Art History

Annotated Bibliography
Student's Name
Institutional Affiliation
Instructor's Name
Date
Gasper-Hulvat, Marie. "Active learning in art history: A review of formal literature." Art History Pedagogy & Practice 2, no. 1 (2017): 2.
The author, Marie, surveys academic literature regarding active learning linked to art history. The scholar highlights the mixture of models art history utilizes for active listening. From her survey, Marie reveals that art history courses have embraced the transfer-of-information model, which highly enhances active listening. Although students may oppose active learning, the lecture-based option can fail to empower critical analysis skills.
Besides, instructors who embrace unfamiliar pedagogical practices that differ from intramural fellows' approaches often face a challenge in attaining active learning. Here, Marie describes the idea as anything that enables learners to do the things they think about.
This definition emphasizes active learning's aspect of developing higher-order thinking and skills. Besides, the author points out the role of constructivist perception in explaining active learning.
She reveals that reflection and experiences produce knowledge. In the same sense, art history refers to a discipline that entails the study of objects, contributing to learners' active learning. Hence, based on the article, one can learn how active learning impacts artwork in schools to realize better student outcomes. Therefore, art instructors should consider active learning to facilitate art education.[Gasper-Hulvat, Marie. "Active learning in art history: A review of formal literature." Art History Pedagogy & Practice 2.1 (2017): 2.]
Millett-Gallant, Ann. Disability and Art History. Edited by Ann Millett-Gallant, and Elizabeth Howie. London and New York: Routledge, 2017.
The authors elaborate on the link between art history and disability. In doing so, the two scholars indicate that disability is essential in art. Multiple chapters in this book explore models in which art reacts to a disability, foresees it, and in some cases, pathologizes and stereotypes disability while posing concerns regarding the visibility of disability. Along the same lines, various book sections raise questions concerning conventional diagnostic perceptions, both psychological and physical made, regarding disability.[Millett-Gallant, Ann. Disability and art history. Eds. Ann Millett-Gallant, and Elizabeth Howie. London and New York: Routledge, 2017.]
In the second half of the 20th century, disability studies followed the civil rights and feminist movements. Art history also holds that artwork represents an object that visually represents an experience or idea that forms a linked but distinct experience in the viewer.
Art history's analysis of production, aesthetics, and ancient context significantly gives disabled individuals a sense of belonging to a caring society. By doing so, individuals oppose the common perception in medicine that the disabled population is disadvantaged.
Bishop, Claire. "Against digital art history." International Journal for Digital Art History 3 (2018).
Claire Bishop reacts to two significant concerns impacting contemporary art history. These two issues comprise the computational turn in humanities and digital technology. Before the late 19th century, art historians maintained using casts, originals, prints, verbal descriptions, and sketches to disseminate and support their research.[Bishop, Claire. "Against digital art history." International Journal for Digital Art History 3 (2018).]
Claire holds that shifts in art history indicate a positive change following the introduction of technology. However, Claire disregards digital art claiming that it comes with multiple disadvantages like reducing the creativity levels in individuals. The approach also facilitates changes in how things are done to impact efficiency.
Distant learning is a significant critique of the systems in which these services thrive. The author encourages more research on new models of art that replace digital art. Thus, the article serves as a crucial resource for understanding artwork in multiple periods in history and contemporary society.
Elgammal, Ahmed, Bingchen Liu, Diana Kim, Mohamed Elhoseiny, and Marian Mazzone. "The Shape of Art History in the Eyes of the Machine." In Proceedings of the AAAI Conference on Artificial Intelligence, vol. 32, no. 1. 2018.
The article is excellent material for understanding artistic ideas. Its authors include Ahmed Elgammal, Diana Kim, Bingchen Liu, Mohamed Elhoseiny, and Marian Mazzone. These scholars offer multiple ideas, suggesting machines can learn internal representations and encode discriminative elements via visual analysis.
Nonetheless, such representations prove not to be interpretable. The article further conducts a comprehensive survey of multiple modern neural networks utilized in the style classification task. According to Heinrich Wolfflin, the mentioned elements were linked to style patterns. Besides, multiple learned representations consistently reveal specific artists as distinctive representatives of their styles that quantitatively ascertain art historian observations.[Elgammal, Ahmed, et al. "The shape of art history in the eyes of the machine." Proceedings of the AAAI Conference on Artificial Intelligence. Vol. 32. No. 1. 2018.]
Hence, based on the reading, it is correct to argue that machines play a crucial role in artwork. Personally, this material proves essential in my future art practice. Authoritative agencies have a role in promoting technological transformations.
Grant, Catherine, and Dorothy Price. "Decolonizing art History." Art History 43, no. 1 (2020): 8-66.
Grant and Price created an article focusing on the decolonization of art history. The two scholars explain the topic in detail. They reveal that the concept can be described based on two levels. The first one is decolonizing the curriculum, which represents what is taught in schools. The second level entails an evaluation of how what is taught is unlabeled.
Based on changing the curriculum, the above authors propose implementing learning models that eliminate the normative hierarchies, negatively affecting the artwork. The idea of unlabeled knowledge represents the extent to which what is taught is perceived in multiple races. Besides, the article critically evaluates the implications of art history decolonization in research. It stipulates that the procedure facilitates improved adoption of new research methods to detect detailed information on the new curriculum proposed for implementation.[Grant, Catherine, and Dorothy Price. "Decolonizing Art History." Art History 43, no. 1 (2020): 8-66.]
The authors state that art history decolonization should happen in every location and instance as routine work. Just as ending heteronormative, racist, and patriarchal assumptions would occur daily, so should art history decolonization.
Kılıç, Yurdagül. "From object to image–image to object: conceptual art." İdil Sanat ve Dil Dergisi 6, no. 30 (2017): 511-527.
Yurdagul Kilic wrote the article on art transformation from object to image and image to object. This material explains the conceptual art perceived to have arisen as a new idea at the end of the 1960s. The author further explains the emergence of conflict in the art world. However, with the emergence of art movements supported by postmodernism, the object gained various meanings in different places and times. With time, the definitions shifted to conceptual art.[Kılıç, Yurdagül. "From object to image–image to object: conceptual art." İdil Sanat ve Dil Dergisi 6, no. 30 (2017): 511-527.]
The term grew in opposition to commercial developments. Hence, the author evaluates these changes in detail to detect multiple concepts, like the impact of technology on art tra...