Conditions of Use
The author puts this together for what some people call a "Multicultural Art History" course, so voices from the Global South are most present. You won't find a comprehensive "canon" of art history here, but in some ways a reparative effort. It's... read more
The author puts this together for what some people call a "Multicultural Art History" course, so voices from the Global South are most present. You won't find a comprehensive "canon" of art history here, but in some ways a reparative effort. It's long and there is no index for a quick look at what artists and ideas it covers. Each section has a "where do I go from here" wrap up at the end with bibliography. Images vs text is often a trade off for art history textbooks, and this one seems to provide much more text than images.
Generally seems accurate and unbiased, although the reparative work and political nature of the art chosen is not neutral. It might be critiqued also for not going "far enough".
This book does a solid job situating itself within the scope of art history texts, and identifying others and their main focal areas. I have always had to search out that information separately so I love seeing it here! I'm not sure a typical survey class, which seems what this book is most targeted for and useful for, would have time to address this in depth.
This type of writing seems really accessible for a student today, addresses important ideas in a way that's easy to engage with. Some parts seem a little informal.
Sections do a pretty good job traveling between global regions. Some sections (ie "What is Divine?" feel much longer and more comprehensive than others (ie "Who are We?"), but these can also tend to drag. There is some overlap in sections, referencing back to ideas, cultures, and artists discussed previously. This might help with retention and connecting the themes of each section together. In fact many sections link directly to other sections.
Yes - modularity is a strength of this book. Each section is driven by a guiding question, and the text seems like it could easily be used in part or in full. It might lend itself well to a course integrating art history with studio practice because of this focus on inquiry and thematic threads.
It's a tough task for an art history book to toe the line between chronological and geographical and thematic order. I think this one does a decent job with that. Some of the transitions between artworks are a little sudden and might leave students feeling disoriented.
Links out to other resources are helpful! The amount of these might be overwhelming for students and/or fragment the flow of their reading, especially if they're not given direction about which to pay attention to. There are lots of quirky visual elements included throughout (drawings from students, maps and charts visualizing art historical ideas and trends, etc). In general the book has lots of big blocks of text which might be overwhelming to some students.
I've spotted a few errors but nothing overly distracting. Well, any grammatical error is a little distracting to me.
The book opens with a first work from Japan about family, hierarchy, and order; a second one from Iran exploring gender from an Islamic perspective; and third an Indigenous work about two-spirit, non-binary identity. It's not shying away from tough topics, and it's drawing connections between different cultures.
It's great to see a text like this, however I'd probably continue using resources like Khan Academy and Smarthistory for a college level art history survey course. Khan for example has more flexible modularity (I can choose artworks from the canon OR repairing it), modality flexibility (some artworks have text and video options), and a chance to hear two art historians dialogue about artworks.
If I were teaching a Multicultural Art Survey, this would be a more appealing option. It's working similarly to the book "Real Spaces" by David Summers (review here: http://www.caareviews.org/reviews/585) though this text has a much less western focus, and is probably more manageable in size, scope, and writing style for most students.
Made specifically for a global art history course, this resource is different from traditional art history textbooks. Unlike conventional surveys of global art, it is organized thematically rather than chronologically or geographically. The... read more
Made specifically for a global art history course, this resource is different from traditional art history textbooks. Unlike conventional surveys of global art, it is organized thematically rather than chronologically or geographically. The themes are based on “human questions” that are answered by objects from a variety of non-Western cultures that best relate to the theme. Each culture is not covered as a discrete whole. This approach is fresh and novel but makes it difficult to evaluate the question of comprehensiveness. The focus is primarily on the cultural contexts of the objects. It lacks the component of formal analysis found in more traditional art history textbooks. The textbook does not have an index or glossary. I did find that the introduction to the Western Canon of art history presumed some prior knowledge.
I am not an expert in all of the objects and cultures covered by the textbook, however, the information provided in the textbook seems to be accurate and error-free. It does have an explicit bias to break away from the Western canon of art history to provide a more inclusive view of art. It prioritizes indigenous traditions from the point of view of decolonization. This bias is discussed in the introduction to the textbook. In my opinion, an instructor who adopts this resource would need to subscribe to the same priorities.
The textbook is quite up-to date. The sources are timely and represent current thinking in the field. The introduction states that necessary updates to the text will be relatively straightforward to implement. The introduction also explains that the authors will even consider adding excellent student research papers or projects if they are sent to them.
The textbook is purposely written in an informal tone that avoids academic jargon. The informality makes the text clear and accessible. The downside of this is that students are not introduced as effectively to the language of art history as they would be in a more-traditional textbook.
The textbook is consistent in its pedagogical framework and use of terminology.
Due to the thematic structure of the textbook, I think it would be difficult to carve it into modules to adapt to a differently-organized course. For example, in a more traditional course, an instructor might cover a unit on the art of Mesoamerica. The information about art from Mesoamerica in this course is distributed throughout the thematic units. It would be challenging to extract the information. It would be possible to reorder the themes. They do not follow a particularly discernible logic.
The textbook has a clear introduction that explains the authors’ approach to designing the textbook. Beyond the introduction, it is broken into thematic chapters. These chapters do not seem to seem to follow any particular internal logic, except the chapters on key life events are ordered chronologically. I don’t think this is necessarily a weakness of the textbook, depending on an instructor’s plan for the course.
I did not encounter any interface issues. The navigation in the online text version was straightforward and easy to understand. The course has many links in it, which are easy to use.
I did not encounter any grammatical errors.
The textbook is inclusive of a variety of races, ethnicities, and backgrounds in the authors and in its content. This is a key goal of the resource, as described in the section “Where does art come from? An introduction.” Many authors contributed to writing the course, which helps to expand its inclusiveness.
As shared before, the focus of the book covers subjects within the scope of particular cultures as needed by the course it was designed for. I would say it was mostly appropriate. I couldn’t seem to find a glossary or index. Some information... read more
As shared before, the focus of the book covers subjects within the scope of particular cultures as needed by the course it was designed for. I would say it was mostly appropriate. I couldn’t seem to find a glossary or index. Some information instead is covered through the chapter, “How to Read this Book & Land Acknowledgement” but having an organized glossary and index would be especially helpful.
To my knowledge, content seems accurate. The delivery of information does seem to pull readers into very specific conclusions, but this may be due to the nature and needs of the course it was created for.
This text consistently works to associate the topics with questions that are relevant to today’s reader in the US. Beyond art history, this book, while approaching broad topics and bringing great context to the table, has a specific focus for the artwork covered, so it probably would not be the only textbook to be used in a general art history or art appreciation course. In the about section, it is clarified that the text was created “for the UTA core curriculum art history introductory course” which is ART 1317 “Arts of Africa, Asia, Islam, Oceania, and the Indigenous Americas.” This is meant to tell specific stories and perspectives of the mentioned cultures and religions only. However, Judeo-Christian faiths are mentioned in contrast to other religions, but assume prior knowledge of the reader; so if you do not have a basic understanding of those belief systems, you can end up with a kind of “caricature” of how those faiths operate.
What is also interesting is how much cultural, historical, and historical background is given to provide context into a region. Sometimes at the risk of trailing off topic, but I think this context really helps the reader overall in understanding how an artwork “fits” within its time and place.
This book seems very clear as well as accessible to it readers. Context and definition are often given to new terms and concepts.
This felt consistent from chapter to chapter, and terminology and framework often repeated as needed.
One could probably try to read select chapters without reading previous chapters, however the text does make reference to prior reading (eg. Maize God of the Olmec is referenced a few times after it is introduced in earlier chapters). Outside references and resources were included throughout. I reading the online publication, the incorporation of video as well within chapters is a great resource and addition.
Instead of focusing on a particular era or culture or style, each chapter covers a particular topic or question that can be addressed through art.
For instance, the chapter “what is Divine” uses a variety of examples of art from different cultures to demonstrate how these cultures and religions have answered such a question. This is a refreshing layout, however I do wish there were a more structured introduction or perhaps wrap up to each chapter. When looking at multiple examples over a chapter, it can help to have key points (maybe bullet points) drafted out. On that note, I do like the links provided at the end of each chapter, allowing for further learning of a topic.
Something I had not seen before was the use of digital illustrations to represent some artworks, due to licensing. It was not a issue to click links to visit the full image of the actual artworks elsewhere but it was a curious choice ( a downside being that some links are no longer available to view.) The incorporation of video as well within chapters is a great resource and addition.
To the best of my ability, I did not notice any grammatical errors.
What is also interesting is how much cultural, historical, and historical background is given to provide context into a region. Sometimes at the risk of trailing off topic, but I think this context really helps the reader overall in understanding how an artwork “fits” within its time and place. This focuses on specific cultures, due to the nature of the course it was designed for.
I would specify that the book has more of a social, possibly political, and anthological focus, rather than a general study of art. The example essays at the end give a good demonstration of how this focus shapes the views and topics of that particular course. While not a replacement of text for a general art course, this would be a great book to direct students to for a better scope of how art tells us about society, especially those that are not always recognized in more western-focused books. I definitely plan to incorporate some of the content into my AR115 Intro to Art course next year, as many of the artworks and cultures are ones we cover in our current textbook. A reframing of content and more context and historical background (both offered by this textbook)is helpful!
Table of Contents
- About the Publisher
- Accessibility Statement
- About This Project
- How to Read this Book & Land Acknowledgment
- Where Does Art Come From? An Introduction
- Where Are We Going?
- Who Am I?
- What Is Divine?
- What Is Beautiful?
- What Is Important to Us?
- Will You Tell a Story?
- Who Came Before Us?
- Where Do Babies Come From?
- What Happens When We Die?
- Why Does Size Matter?
- What Will I Get Out of It?
- Why Do They Have More Than Us?
- Why Do I Have to Do What You Say?
- Why Do People Take What Doesn't Belong to Them?
- Can We Live Together?
- Neheb is Dead by Emery Martinez-Blas
- We will Never Be Perfect and That's Okay by Celeste Smith
- The Post-Colonial Igbo Identity by Chinamerem Ahuchaogu
- Image Credits
- Accessibility Rubric
- Timelapses for Transformational Sketches
- Errata and Versioning History
- Mental Maps of Art History
About the Book
Who am I? What is beautiful? Where do babies come from? These questions populate our lives and inform our perceptions of the world. Explore these questions according to the expressions of artists from all over the world. Go beyond Western art to consider where art comes from and how it impacts all of us.
About the Contributors
Dr. Leah McCurdy (she/her) is an anthropological archaeologist and art historian focused on global visual traditions. Her scholarship focuses on ancient Maya architectural and construction histories while her expertise via graduate education and professional experience spans visual traditions across the ancient Americas, Africa, Islamic lands, South Asia, East Asia, Oceania, as well as Egypt and Western Asia. McCurdy has been teaching in higher education for 10 years, covering art history, anthropology, and archaeology. McCurdy develops courses with an applied focus, promoting awareness about cultural traditions, heritage, pluralism, and global citizenship. In all courses, she seeks to increase understanding about diverse art historical traditions while enhancing critical thinking and pluralistic perspectives on the world. McCurdy has been teaching ART 1317 and upper-level art history courses at UTA since 2017.