History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art. History as Art, Art as History is an experientially grounded, practically minded pedagogical investigation meant to push teachers and students to think critically without sacrificing their ability to succeed in a standards-driven educational climate. Amid the educational debate surrounding rigid, unimaginative tests, classroom scripts, and bureaucratic mandates, this innovative book insists on an alternate set of educational priorities that promotes engagement with creative and critical thinking. Features include: A thought-provoking series of framing essays and interviews with contemporary artists address the pivotal questions that arise when one attempts to think about history and contemporary visual art together. An 8-page, full color insert of contemporary art, plus over 50 black and white illustrations throughout. A Teaching Toolkit covering major themes in U.S. history provides an archive of suggested primary documents, plus discussion suggestions and activities for putting theory into practice. Teaching activities keyed to the social studies and art curricula and teaching standards Resources include annotated bibliographies for further study and lists of arts and media organizations. This sophisticated yet accessible textbook is a must-read resource for any teacher looking to draw upon visual and historical texts in their teaching and to develop innovative curriculum and meaningful student engagement.

Before the Renaissance and Reformation, holy images were treated not as "art" but as objects of veneration which possessed the tangible presence of the Holy. the faithful believed that these images served as relics and were able to work miracles, deliver oracles, and bring victory to the battlefield. In this magisterial book, Hans Belting traces the long history of the sacral image and its changing role--from surrogate for the represented image to an original work of art--in European culture. Likeness and Presence looks at the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images, and presents a compelling interpretation of the place of the image in Western history. -- Back cover

This thought-provoking and original book argues that hyperimages—calculated displays of images on walls or pages—have played a major role in the history of art. In exhibitions, illustrated art books, and classrooms, artworks or their photographic reproductions are arranged as calculated ensembles that have their own importance. In this volume, Felix Thürlemann develops a theory of this type of image use, arguing that with each new gathering of images, an art object is reinterpreted. These hyperimages have played a major role in the history of art since the seventeenth century, and the main actors of the art world are all hyperimage creators. In part because the hyperimage is not permanently available, this interplay of images has been largely unexplored. Through case studies organized within three groups of producers—collectors and curators, art historians, and artists—Thürlemann proposes a theory of the hyperimage, explores the semiotic nature of this plural image use, and discusses the arrangement and interpretation of such pictures in order to illuminate the phenomenon of Western image culture from the beginning of the seventeenth century until today. His analysis of the ways in which images are assembled and associated provides a crucial context for the explosive present-day deployment of images on digital devices.

The use of images has been critical to the pursuit of science for centuries. This book explores, within an art historical framework how to comprehend images not as illustrative representations, but as productive agents and distinctive multi-layered elements of the epistemic process. If scientific images play a constructive role in shaping the findings and insights they illustrate, the representation of an observation in images, however mechanical, however detached from the individual researcher s choices their appearance may be, likewise becomes an instance of the style of a period, a mindset, a research collective, and a device. The Technical Image emerges from an institute in Germany, which has married art and historical analysis of technical images, and serves as a methodological reference and inspiration for visual representation in the sciences. The work opens with a series of methodological chapters that introduce a set of questions about representations in sciences and medicine, and the core of the work consists of historical case studies around specific images that in turn illustrate themes ranging from "objectivity and evidence" to "digital images." Within these case studies are also definitions and elaborations of selected terms that have in recent years become key concepts in the analysis of scientific imagery."

The 19 papers of this collection were first presented at the 1999 History and Images Congress held at the U. of Copenhagen in Denmark. As reflected in the subtitle, the international group of historians and art historians provide essays that reflect new approaches to the reading of images, with the papers divided into the main topics of images and history, image databases and history, and images as source material.

Creating Their Own Image marks the first comprehensive history of African-American women artists, from slavery to the present day. Using an analysis of stereotypes of Africans and African-Americans in western art and culture as a springboard, Lisa E. Farrington here richly details hundreds ofimportant works--many of which deliberately challenge these same identity myths, of the carnal Jezebel, the asexual Mammy, the imperious Matriarch--in crafting a portrait of artistic creativity unprecedented in its scope and ambition. In these lavishly illustrated pages, some of which feature imagesnever before published, we learn of the efforts of Elizabeth Keckley, fashion designer to Mary Todd Lincoln; the acclaimed sculptor Edmonia Lewis, internationally renowned for her neoclassical works in marble; and the artist Nancy Elizabeth Prophet and her innovative teaching techniques. We meetLaura Wheeler Waring who portrayed women of color as members of a socially elite class in stark contrast to the prevalent images of compliant maids, impoverished malcontents, and exotics "others" that proliferated in the inter-war period. We read of the painter Barbara Jones-Hogu's collaboration onthe famed Wall of Respect, even as we view a rare photograph of Hogu in the process of painting the mural. Farrington expertly guides us through the fertile period of the Harlem Renaissance and the "New Negro Movement," which produced an entirely new crop of artists who consciously imbued their workwith a social and political agenda, and through the tumultuous, explosive years of the civil rights movement. Drawing on revealing interviews with numerous contemporary artists, such as Betye Saar, Faith Ringgold, Nanette Carter, Camille Billops, Xenobia Bailey, and many others, the second half ofCreating Their Own Image probes more recent stylistic developments, such as abstraction, conceptualism, and post-modernism, never losing sight of the struggles and challenges that have consistently influenced this body of work. Weaving together an expansive collection of artists, styles, andperiods, Farrington argues that for centuries African-American women artists have created an alternative vision of how women of color can, are, and might be represented in American culture. From utilitarian objects such as quilts and baskets to a wide array of fine arts, Creating Their Own Imageserves up compelling evidence of the fundamental human need to convey one's life, one's emotions, one's experiences, on a canvas of one's own making.