PART ONE CHAPTER ONE - ART AND APPRECIATION
I. WHAT IS ART?
II. EXPERIENCING ART
A. A RANGE OF POSSIBILITIES
B. TWO STUDENT RESPONSES
[Interaction Box: Writing About Art] [Appreciation
1: Tim Paul, Wolf by Jack Greer]
III. THE POWER OF ART
A. EXPANDING OUR AWARENESS [Appreciation
2: Hale Woodruff, Art of the Negro mural panels "Interchange" and "Dissipation"
by Eugene Grigsby]
B. RESTRICTING OUR AWARENESS
IV. CONTENT: A BRIDGE BETWEEN FORM, SUBJECT, AND CONTEXT
V. WAYS OF SEEING: FORMALISM AND CONTEXTUALISM
A. THE FORMALIST WAY OF SEEING
B. THE CONTEXTUALIST WAY OF SEEING
VI. TOWARD A COMPREHENSIVE EXPERIENCE OF ART
VII. VAN GOGH'S NIGHT CAFE: AN APPRECIATION
A. A FORMALIST RESPONSE
B. A CONTEXTUALIST RESPONSE
CHAPTER TWO - THE LANGUAGE OF FORM: THE VISUAL ELEMENTS
I. THE VISUAL ELEMENTS
A. LINE
1. Types of Line
B. SHAPE [Appreciation
3: Bill Reid, The Spirit of the Haida Gwaii by Robert Bersson]
1. Types of Shape [Appreciation
4: Henri Matisse, The Blue Nude by Rebecca Humphrey]
C. SPACE
1. Representing Space in the Two-Dimensional Arts
D. TEXTURE
1. Actual Texture and Implied Texture
E. LIGHT AND COLOR
1. Light and Values
2. Values for Form and Expression
3. The Science of Light and Color
4. The Color Wheel
5. Primary, Secondary, and Tertiary Colors
6. Color Properties and Relationships
7. Descriptive and Expressive Use of Color
II. TWO WORKS OF ART: FOCUS ON THE VISUAL ELEMENTS
[Interaction Box: Focusing on the Visual Elements] CHAPTER THREE - THE LANGUAGE OF FORM: COMPOSITION TO STYLE
I. THE IMPORTANCE OF GOOD COMPOSITION
II. THE PRINCIPLES OF COMPOSITION
A. UNITY
B. VARIETY
C. BALANCE
D. EMPHASIS
E. RHYTHM, REPETITION, AND PATTERN
F. PROPORTION AND SCALE
[Appreciation 5: The Art of Album Cover Design by Robert Bersson]
III. FORM AND CONTENT: AN INSEPARABLE PAIR
IV. FORM AND CONTENT INTO STYLE
A. PERSONAL STYLE
B. GROUP STYLE
C. CULTURAL STYLE
D. PERIOD STYLE
V. STYLE AND MEANING IN THE EVERYDAY WORLD
[Interaction Box: Form, Content, and Style in Popular Art]
A. FASHION: CASE STUDIES IN STYLE
1. Punk Style: Form, Content, and Context
2. Business Dress: Style and Context
[Appreciation 6: The French Revolution in Fashion
by Pam Schuelke Johnson] CHAPTER FOUR - THE INFLUENCE OF CONTEXT: DIFFERENT WAYS OF SEEING
I. WAYS OF SEEING
[Interaction Box: Responding Contextually: Art as Social and Cultural Product]
II. WAYS OF SEEING NATURE ACROSS TIME: THE MIDDLE AGES AND THE RENAISSANCE
A. THE MEDIEVAL WAY OF SEEING
B. THE RENAISSANCE WAY OF SEEING
III. VIEWING NATURE ACROSS SOCIAL STRATA: THE PICTURESQUE AS AN UPPER-CLASS WAY OF SEEING
A. THE PICTURESQUE WAY OF SEEING
B. THE PICTURESQUE IN CONTEMPORARY LIFE
IV. SEEING NATURE ACROSS CULTURES: FAR EASTERN AND WESTERN WAYS OF SEEING
A. TWO VIEWS OF THE ENGLISH COUNTRYSIDE
B. NATURE AS CENTRAL IN CHINESE AND JAPANESE CULTURE
[Appreciation 7: Hokusai's View from Kajikazawa
by Takuya Kaneda] C. TWO NINETEENTH-CENTURY
VIEWS OF THE SUBLIME
[Appreciation 8: Ansel Adams: Photographer of
the Landscape by Eliot Cohen]
V. SEEING NATURE IN THE TWENTY-FIRST CENTURY: SUBLMITY AND TECHNOLOGY
PART TWO: THE TWO-DIMENSIONAL ARTS: FORM AND CONTEXT
I. THE TWO-DIMENSIONAL ARTS: A DEFINITION
CHAPTER FIVE - DRAWING AND PAINTING: FOUNDATIONS OF THE TWO-DIMENSIONAL ARTS
I. DRAWING AND PAINTING: FUNDAMENTAL MEDIA
A. MEDIA AND ARTISTIC INTENT
II. DRAWING: FOCUS ON LINE, SHAPE, AND VALUE
A. DRAWING: DRY AND WET MEDIA
[Interaction Box: Appreciating Different Media]
III. APPRECIATING DRAWINGS: FORM AND CONTEXT
A. TWO DRAWINGS: A COMPARISON
B. A CONTEMPORARY DRAWING: FORM IN CONTEXT
IV. PAINTING: FOCUS ON COLOR AND TEXTURE
A. COLOR AND PAINT
B. TEXTURE AND CONSISTENCY
[Appreciation 9: In the Tradition of the Chinese Masters: I-Hsiung Ju Paints a Picture by Chow-Soon Ju, Gayle Johnson Steck, Robert Bersson]
V. APPRECIATING PAINTINGS: FORM AND CONTEXT
A. TWO PAINTINGS: A COMPARISON
VI. DRAWING AND PAINTING: DIFFERENT FUNCTIONS AND STATUS
A. DRAWING AS SKETCH OR STUDY
B. DRAWING AND PAINTING: FUNDAMENTAL TO THE OTHER ARTS
[Appreciation 10: Peter Ratner on Computer Art] CHAPTER SIX - GRAPHIC ART AND DESIGN: FROM PRINT MEDIA TO MASS MEDIA
I. GRAPHIC ART AND DESIGN: DIFFERENCES AND COMMONALITIES
II. THE GRAPHIC ART OF PRINTMAKING: A BRIEF HISTORY
A. ALBRECHT DURER: GRAPHIC ART FOR THE PUBLIC
[Technique Box: Woodblock and Engraving]
B. REMBRANDT VAN RIJN: PRINTS FOR THE PEOPLE
[Technique Box: Etching: An Intaglio Process]
C. FRANCISCO GOYA: DARK VIEWS OF A MAD WORLD
[Technique Box: Aquatint]
[Appreciation 11: Karyn Young's "Making a Print" by Charlotte Richardson]
III. THE MODERN PERIOD: THE RISE OF THE MASS MEDIA
[Technique Box: Lithography: A Planographic Process]
A. HONORE DAUMIER AND HIS "PUBLIC EASEL"
B. WINSLOW HOMER: VISUAL REPORTER
C. POSTERS AND PUBLICATIONS: "THE GALLERY IN THE STREET"
[Appreciation 12: Kathe Kollwitz: Hamm by
Renate Hinz and Lucy Lippard] D. POSTERS AND
PUBLICATIONS TO THE PRESENT
[Technique Box: Screenprinting]
IV. THE EVOLUTION OF MODERN ADVERTISING
A. TURN-OF-THE-CENTURY GRAPHICS
B. ADVERTISING FOR THE MASSES
C. ADVERTISING AND THE OIL PAINTING TRADITION
V. TOWARD A CRITICAL APPRECIATION OF ADVERTISING DESIGN
A. ADVERTISEMENTS THAT EMPOWER
B. ADVERTISEMENTS THAT RESTRICT
VI. SOCIETY'S MIRROR
CHAPTER SEVEN - PHOTOGRAPHY AND MOVING PICTURES: FROM PREHISTORY TO THE PRESENT
I. PHOTOGRAPHY'S HISTORICAL BACKGROUND
A. SCIENCE, ART, AND THE CAMERA OBSCURA
B. NATURALISM AND THE BIRTH OF PHOTOGRAPHY
[Technique Box: Basic Photography: Camera, Film, and Development]
II. PHOTOGRAPHY: THE NINETEENTH CENTURY
A. THE NEW MACHINE ART: TRIUMPHS AND TRIALS
[Appreciation 13: Liang Shitai, Chinese Court Photographer from Hong Kong by Edwin Lai]
B. RAPID-EXPOSURE "INSTANTANEOUS" PHOTOGRAPHY
C. FROM STILL PHOTOGRAPHY TO CINEMATOGRAPHY
III. PHOTOGRAPHY AND MOVING PICTURES: THE TWENTIETH CENTURY
A. THE NEW "ART PHOTOGRAPHY"
B. TOWARD AN ART OF CINEMA
IV. PHOTOGRAPHY, MOVING PICTURES, AND ART: SELECTIVE VIEWS
A. EXPRESSIONISM: UNLEASHING THE EMOTIONS
1. Expressionism in Film
2. Expressionism in Photography
B. SURREALISM: VISUALIZING DREAMS AND FANTASY
1. Surrealist Photography
2. Surreal Cinema
C. SOCIAL REALISM: THE DOCUMENTATION OF SOCIETY
1. Social Realist Photography
2. Social Realism in Film
[Interaction Box: Approaches to Taking Pictures: Selective Views]
D. FORMALISM: EMPHASIS ON VISUAL FORM
[Appreciation 14: Who Made Citizen Kane? by Wendell Fuqua]
V. NEW MEDIA AND MASS MEDIA: RELATIONSHIPS IN FORM AND CONTENT
VI. THE CHANGING MEANING OF ART IN AN AGE OF MASS MEDIA
[Technique Box: Digital Image Creation] PART THREE: THE THREE-DIMENSIONAL ARTS: FORM AND CONTEXT
CHAPTER EIGHT - SCULPTURE: A FOUNDATION OF THE THREE-DIMENSIONAL ARTS
I. SCULPTURE: FOCUS ON SHAPE, SURFACE QUALITY, AND SPACE
A. SHAPE: FORMAL VARIETY
B. SURFACE QUALITY
C. SHAPE AND SPACE
D. SPATIAL ORIENTATION
II. FUNCTIONS OF SCULPTURE
III. ADDITIVE METHODS OF SCULPTING: CONSTRUCTING, MODELING, CASTING
A. CONSTRUCTION OR ASSEMBLAGE
1. Alexander Calder: Constructor in Metal
[Appreciation 15: James Hampton's Throne of the Third Heaven by Nancy Bondurant Jones]
B. MODELING
C. CASTING
IV. THE SUBTRACTIVE METHOD OF SCULPTING
A. CARVING IN STONE
1. Michelangelo: Carver of Stone
[Appreciation 16: Zimbabwean Stone Sculpture by Sharon Mayes]
B. CARVING IN IVORY
C. CARVING IN WOOD
V. EXPANDING THE BOUNDARIES OF SCULPTURE: EARTHWORKS
[Interaction Box: Making a Sculpture] CHAPTER NINE - CRAFTS AND PRODUCT DESIGN
I. ART AND CRAFT
[Appreciation 17: An Illinois Farm Quilt by Cathy Mullen]
II. VIEWING TRADITIONAL CRAFTS AS FINE ART
[Appreciation 18: An Anasazi "Kayenta Olla" by Molly F. White]
III. CRAFTS AND PRODUCT DESIGN IN THE INDUSTRIAL AGE
A. Product Design at the Crystal Palace
IV. CRAFT AND PRODUCT DESIGN IN THE INDUSTRIAL AGE: THE NINETEENTH CENTURY
A. NINETEENTH-CENTURY DESIGN: A SEARCH FOR CULTURAL IDENTITY
1. The Influence of Japanese Art and Design
B. THE ARGUMENT FOR HANDCRAFTSMANSHIP
C. WILLIAM MORRIS AND THE ARTS AND CRAFTS MOVEMENT
1. Shaker Products: An Arts and Crafts Ideal
D. ART NOUVEAU: THE NEW ART OF THE TURN OF THE CENTURY
V. MODERN DESIGN AND MASS PRODUCTION: INTO THE TWENTIETH CENTURY
A. THE BAUHAUS: TOWARD A UNIFICATION OF ART, CRAFT, AND INDUSTRY
B. FINE PRODUCT DESIGN FOR THE MASSES: THE FURNITURE DESIGN OF SAARINEN AND EAMES
VI. INTO THE TWENTY-FIRST CENTURY: NEW DESIGN DIRECTIONS
A. POST-MODERN DESIGN
B. ERGONOMIC DESIGN
VII. CRITICAL RESPONSES TO INDUSTRIALLY-BASED DESIGN
A. POORLY DESIGNED PRODUCTS AND ALIENATION
B. THE CRAFTS RENAISSANCE
VIII. APPLIED ART IN THE IMMEDIATE ENVIRONMENT
[Interaction Box: Art, Craft, and Product Design: A Breakdown of Boundaries?] CHAPTER TEN - ARCHITECTURE AND COMMUNITY DESIGN: FORM AND CONTEXT
I. ARCHITECTURE: THE MOST COMPREHENSIVE ART
A. A SOCIAL AND INTERDISCIPLINARY ART
II. ARCHITECTS AND BUILDERS
A. ARCHITECTS AS DESIGNERS
B. INDIGENOUS BUILDERS
III. ARCHITECTURAL METHODS, FORMS, AND MEANINGS
A. LOAD-BEARING STRUCTURES
B. POST-AND-LINTEL STRUCTURES
1. Focus on the Parthenon
C. ARCH, VAULT, AND DOME CONSTRUCTION
1. Focus on the Pantheon
2. Arches, Vaults, and Medieval Churches
3. Arch, Vault, and Dome in Worldwide Application
D. FRAME STRUCTURES
[Appreciation 19: The Bank of China Tower in Context by Siu King Chung]
E. REINFORCED CONCRETE STRUCTURES
F. SUSPENSION STRUCTURES
IV. MODERN ARCHITECTURE AND COMMUNITY DESIGN: SELECTED VIEWS
A. LUDWIG MIES VAN DER ROHE
B. LE CORBUSIER
[Appreciation 20: The Architecture of Oluwole Olumuyiwa by I.M. Ojomo and Robert Bersson]
C. FRANK LLOYD WRIGHT
V. POST-MODERNISM: TOWARD A NEW PHILOSOPHY OF ARCHITECTURE
A. EMPHASIS ON CONTEXT AND ECOLOGY
B. ECLECTIC HISTORICAL CHARACTER
VI. BUILDING COMMUNITY IN THE TWENTY-FIRST CENTURY
A. PRESERVATION, RESTORATION, AND DOWNTOWN REVITALIZATION
B. SUBURBAN COMMUNITIES: PROBLEMS AND POSSIBILITIES
[Interaction Box: "Adopt a Building"] PART FOUR: A HISTORY OF ART
CHAPTER ELEVEN - FROM THE PALEOLITHIC ERA TO THE FIRST CIVILIZATIONS
I. THE UPPER PALEOLITHIC ERA
A. THE FIRST ARTISTS
[Technique Box: Cave Painting]
B. OLD STONE AGE ART AND HUNTER-GATHERER SOCIETY
II. THE MESOLITHIC ERA
A. PAINTING THE NEW RELATIONSHIP OF HUMAN TO ANIMAL
III. THE NEOLITHIC ERA
A. NEW STONE AGE ART AND AGRICULTURAL SOCIETY
[Appreciation 21: Worldwide Megaliths by Lucy R. Lippard]
IV. MESOPOTAMIAN CIVILIZATION
A. SUMER
[Technique Box: Metalworking]
B. AKKAD
C. THE INDUS VALLEY CIVILIZATION AND MOHENJO-DARO
D. BABYLON
E. NEO-BABYLONIA
F. PERSIA
[Appreciation 22: Teotihuacan: Birthplace of the Gods by Marc Taylor]
CHAPTER TWELVE - THE ART OF ANCIENT EGYPT, GREECE, AND ROME
I. EGYPTIAN ART
A. OLD KINGDOM: SOCIAL AND CULTURAL PYRAMID
[Appreciation 23: The Egyptian Artist-Craftsman
by Barbara Mertz]
B. MIDDLE KINGDOM: TRANSITION
C. THE NEW KINGDOM: RESTORATION AND CHANGE
D. EGYPT, NUBIA, AND AEGEAN CIVILIZATION: ARTISTIC INTERCHANGE
II. GREEK ART
A. THE ARCHAIC PERIOD
[Appreciation 24: Exekias's Achilles Killing Penthesilea
by Charles R. Jansen] B. THE CLASSICAL PERIOD
C. THE HELLENISTIC PERIOD
III. ROMAN ART
A. THE ETRUSCANS AND THEIR ART
B. REPUBLICAN PORTRAITURE
C. THE ART OF THE EMPIRE
[Interaction Box: Formalist Art History in Action] CHPATER THIRTEEN - EARLY CHRISTIAN, MEDIEVAL, AND ISLAMIC ART
I. THE RISE OF CHRISTIANITY AND CHRISTIAN ART
A. CONSTANTINE AND EARLY CHRISTIAN ART
[Appreciation 25: Catacomb Painting by Charles R. Jansen]
B. BYZANTINE ART
C. CHRISTIAN ART IN EUROPE: THE MIDDLE AGES
D. GOTHIC ART AND THE LATER MIDDLE AGES
[Interaction Box: Taking a Marxist Approach to Art History]
II. ISLAMIC ART AND ARCHITECTURE; FROM WEST TO EAST
A. THE RISE OF ISLAM AND ITS ART
B. ISLAMIC RELIGIOUS ART
C. SECULAR ART IN ISLAM
[Appreciation 26: Persian Manuscript Painting of the School of Herat by Maryam Ovissi]
CHAPTER FOURTEEN - RENAISSANCE TO BAROQUE ART IN A WORLDWIDE CONTEXT
I. FROM MIDDLE AGES TO RENAISSANCE
A. FOURTEENTH-CENTURY ART: FROM MEDIEVAL TO RENAISSANCE
[Technique Box: Fresco]
II. RENAISSANCE ART: THE FIRST HALF OF THE FIFTEENTH CENTURY
A. EARLY RENAISSANCE ART IN FLORENCE
B. THE RENAISSANCE IN THE NORTH
III. RENAISSANCE ART: THE SECOND HALF OF THE FIFTEENTH CENTURY
A. SCULPTURE, PAINTING, AND ARCHITECTURE ACROSS ITALY AND EUROPE
IV. THE BIRTH OF FINE ART AND THE ARTIST
A. THE ARTIST AS INTELLECTUAL AND GENTLEMAN
B. THE ARTIST AS EMBATTLED GENIUS
V. FROM HIGH RENAISSANCE TO MANNERISM
A. MANNERIST ART
VI. RENAISSANCE TO REFORMATION
A. ART OF A CRITICAL SPIRIT
VII. COUNTER-REFORMATION TO BAROQUE
A. BAROQUE ARCHITECTURE: FOCUS ON ST. PETER'S
B. BAROQUE PAINTING AND SCULPTURE IN ACTION
C. BAROQUE CULTURE IN THE NEW WORLD
[Appreciation 27: Xochipilli: Aztec God of the Spring by Robert Bersson]
[Appreciation 28: The Baroque Culture of the New World by Carlos Fuentes]
[Interaction Box: Taking a Psychoanalytic Approach to Art] CHAPTER FIFTEEN - NORTHERN EUROPE AND THE AMERICAS: BAROQUE TO NEOCLASSICAL,
FINE ART TO PRACTICAL ART
I. BAROQUE CLASSICISM AND CLASSICAL ART EDUCATION
A. FRENCH BAROQUE CLASSICISM IN CONTEXT
B. THE EDUCATION OF ARTIST-INTELLECTUALS
II. SEVENTEENTH-CENTURY ART IN PROTESTANT HOLLAND
A. REMBRANDT'S NIGHT WATCH
B. VERMEER AND THE CONCERT
[Appreciation 29: Judith Leyster. The Proposition
by Frima Fox Hofrichter] [Interaction Box:
Taking a Feminist Art Historical Approach]
III. EIGHTEENTH-CENTURY ART: BAROQUE TO ROCOCO TO NEOCLASSICAL
A. BAROQUE TO ROCOCO: TWO PAINTINGS
B. ROCOCO INTERIOR DESIGN AND DECORATION
C. MIDDLE-CLASS NATURALISM AND IDEALISM IN THE ART OF CHARDIN
IV. NEOCLASSICISM, DEMOCRACY, AND REVOLUTION
A. SCULPTURE AND ARCHITECTURE FOR A DEMOCRACY: HOUDON AND JEFFERSON
B. DAVID AND REVOLUTIONARY HISTORY PAINTING
1. The Oath of the Horatii
[Appreciation 30: Elisabeth Vigee-LeBrun. Marie-Antoinette
and Her Children by Wendy Slatkin]
V. IN THE SHADOW OF THE FINE ARTS: THE "MINOR ARTS" CHAPTER SIXTEEN - ART IN THE NINETEENTH CENTURY: ROMANTICISM TO POST-IMPRESSIONISM
I. INTO THE MODERN ERA
II. ROMANTICISM
A. ROMANTIC REBELS: GOYA, GERICAULT, AND DELACROIX
III. CLASSICAL ART OF THE FRENCH ACADEMY
A. CLASSICISM AND AMERICAN ART
IV. ROMANTIC ART, ARCHITECTURE, AND DESIGN IN AN INDUSTRIAL AGE
A. ROMANTIC LANDSCAPE PAINTING IN CONTEXT
B. ARCHITECTURE AND LANDSCAPE DESIGN FOR THE ROMANTIC MIND
V. FROM ROMANTICISM TO NATURALISM
A. THE "NATURAL PAINTING" OF CONSTABLE
B. FRENCH "OPEN AIR" PAINTING
VI. REALISM AND THE PAINTING OF MODERN LIFE
A. COURBET AND CONTEMPORARY SUBJECT MATTER
[Appreciation 31: Rosa Bonheur. The Horse Fair by Robert Bersson]
B. MANET: MODERN SUBJECTS AND STYLE
1. Manet and the Rise of Impressionism
VII. IMPRESSIONISM
A. RENOIR AND MONET: CAPTURING FLEETING IMPRESSIONS
B. MORISOT AND CASSATT: WOMEN IN THE VANGUARD
VIII. POST-IMPRESSIONISM
A. VAN GOGH AND THE AVANT-GARDE ARTIST
B. GAUGUIN: TOWARD AN ART OF IMAGINATION AND ABSTRACTION
C. CEZANNE AND FORMALIST ABSTRACTION
D. RODIN AND VANGUARD SCULPTURE
[Appreciation 32: Oceanic Art and Gauguin: Influences and Issues by Linnea S. Dietrich]
[Interaction Box: Raising Cross-Cultural Issues in the Arts]
CHAPTER SEVENTEEN - EARLY TWENTIETH-CENTURY ART
I. EXPRESSIONISM: UNLEASHING THE EMOTIONS
A. FAUVISM AND MATISSE
B. MUNCH AND GERMAN EXPRESSIONISM
II. FORMALIST ABSTRACTION: TOWARD AN ART OF SIGNIFICANT FORM
A. PICASSO, BRAQUE, AND CUBISM
1. African and Oceanic Art in a European Context
[Appreciation 33: Picasso's Les Demoiselles d'Avignon and African Art by Jay Williams]
B. VARIETIES OF FORMALIST ABSTRACTION
1. Italian Futurism
2. Russian Constructivism
3. Dutch De Stijl
III. ART OF THE IRRATIONAL: DADA AND SURREALISM
A. DADA DIRECTIONS
[Appreciation 34: Frida Kahlo. The Broken Column by Georgin Valverde]
[Interaction Box: Create Expressionist, Abstract Formalist, and Surrealist Versions of the Same Subject]
CHAPTER EIGHTEEN - TWENTIETH-CENTURY AMERICAN ART: REALISM TO ABSTRACTION
I. ART IN AMERICA AT THE BEGINNING OF THE CENTURY
A. THE RISE OF AMERICAN REALISM
B. THE ARMORY SHOW
II. THE GROWTH OF AMERICAN ART
A. AMERICAN ORIGINALS: HOPPER TO O'KEEFFE
1. Edward Hopper
2. Jacob Lawrence
[Appreciation 35: Romare Bearden. Patchwork Quilt by Joanne Gabbin]
3. Grant Wood
4. Georgia O'Keeffe
[Appreciation 36: Georgia O'Keeffe. Cow Skull and Calico Roses by Barbara Wolanin]
III. THE RISE OF THE AMERICAN ART WORLD
A. NEW YORK CITY: THE NEW CENTER OF THE INTERNATIONAL ARTWORLD
B. AMERICAN ART IN GLOBAL CONTEXT
IV. ABSTRACT EXPRESSIONISM: THE FIRST GENERATION PIONEERSM
A. ACTION PAINTING: POLLOCK, KRASNER, AND DEKOONING
B. COLOR FIELD PAINTING: ROTHKO AND NEWMAN
C. ABSTRACT EXPRESSIONIST SCULPTURE
V. FROM ABSTRACT EXPRESSIONISM TO FORMALIST EXPRESSIONISM
A. POST-PAINTERLY ABSTRACTION
B. MINIMALIST ART
[Interaction Box: Creating an Abstract Expressionist Artwork] CHAPTER NINETEEN - THE SECOND HALF OF THE TWENTIETH CENTURY: A MULTIPLICITY
OF DIRECTIONS
I. NEW SUBJECTS, MEDIA, AND ART FORMS
A. BETWEEN ART AND LIFE: MIXED MEDIA AND HAPPENINGS
II. VARIETIES OF NEW REALISM
A. POP ART: FROM MODERNISM TO POST-MODERNISM
B. SUPER-REALISM AND PHOTO-REALISM
[Interaction Box: Role-Playing an Artist: First-Person Narratives]
III. THE RETURN OF FIGURATIVE ART
A. NEW IMAGE AND NEO-EXPRESSIONIST ART
B. MULTICULTURAL AND INTERCULTURAL EXPRESSION
[Appreciation 37: The Abstract Painting of Sylvia Lark by Dan Nadaner]
[Appreciation 38: The "Ordinary. Extraordinary" Art of May Stevens by Josephine Withers]
CHAPTER TWENTY - BEYOND PAINTING AND SCULPTURE: EXPANDING THE BOUNDARIES OF
ART
I. A HOST OF NEW ART FORMS
A. MIXED MEDIA, CRAFT MEDIA, AND NARRATIVE
B. INSTALLATION ART
C. CONCEPTUAL ART
[Interaction Box: Creating a Conceptual Artwork]
D. PERFORMANCE ART
II. BEYOND THE MUSEUM'S WALLS: ACTIVIST, ENVIRONMENTAL, AND PUBLIC ART
A. ACTIVIST ART
B. ENVIRONMENTAL ART
C. PUBLIC ART
III. ART APPRECIATION IN A PERIOD OF PLURALISM
[Appreciation 39: Creating Art of Value in Public Places: The Vietnam Veterans Memorial by Cora Beth Abel]
[Appreciation 40: Franklin Furnace: Re-Imaging Performance Art and the Public by Malaika Sarco]
WRITING ABOUT ART APPENDIX
I. THE INTERPRETIVE PAPER
II. THE RESEARCH PAPER
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