Art art history articles for middle school History Teaching Resources

s a Renaissance art historian I am keenly aware of the passion that can be generated through “classic” works of art from the traditional Western survey, but it is long past the time that we stop prioritizing such a model. Doing so would not only be good for art history, but it might also offer the chance to lead by example for greater inclusivity and equity in higher education more broadly.
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Art art history articles for middle school History Teaching Resources
Art art history articles for middle school History Teaching Resources
This is a reflection on the Hammer Museum Student Educator’s recent shift to digital conversations about art. In the past few months, the educators have transitioned to facilitating conversations about works of art with adult and K-12 groups on Zoom. While the bodily relationship to works of art is lost in the digital sphere, aspects of the educator’s facilitation have become richer and more nuanced.
Equity in Education Online Teaching Reflection Student Voices Teaching Strategies
Author: Xavier Lopez is a queer art history student who has attended San Francisco State University and Mt. San Antonio College. He is transferring to UC Berkeley this coming fall to pursue a B.A. in Art History. With a focus on Pre-Columbian Art, Lopez hopes to further educate himself on these Indigenous cultures along with
For those of us who are just beginning to teach online, the concept of conducting scholarship of teaching and learning in addition to all of the other new responsibilities must sound about as much fun as running a virtual meeting while trying to homeschool new math.
While I’ve had many years of experience working with digital tools and creating digital art history projects, the transition to distance learning provided me with an opportunity to get creative and try some things that were new. Here are a few tips and tricks that I used, which others may find useful as we continue to teach and learn in an online environment.
Written by Carolin Overhoff Ferreira, Associate Professor at the Department of History of ArtFederal at the University of São Paulo, this book “draws on texts from recent picture and image theory, as well as on present-day Amerindian authors, anthropologists and philosophers question the power structure inherent in Eurocentric art discourses and to decolonize art studies, art history articles for middle school using Brazil’s arts, its theory and history as a case study to do so.”

How do public art museums function today? Who selects the objects on display and defines the stories that are constructed? What are the value systems underpinning how museum collections and exhibitions operate? Join a three-part series of live online conversations with artists, students, and staff of the MFA Boston, exploring some of the critical questions, structures and processes that guide our museum work today.
By Aly Meloche and Francesca Albrezzi February 10th marks the beginning of a CAA annual meeting that promises to be unlike any other. Normally, many of us look forward to the annual meeting as an opportunity to catch up with colleagues from around the world and hear new ideas for research and teaching. It’s strange
AHTR was founded as a space of community to share successes, failures, and reflections on teaching art history between peers. It was also founded so folks would not have to reinvent the wheel each time they taught; instead, they could expand the knowledge and experiences of colleagues. With this in mind, we have decided to devote the AHTR Weekly to teaching art history online throughout the coming academic year.
Like many of us, the sudden pivot to online and distance learning has inspired me to be more creative with assessments in the first year survey courses I am teaching this summer. For one particular assignment I am asking students to do their own Art in Quarantine challenge recreating works of art from our syllabus using themselves and objects from their own homes.
Spatial learning provides exciting possibilities, unhindered by remote learning , combining the brain’s natural aptitude for spatial thinking with the contextualization possible through virtual environments.
With some creativity and advanced planning, remote modalities can actually offer important silver linings to the art historical instructor. In particular, a well-designed, art articles new york times