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 ...