal Arts ◽  
Euclidean Geometry ◽  
Practical Work ◽  
Music Notation ◽  
13Th Century ◽  
Arts Curriculum ◽  
History Of ◽  
University Of Paris ◽  
The University

ABSTRACT For the 13th-century music writer known as Anonymous IV, the craft of music writing was a primary literary concern, though one virtually ignored by previous modern writers on music. The importance of music writing to Anonymous IV is evident from the variety and quantity of references in his treatise, many of which are found in its central second chapter. This information-rich chapter includes a history of music notation and a miniature handbook for music scribes. The Anonymous is indebted to the then recent surge in production of how-to manuals of all kinds; his miniature handbook for music scribes partakes of their style and vocabulary. This practical work of Anonymous IV is tied to the revival of Euclidean geometry in the liberal arts curriculum at Paris. The specialized geometric terms he uses are attested in numerous sources, including student handbooks from the university. It is possible that the anonymous writer came under the spell of Roger Bacon, also an Englishman at the University of Paris in the late 13th century, whose writing and pedagogy reveal several similarities with the music treatise of Anonymous IV.

The History of Art

1876 ◽  
Vol 2 (46supp) ◽  
pp. 733-734
Keyword(s):  
History Of Art ◽  
History Of

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Curriculum Reform: Expanding Cultural Awareness Within the Liberal Arts Curriculum

1993 ◽  
Vol 2 (2) ◽  
pp. 11-11
Author(s):  
William F. Price ◽  
Douglas R. Wilmes
Keyword(s):  
Curriculum Reform ◽  
Liberal Arts ◽  
Cultural Awareness ◽  
Arts Curriculum

Technology «culture of dialogue» in education specialists in history of art

2017 ◽  
Vol 4 ◽  
pp. 179-183
Author(s):  
Anna Yur’evna Demshina ◽  
Keyword(s):  
History Of Art ◽  
History Of

Marxism and the History of Art

2015 ◽  
Keyword(s):  
History Of Art ◽  
History Of

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

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