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Why Art Cannot be Taught

Why Art Cannot be Taught Author James Elkins
ISBN-10 0252069501
Release 2001
Pages 213
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In this smart survival guide for students and teachers--the only book of its kind--James Elkins examines the ""curious endeavor to teach the unteachable"" that is generally known as college-level art instruction. This singular project is organized around a series of conflicting claims about art:""Art can be taught, but nobody knows quite how.""""Art can be taught, but it seems as if it can't be since so few students become outstanding artists.""""Art cannot be taught, but it can be fostered or helped along.""""Art cannot be taught or even nourished, but it is possible to teach right up to the beginnings of art so that students are ready to make art the moment they graduate.""""Great art cannot be taught, but more run-of-the-mill art can be."" Elkins traces the development (or invention) of the modern art school and considers how issues such as the question of core curriculum and the intellectual isolation of art schools affect the teaching and learning of art. He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful.Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes.Why Art Cannot Be Taught is a response to Elkins's observation that ""we know very little about what we do"" in the art classroom. His incisive commentary illuminates the experience of learning art for those involved in it, while opening an intriguing window for those outside the discipline.



Why Art Cannot Be Taught

Why Art Cannot Be Taught Author James Elkins
ISBN-10 9780252098765
Release 2001-05-17
Pages 224
Download Link Click Here

In this smart survival guide for students and teachers--the only book of its kind--James Elkins examines the "curious endeavor to teach the unteachable" that is generally known as college-level art instruction. This singular project is organized around a series of conflicting claims about art: "Art can be taught, but nobody knows quite how." "Art can be taught, but it seems as if it can't be since so few students become outstanding artists." "Art cannot be taught, but it can be fostered or helped along." "Art cannot be taught or even nourished, but it is possible to teach right up to the beginnings of art so that students are ready to make art the moment they graduate." "Great art cannot be taught, but more run-of-the-mill art can be." Elkins traces the development (or invention) of the modern art school and considers how issues such as the question of core curriculum and the intellectual isolation of art schools affect the teaching and learning of art. He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes. Why Art Cannot Be Taught is a response to Elkins's observation that "we know very little about what we do" in the art classroom. His incisive commentary illuminates the experience of learning art for those involved in it, while opening an intriguing window for those outside the discipline.



Why Art Cannot be Taught

Why Art Cannot be Taught Author James Elkins
ISBN-10 0252026381
Release 2001
Pages 213
Download Link Click Here

In this smart survival guide for students and teachers - the only book of its kind - James Elkins examines the curious endeavor to teach the unteachable that is generally known as college-level art instruction. This singular project is organized around a series of conflicting claims about art: Art can be taught, but nobody knows quite how. Art can be taught, but it seems as if it can't be since so few students become outstanding artists. Art cannot be taught, but it can be fostered or helped along. Art cannot be taught or even nourished, but it is possible to teach right up to the beginnings of art so that students are ready to make art the moment they graduate. Great art cannot be taught, but more run-of-the-mill art can be. Elkins traces the development (or invention) of the modern art school and considers how issues such as the question of core curriculum and the intellectual isolation of art schools affect the teaching and learning of art. art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art - including art that takes time to complete and art that isn't serious - that cannot be learned in studio art classes. Why Art Cannot Be Taught is a response to Elkins's observation that we know very little about what we do in the art classroom. involved in it, while opening an intriguing window for those outside the discipline.



Art Subjects

Art Subjects Author Howard Singerman
ISBN-10 0520215028
Release 1999
Pages 296
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"Few sites within the university open a richer critical reflection than that of the M.F.A., with its complex crossing of professionalism, theory, humanistic knowledge, and the absolute exposure of practice. Howard Singerman's Art Subjects does a magnificent job of both laying out our current crises, letting us see the shards of past practices embedded in them, and of demonstrating--rendering urgent and discussable--what it now means either to assume or award the name of the artist."--Stephen Melville, author of Seams, editor of Vision and Textuality "Art Subjects is a must read for anyone interested in both the education and status of the visual artist in America. With careful attention to detail and nuance, Singerman presents a compelling picture of the peculiarly institutional myth of the creative artist as an untaught and unteachable being singularly well adapted to earn a tenure position at a major research university. A fascinating study, thoroughly researched yet oddly, and movingly, personal."--Thomas Lawson, Dean, Art School, CalArts



Art School

Art School Author Steven Henry Madoff
ISBN-10 9780262134934
Release 2009
Pages 373
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Leading international artists and art educators consider the challenges of arteducation in today's dramatically changed art world.



Aesthetics and Education

Aesthetics and Education Author Michael J. Parsons
ISBN-10 0252062930
Release 1993-01-01
Pages 186
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What is the appropriate content of aesthetics for students of art at different age levels? How can it best be taught?



Draw it with Your Eyes Closed

Draw it with Your Eyes Closed Author Dushko Petrovich
ISBN-10 0979757541
Release 2012
Pages 128
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This wide-ranging anthology features essays, drawings and assignments from more than 100 contributors including: John Baldessari, William Pope.L, Mira Schor, Rochelle Feinstein, Bob Nickas and Chris Kraus. Examining the complex and often unruly state of art education by focusing on its signature pedagogical form, the assignment, this book coalesces ideas about what art is, how it should be taught, and what larger purpose it might, or might not, serve. Original



What Do Artists Know

What Do Artists Know Author James Elkins
ISBN-10 9780271054247
Release 2012
Pages 228
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"Brings together historians, philosophers, critics, curators, artists, and educators to ask how art is and should be taught. Explores the theories that underwrite art education at all levels, the pertinent history of art education, and the most promising current conceptualizations"--Provided by publisher.



For White Folks Who Teach in the Hood and the Rest of Y all Too

For White Folks Who Teach in the Hood    and the Rest of Y all Too Author Christopher Emdin
ISBN-10 9780807028025
Release 2017
Pages 220
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"Merging real stories with theory, research, and practice, a prominent scholar offers a new approach to teaching and learning for every stakeholder in urban education. Drawing on his own experience of feeling undervalued and invisible in science classrooms as a young man of color, Christopher Emdin offers a new lens on and approach to teaching in urban schools. Putting forth his theory of Reality Pedagogy, Emdin provides practical tools to unleash the brilliance and eagerness of youth and educators alike--both of whom have been typecast and stymied by outdated modes of thinking about urban education. With this fresh and engaging new pedagogical vision, Emdin demonstrates the importance of creating a family structure and building communities within the classroom, using culturally relevant strategies like hip-hop music and call-and-response, and connecting the experiences of urban youth to indigenous populations globally"--



What Painting Is

What Painting Is Author James Elkins
ISBN-10 9781135958534
Release 2004-11-23
Pages 256
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Unlike many books on painting that usually talk about art or painters, James Elkins’ compelling and original work focuses on alchemy, for like the alchemist, the painter seeks to transform and be transformed by the medium. In What Painting Is, James Elkins communicates the experience of painting beyond the traditional vocabulary of art history. Alchemy provides a magical language to explore what it is a painter really does in her or his studio - the smells, the mess, the struggle to control the uncontrollable, the special knowledge only painters hold of how colours will mix, and how they will look. Written from the perspective of a painter-turned-art historian, What Painting Is is like nothing you have ever read about art.



Why Read the Classics

Why Read the Classics Author Italo Calvino
ISBN-10 9780544146372
Release 2014-12-16
Pages 288
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A posthumously published collection of thirty-six essays offering Italo Calvino's invigorating and illuminating analysis of his most treasured literary classics.



Art Critiques

Art Critiques Author James Elkins
ISBN-10 0983689970
Release 2012
Pages 229
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OElkins shines his bright light across the long overlooked shadowland of studio education. Beautifully written and easy to use, this book is an absolute must for art students and faculty alike."NGeorge Smith, founder and president, Institute for Doctoral Studies in the Visual Arts.



What They Don t Teach You at Harvard Business School

What They Don t Teach You at Harvard Business School Author Mark H. McCormack
ISBN-10 9781101969021
Release 2016-02-17
Pages 288
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#1 NATIONAL BESTSELLER • Featuring a new foreword by Ari Emanuel and Patrick Whitesell Mark H. McCormack, one of the most successful entrepreneurs in American business, is widely credited as the founder of the modern-day sports marketing industry. On a handshake with Arnold Palmer and less than a thousand dollars, he started International Management Group and, over a four-decade period, built the company into a multimillion-dollar enterprise with offices in more than forty countries. To this day, McCormack’s business classic remains a must-read for executives and managers at every level, featuring straight-talking advice you’ll never hear in business school. Relating his proven method of “applied people sense” in key chapters on sales, negotiation, reading others and yourself, and executive time management, McCormack presents powerful real-world guidance on • the secret life of a deal • management philosophies that don’t work (and one that does) • the key to running a meeting—and how to attend one • the positive use of negative reinforcement • proven ways to observe aggressively and take the edge • and much more Praise for What They Don’t Teach You at Harvard Business School “Incisive, intelligent, and witty, What They Don’t Teach You at Harvard Business School is a sure winner—like the author himself. Reading it has taught me a lot.”—Rupert Murdoch, executive chairman, News Corp, chairman and CEO, 21st Century Fox “Clear, concise, and informative . . . Like a good mentor, this book will be a valuable aid throughout your business career.”—Herbert J. Siegel, chairman, Chris-Craft Industries, Inc. “Mark McCormack describes the approach I have personally seen him adopt, which has not only contributed to the growth of his business, but mine as well.”—Arnold Palmer “There have been what we love to call dynasties in every sport. IMG has been different. What this one brilliant man, Mark McCormack, created is the only dynasty ever over all sport.”—Frank Deford, senior contributing writer, Sports Illustrated



Why Our Children Can t Read and what We Can Do about it

Why Our Children Can t Read  and what We Can Do about it Author Diane McGuinness
ISBN-10 0684831619
Release 1997
Pages 384
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A neuropsychologist shows how outmoded methods for teaching reading have resulted in plummeting literacy levels and offers a new program, based on careful research, that teaches any child--including those with attention deficits--to read well. 35,000 first printing. Tour.



Language at the Speed of Sight

Language at the Speed of Sight Author Mark Seidenberg
ISBN-10 9780465019328
Release 2017-01-03
Pages 400
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We’ve been teaching reading wrong—a leading cognitive scientist tells us how we can finally do it right



The Book of Five Rings

The Book of Five Rings Author Musashi Miyamoto
ISBN-10 9789635243976
Release 2015-06-18
Pages 31
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Miyamoto Musashi's Go Rin no Sho or the book of five rings,is considered a classic treatise on military strategy, much like Sun Tzu's The Art of War and Chanakya's Arthashastra. The five "books" refer to the idea that there are different elements of battle, just as there are different physical elements in life, as described by Buddhism, Shinto, and other Eastern religions. Through the book Musashi defends his thesis: a man who conquers himself is ready to take it on on the world, should need arise.



What Are We Doing Here

What Are We Doing Here Author Marilynne Robinson
ISBN-10 9780374717780
Release 2018-02-20
Pages 336
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New essays on theological, political, and contemporary themes, by the Pulitzer Prize winner Marilynne Robinson has plumbed the human spirit in her renowned novels, including Lila, winner of the National Book Critics Circle Award, and Gilead, winner of the Pulitzer Prize and the National Book Critics Circle Award. In this new essay collection she trains her incisive mind on our modern political climate and the mysteries of faith. Whether she is investigating how the work of great thinkers about America like Emerson and Tocqueville inform our political consciousness or discussing the way that beauty informs and disciplines daily life, Robinson’s peerless prose and boundless humanity are on full display. What Are We Doing Here? is a call for Americans to continue the tradition of those great thinkers and to remake American political and cultural life as “deeply impressed by obligation [and as] a great theater of heroic generosity, which, despite all, is sometimes palpable still.”