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Archive for the ‘Teaching with ARTstor’ Category

 

Home   K 12 Artstor Student Guide   LibGuides at Artstor

After a laborious summer, we’re thrilled to announce our new K-12 LibGuides! These guides will help students, faculty, and school librarians get started–or become experts–using the Artstor Digital Library. Find them side by side with the higher education LibGuides at artstor.libguides.com. As with all our guides, we encourage you to reuse them!

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We are introducing a new resource featuring more than 75 images on the topic of biomimicry. Find it in the Artstor Digital Library’s Teaching Resources area: Teaching Resources > Case Studies > STEM to STEAM > Stem to Steam: The Anatomy of Design

 

Title: Flying Man, Model of Leonardo's Invention; Image ID: SCAL

After Leonardo da Vinci; original design: c. 1488; Museo nazionale della scienza e della tecnica “Leonardo da Vinci”. Image and original data provided by (c) 2006, SCALA, Florence/ART RESOURCE, N.Y.; artres.com; scalarchives.com

Throughout history we have looked to nature to define and devise systems of design. Leonardo’s Vitruvian Man embodies the dominance of the concept of anthropomorphic balance during the Renaissance. The perfect proportions of man are contained within the ideal geometric shapes of the square and the circle, as if the artist had given graphic proof to the metaphysical declaration of the Greek philosopher Protagoras: man is the measure of all things. Consider our units of measurement, such as the foot and the cubit (from the Latin for forearm) established by the ancients, the braccio (Italian for arm), the pouce (French for thumb, meaning inch), whereby mathematical ratios in architecture were based on the proportions of the human figure.

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Love LibGuides? We do too. We’re thrilled to announce our new LibGuides aimed at helping students, faculty, and even librarians get started–or become experts–using the Artstor Digital Library. View them on our home page at artstor.libguides.com, and please feel free to reuse them as you see fit; you have our permission!

Our faculty guide covers everything faculty need to know about presenting and teaching with Artstor Digital Library–from giving presentations using the tools within the database to sources for information about using primary source materials in the classroom. Also included are tips for faculty looking to support their students’ research habits, including links to the Library of Congress’ page on citing images, and in-resource tools like the citation generator and image download features.

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Justin B. Makemson, PhD, assistant professor of art and the art education program coordinator at Belmont University in Nashville, TN, contributed this essay, part of a study of selective artistic self-identification.

Creative action is defined largely by the artist’s relationship to significant artistic others. Even the youngest of emerging artists are acutely aware of images and objects that surround their own creative explorations. To help address the social negotiations of artistic self-identification and specifically to parse the creative influence of significant artistic others, I developed a comparative visual research method for my dissertation work at Indiana University that combined the analysis of prompted Artstor Digital Library searches with an examination of student portfolios, narrative self-histories, and more traditional portraiture research methods. The purpose of my research was twofold: To better understand the events and circumstances associated with the development of students’ artistic identity and awareness/ownership of that identity; and to draw insight from the examination of a group of seven students that might be expanded to benefit the field of art education.

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By Joseph Costello, Medical Librarian, Western Michigan University Homer Stryker M.D. School of Medicine

Head of Laocoon, c. 100. Foto Reali Archive, National Gallery of Art, Department of Image Collections.

Head of Laocoon, c. 100. Foto Reali Archive, National Gallery of Art, Department of Image Collections.

Prompt: Imagine the human expression of anguish. An amalgamation of stories, artwork, and social interactions blend together and you have your general concept of the human expression: anguish. The concept of anguish is correct to you since it is, after all, your portrayal; the anguish concept is a component in the overall conceptual framework you have constructed to assess emotional expressions. How accurate are you? In other words, how accurate are your visual detection skills of anguish or other emotions, how generalizable?

Accurate interpretation of facial expressions—the aggregate of minute facial movements we make, i.e. micro expressions—is believed to be associated with increased emotional intelligence. Researchers have shown that facial expressions can be generalized and successfully be a part of empathy training. Similarly, modern medicine generalizes the human body to find the distribution of values which in turn help generate a normal range.

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square_logo (2)Join us to discover how community colleges around the country are using image-based learning with the Artstor Digital Library to support and enliven a wide variety of classes, develop important Visual Literacy skills, and to build projects that encourage deeper engagement from students.This webinar will also feature an overview of the interdisciplinary teaching resources that Artstor has created to make lesson planning and assignments easier.

The session will run for 30 minutes and questions are welcomed during and after the presentation.

Sessions:

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Wangechi Mutu, A Little Thought for All Ya'll Who're Thinking of Beating Around the Bush

Wangechi Mutu, A Little Thought for All Ya’ll Who’re Thinking of Beating Around the Bush, 2004. Contact: Alexandra Giniger, Studio Manager, Wangechi Mutu Studio ali@wangechimutu.com

Next week we will offer Teaching Global Contemporary Art in AP® Art History, the second in our series of occasional webinars on works of art and architecture in the AP® Art History curriculum. To help us navigate this topic, we have enlisted art historian Dr. Virginia Spivey as our guest presenter. Dr. Spivey specializes in the art of the late-20th and 21st centuries and the scholarship of teaching and learning in art history (you can read about her many achievements below).

Global Contemporary Art is represented in the curriculum framework by 27 works of art; after polling a group of AP® Art History teachers, Dr. Spivey has settled on the work of five artists: Emily Kame Kngwarreye, Mariko Mori, Wangechi Mutu, Xu Bing, and Bill Viola.

Please join us Monday, April 4th at 7PM EST for a lively discussion on these contemporary artists and the art and ideas that influence them. Register here.

— Dana Howard, Senior K-12 Relationship Manager

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For more than 19 years, Dr. Virginia Spivey has taught in museum and academic settings, where she has received two university teaching awards and multiple nominations. Since 2009, she has worked independently, providing expert content and developing curricular resources for clients including Pearson-Prentice Hall and Smarthistory at the Khan Academy while teaching part time at Georgetown, the George Washington University, and the Maryland Institute College of Art. Dr. Spivey recently revised the chapter on “Art since 1950” as a contributing author to Stokstad’s Art History (forthcoming 2016) and is currently working with the National Gallery of Art to redesign their docent training curriculum in art history. Since 2014, she has been a contributing editor at AHTR, a peer-populated open educational resource and online community for art history instructors, where she served as project leader to create Art History Pedagogy and Practice, an academic e-journal slated to launch in fall 2016.

AP® and Advanced Placement® is a trademark registered and/or owned by the College Board, which was not involved in the production of, and does not endorse, this website.

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