Download Japanese Translation. Introduction to Art: Design, Context, and Meaning offers a comprehensive introduction to the world of Art.
Authored by four USG faculty members with advance degrees in the arts, this textbooks offers up-to-date original scholarship. It includes over high-quality images illustrating the history of art, its technical applications, and its many uses.
Combining the best elements of both a traditional textbook and a reader, it introduces such issues in art as its meaning and purpose; its meaning and purpose; its structure, material, and form; and its diverse effects on our lives. Introduction to Art: Design, Context, and Meaning provides a new and free alternative to traditional textbooks, making it an invaluable resource in our modern age of technology and advancement.
A solid form is completely surrounded by space; that is, it is defined by the space. It may exist as a monolithic form, a uniform mass not penetrated by space.
In addition to the pure monolith, forms that contain concave and convex and negative areas may be categorized as solid forms as long as the proportion of mass is greater than the space penetrating the form. Form describes a three-dimensional object and its use of length, width, and height—the way a structure appears physically through its use of space.
All forms can be classified as either linear, planar, or solid. These three types of forms are the foundation of all three-dimensional design. The other elements of design become a secondary aspect that help in making the piece more dynamic and visually engaging. The differences between these three forms refer to its space and dimensions. Linear form is defined by an exaggeration of one dimension — typically the length.
In other words, the measurement of the length is larger than the height or width. Planar form is defined by an exaggeration of two dimensions — length and width.
Solid form occurs when the length, width, and height are equal to one another. Space is open and goes through all six faces of the cube. Linear form cube. A planar form exists when it is constructed out of cardboard where all sides are concaving in. This minimizes the space and decreases the thickness of the form while the length and width remain exaggerated.
Making it curve inwards also produces an irregular surface which fits the definition of a planar form. Planar form cube. A solid form exists when it is constructed out of cardboard and all six faces are flat, whole shapes that are equal in length, width, and height. Space appears to be missing from the form since all sides are sealed in and nothing is exposed. Solid form cube. This element helps us t hink about how varying the representation of a form gives off a different feeling or character.
The use of different materials also aids in contrasting the form of the three cubes. The authors are careful to include discussions of a wide variety of media including architecture chapter seven , painting, printmaking, sculpture, video, performance, and new media.
The Table of Contents provides links to each subsection, which is an effective navigational feature. The artworks and charts embedded in the text are high quality, well placed, and increase reader understanding of the concepts presented. The consistent design layout makes it easy for the reader to shift between image and text. Due to copyright restrictions, however, the authors are unable to include reproductions of all of the artworks discussed in the text.
In those instances, the text includes links to the images. Some of the links to artworks are broken or point to sites that will require students to sift through extensive texts or image sets to find the artwork mentioned in the textbook. Along with the artist and title, it would be helpful to include the date, medium, size, and location in the label accompanying each artwork. This is a highly accessible textbook—the authors offer a variety of ways to download the PDF as both low- and high-resolution files, chapter sets ; ; , and in Japanese translation.
The text does not contain obvious grammatical errors. However, it does contain typographical and spelling errors; accents are omitted at times. Overall, the text makes use of examples that are inclusive of a variety of races, ethnicities, and backgrounds.
At times, the text misses opportunities to bring the discussion into communication with cultures that flourish beyond the Western world. Greater attention to indigenous cultural specificity is warranted. This is one of several instances in which the authors could engage more significantly and critically with histories of settler colonialism. Other opportunities to confront biased Western narratives could occur in the sections focused on mahogany harvesting in the Caribbean p.
This text represents an important contribution in the effort to make art and the study of art accessible to students.
Undergraduates studying art appreciation will benefit from the accessible prose, clear design layout, and high-quality in-text illustrations. I very much appreciate the arrangement of the book, the first section dedicated to the fundamentals of art and the second, to central themes. These aspects provide a solid These aspects provide a solid foundation for students who will want to know more.
It is a sufficient balance of form and meaning, which you don't often see in introductory texts. It is accessible and easy to follow. The embedded hyperlinks to supplemental information is also a unique feature that students will find helpful. The language is clear and accessible.
Including glossaries at the end of each chapter is a great way for students to have ready access to key definitions. I feel that the modularity of the text is adequate. The reader should not be overwhelmed by the above elements. Being able to zoom in on the images - is a great feature - they remain very crisp and clear, at least for me. The authors organized the text effectively, considering the amount of material covered see above. I appreciate how the authors include a set of learning outcomes at the start of each chapter and have "tests" throughout as well as "key concepts" and glossaries.
My only concern is that there is no index, nor is there a bibliography unless I missed them. I think the interface is sufficient. I was able to access the material embedded in the hyperlinks. Using hyperlinks to supplemental content is a terrific way for students to obtain details on particular objects.
I also like that authors used them judiciously. The chapter on art and ritual life serves as an excellent example of presenting the traditions of a variety of cultures in a balanced and respectful manner.
This book is a perfect companion to any college-level art appreciation course - and for today's student. The balance of form and meaning, the inclusion of learning objectives for each chapter, the "tests," and hyperlinks to supplemental material makes it unique and a text I would consider using in my course.
In reviewing this text, there were many things that I had issues with: 1. The text condenses the discussion on artistic mediums to half a chapter. This does not give students enough time to fully engage with the mediums since there is no context This does not give students enough time to fully engage with the mediums since there is no context given.
There is a whole chapter dedicated to architecture, but only smaller sections within a chapter dedicated to other art mediums, such as painting, printmaking, and drawing. The chapter on architecture could have been condensed so much more and included in the mediums section. In the sections on mediums, the text does not always show examples. For instance, in the printmaking section, they do not show an art example for each process, so the students reading would have no idea what a screen print even looks like.
My other issue with chapter 2 is directed at the sections on the elements of art and principles of design. These sections are very rushed. Its information overload. Again, no context is given for each element and its many facets. There needs to be more time given to the elements and principles and more art examples given so that students are better equipped to identify such things when doing a formal analysis.
My next issue is that there is no definition of formal analysis given before the authors, in Chapter 4, begin performing a formal analysis on two different works of art. Chapter 4 also has a rather quick, but comprehensive art historical section, but it doesn't really belong in this chapter as its supposed to be about "describing art. The chapter on identity in art is incredibly Eurocentric, and is also is very focused on art before There is a significant lack of contemporary art discussed in this text.
For the most part, the text is very relevant, especially its chapters on themes in art. However, there are times the authors delve into topics that seem irrelevant to an intro to art text. For instance, Chapter 3 on cultural value of materials is very out of place in this text. The book is at times accessible and yet also full of scholarly jargon that is confusing to those not familiar with that type of writing.
Throughout the text, the authors "name drop" scholars, art schools, historical figures and events, etc. Even the metadata for artworks is always clear as there are times where the text will omit information rather than indicating that the information is unknown. I encountered some inconsistency in the spelling of artist names.
The text is not overly self-referential and would be easy for any professor to cherry-pick sections to assign to students. I think the strongest chapters in this book that any intro to art class could benefit from are chapters 1, 5, and The organization of topics is strange and, at times, confusing. One area that really stood out to me as disorganized is found in Chapters 2, 3, and 4. Chapter 2 is titled "Structure of Art", which is already a confusing name for this chapter as the topics range from mediums of art to the elements and principles of art and design.
Chapter 3 then gets into the intrinsic value of materials, which already seems of out place in this textbook as it seems like something more relevant to an art history class than an introduction to art class. Finally, in Chapter 4, there is a discussion on formal analysis, which really should have been included in, or put after, chapter 2 since it discussed the elements and principles.
There are a number of links given in the text that do not work and others send students to works of art with low image quality. This text is pretty Eurocentric. While it does have sections where the authors discuss non-Western topics, such as Chapter 10 on ritual life and art, its only in the context of Western themes. African, Mesoamerican, and Native American art are some notable cultures that are either left out or barely discussed.
This is a decent textbook for cherry-picking specific topics from, but all together it is not a great text to use as a tool for creating course structure. The text does an excellent job of covering the areas and ideas that one expects from an introduction to art textbook.
The table of contents is clear and provides easy navigation within the text. While there is no glossary at the end of the text, While there is no glossary at the end of the text, there is a chapter-specific glossary at the end of each chapter providing a convenient review of the concepts and terms covered in each chapter. The content is accurate, error-free, and, with its many comparative references to different cultures and times, very unbiased. The content is up-to-date and covers all of the mediums, including photography, that one would expect from an introduction to art text.
It is written and arranged in such a way that any necessary updates will be relatively easy and straightforward to implement. The text is written in organized and well-flowing prose that introduces and explains the ideas, the technical terminology, and the historical flow of the material it covers.
The text is easily and readily divisible into smaller reading sections that can be assigned at different points within a course. The text is not overly self-referential. One can cherry-pick whole chapters or sub-sections within a chapter to align with various subunits of a course without presenting much disruption to the reader.
The interface is the only area of this text that needs some improvement. While the text is not overly self-referential, when it does refer to previously introduced and discussed images, the reference tends to be incorrect. The image referred to does exist however, the given labeling is often incorrect. Likewise, while it is great that the text is peppered with hyperlinks to images on the web, many of the links are not valid.
The hyperlinks work, however, the linked images or pages are often missing. The text is not culturally insensitive or offensive in any way. In fact, it makes great use of examples that are inclusive of a variety of races, ethnicities, backgrounds, and time periods. In addition to serving as a textbook for introduction to art courses, this text can also be used in more medium-specific introductory art courses, e.
Although the text provides a detailed analysis of ancient, traditional, and modern visual art, it is notably deficient in its treatment of contemporary post s art. This omission would lessen the appeal to college students of this otherwise Comprehensiveness rating: 3 see less.
This omission would lessen the appeal to college students of this otherwise encyclopedic and well reasoned introduction to the critical awareness of visual art. Art students require a text that provides insight into the revelatory role of visual art within human consciousness.
This text is far too pedantic and does not invite exploration and imagination by the students in interpreting the works of art presented. The text would be quite accessible for undergraduate college or university students. The concepts discussed are adequately introduced and the terms are well defined.
The style of writing is quite clear and straightforward. The text is quite internally consistent, without notable contradictions in its key propositions and theses.
The text is quite clearly divided into chapters and subheadings, and there is a "Key Terms" section at the end of every chapter. However, the text lacks an omnibus glossary and subject index. The text "flows" from basic to more complex concepts. The text approaches the critical analysis of visual art from distinct perspectives that are clearly signaled by chapter headings.
The display features employed in this text are its beautiful illustrations, which bring to life the adjacent verbal analysis. The text examines visual art from a wide variety of cultures over a range of geographical sites, but is somewhat Eurocentric.
Because of its logical structure and clear writing style, this text would provide an accessible introduction to the highly complex field of visual art for undergraduate community college, college, or university students. This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples.
This book presents information in an accurate way, although it includes a very limited perspective on art by BIPOC. While this is characteristic of traditional art and design history texts, it is important to be aware of and address in the classroom. The text is well-written, easy to read, and follows a natural hierarchy of information. Visually, the page formatting is digestible, easy to follow, and well organized.
This text is more inviting than other digital resources because of the visual design system in place. The division of content into small, clearly labeled and organized sections makes it easy to approach, navigate, and understand. Well organized, clear structure and easy to follow. Both the written text and the visual design facilitate a clear hierarchy of information and digestible content. The text is not directly insensitive or offensive, but examples of artwork by BIPOC are limited and presented from colonial perspectives.
This is not a problem stemming from this book alone, rather the traditional Western perspective of recorded art history, theory, and criticism. However, this text also misses the opportunity to address cultural appropriation. In a section titled and devoted to "Appropriation" Chapter 11 , the only perspective offered is that appropriation is a "legitimate way" for artists to "re-contextualize" images.
The singular artist example is photographer Sherrie Levine. To devote a section to appropriation, and yet leave out cultural conflicts entirely, misses an incredibly problematic aspect of appropriation in both the historical and contemporary landscapes of art and design. This is a critical discussion that belongs in the classroom, and a disappointing absence in this text. The typography, image formatting, and layout system do a nice job of keeping information easy to read and navigate.
The textbook is comprehensive, offering topics on elements and principles covered in my course. In my opinion the first half would work better to introduce students to visual art. The book is arranged well and is easy to comprehend. The text is a good introduction to art and art history. It is not a chronological art history text but covers several periods, art forms and ideas related to understanding art.
Although examples of art from many periods are addressed the final chapter on Ethics includes the most contemporary art examples. The text is arranged in a format that would allow updates to be easily implemented. The text is written in clear understandable prose.
Each chapter ends with an overview of key concepts, vocabulary and good test questions on the material. The text is organized in consistent module format. The format introduces each chapter with learning outcomes and a brief introduction. Each chapter ends with key concepts, vocabulary and good test questions as a review of the material.
The text gives examples of varied types of art from diverse cultures. There are good visual examples from historical to contemporary.
This is a good introductory text to art. I feel it would be a good accompaniment to a chronological art history text. It addresses topics that may not be covered in other art texts as fully including a definition of art, the distinction between fine art and craft, art and identity and ethics in art. The text is comprehensive, offering a wide range of material on the subject.
Still, many of the other chapters are more than sufficient in terms of comprehensiveness. In terms of an index or glossary, neither are present at the end of the book; however, at the conclusion of each chapter, all vocabulary from that chapter are listed and defined. An index and the end of the text would be helpful. No inaccuracies were detected in the text. The book is unbiased except that is obviously favors a greater understanding of art, such as at the end of section 1.
Chapter 11 briefly deviates from the text's usual objective tone, calling on the need for both society and artists to have a particular understanding of one another.
Even with the later chapters that touch on more recent phenomena in the art world such as identity and ethics, the material in the text is written in a way that it will be relevant for an indefinite period of time.
Updating content should present no problems in terms of ease of implementation. The text is easy to read and would be accessible to college students. All specialized terminology are conveniently in boldface type and are defined both in-chapter as well as in a section at the end of the chapter. The prose is not clinical and dry but is often inviting, making use of an inclusive third person perspective and sometimes directly addressing the readers with "you.
The text is largely consistent. One area to improve might be in the learning outcomes at the beginning of each chapter. While many of verbs are measurable such as identify, name, analyze, distinguish, explain, etc. All chapters are divided into smaller, easily identifiable sections, ranging from anywhere to 5 up to Most sections within chapters are only a couple of pages.
Understandably, some sections are significantly longer, but multiple images can be a contributing factor to the increased length. The text does reference itself i. The text is well organized, both in terms of the arrangement of chapters, as well as the divisions within the chapters. Also, the justified text is generally not a problem, but the inconsistency in spacing between characters is sometimes problematic. For example, the first line of the last paragraph on page 19 includes no spacing between any of the characters, making the sentence almost unreadable.
Finally, while the images graphics are relevant and helpful, the text as a whole feels cramped and could use some negative space--more white space around images and graphics. Few grammatical errors were detected. It should be noted that the writers employ all three points of view--often writing in first person.
Such an approach likely makes the text more accessible to college readers. However, a small issue that arises is when the writer first mentions "the viewer," singular, but subsequently uses the pronoun "we" plural. This agreement error was only noted a couple of times on page 14 and may or may not occur in other places. A simple fix is to change "the viewer" to "viewers. The text does an excellent job on covering a broad spectrum of cultures, ethnicities, and backgrounds.
At no point could any content be misconstrued as culturally inoffensive, as the writers did a good job in remaining objective in presenting the facts. For example, the section on The Dome of the Rock in Chapter Six is a sensitive topic, but the writers treated it with historical accuracy and cultural and religious sensitivity.
Even though several chapters are above and beyond what I need for my gen. Art Appreciation course, I would still find this text useful. This book is easy to comprehend. I do think the first half is better than the second.
There is no index which I do find useful. In the area of visual elements and principles of design, I do wish they went more into depth. The contemporary art could easily be updated to keep this as a current and relevant text especially since links are used.
I do think the first half of the book is a bit more clear than the second half. The second half almost gives too many examples of some ideas and becomes confusing for students.
The book has an overall good and consistent structure. The terms being given at the end of each chapter are good and easy for students to find and study. The organization of the chapters and subheadings is logical and makes sense. This book is easy to break up into small sections of readings for students. All the links worked! The quality of images and text for those links varied from website to website. Examples of artwork are given from all over the world.
Although the examples and content is heavy on Western Art, there is some reference to Non-Western Art. I did not find anything culturally offensive. Closest thing you will find that is free to use for an art appreciation course. I would not use this as my only book for the course but would use it and have some online resources to supplement areas such as visual elements and principles of design. I do feel like this book relies heavily on European art as examples. While the text is relatively comprehensive, I wish that it would have cast the net wider in terms of art forms to include a more extensive coverage of film, video games, textiles, typography, etc.
Nonwestern art is included, but I would have like Nonwestern art is included, but I would have like to have seen more. I do wish the authors would have expanded their discussions a bit more. In their attempt to be succinct, a choice, I imagine, made to keep the reader engaged, I'm afraid some important content is lost. Additional information in the captions is also needed. Important facts, such as year, medium, size, etc. I appreciate that the text stresses, right from the beginning, the importance of images in contemporary society.
Asking the question -- how does Bouguereau's work relate to today -- is a good way to connect past art to the present. I do wish it would have given more examples though of new media art. I thought this was a lost opportunity to add relevancy. I believe the text is organized in a way so as to easily implement updated material. The style of writing is much more readable than other textbooks I've used. I believe today's students will find this style more accessible and will therefore be more likely to actually read the text.
While the authors acknowledge art history's and presumably their own use of jargon, which they argue is "unavoidable" in any discipline, they avoid the use of unnecessary jargon. Key vocabulary words jargon if you like relating to art and art history are clearly and concisely defined. I very much like the way the text is organized. I appreciate that blocks of text are short. I think it would be easy to organize this text anyway you like when teaching, although the flow, the way one chapter leads into another, is nice, so I personally would not change it.
The text is easily customizable, in my opinion. Overall the interface is fine, but it is pretty basic. Extra features, like allowing users to zoom in on pieces, or adding arrows to specific parts of images under discussion might make this more accessible and interactive.
I was surprised that the text did not take advantage of its online format to include links to videos, especially when discussing various techniques. The different printmaking methods, for instance, are much more easily understood when demonstrated.
It could also have included actual videos in its discussion of video art and performance art, rather than a link to a photograph.
While I do see room for improvement, I appreciate what this text has to offer. I may even consider adopting it for my introductory course. This is not a book I feel I could adapt in its present form in my course, Art in the General Culture, a general education course designed to introduce students with little or no background in art.
While it contains a wealth of information that I While it contains a wealth of information that I can adapt within my course, it is not laid out in such a way as to communicate new concepts, such as the elements and principles of design and the history of art following a timeline that is easily followed by novice students hoping to grasp the major concepts and apply them to their lives in a meaningful way.
My biggest concern is with the layout of the content as it is. In broad terms it does introduce a wide range of cultures and artforms which is wonderful but would be overwhelming to my population. Early chapters contain media spanning history and techniques architecture, photography, craft and fine art that need defining before the more complex concepts such as aesthetics and criticism can be attempted.
The inclusion of contemporary art is well placed throughout. I do feel the inclusion of so many art forms and cultures throughout most chapters is confusing however. For example, Chapter 2 attempts too many media such as painting, printmaking, sculpture plus the elements and principles of design making it hard to absorb in a meaningful way.
Most of the technical information is well presented with good visuals to back it up. I particularly appreciated the inclusion of definitions for artist made prints versus reproductions to be helpful for students to understand the difference. As an artist and college instructor myself, I can easily follow all the information but my students would be challenged to absorb much of the technical aspects of the art presented as it jumps around in application from selfies and digital art to Renaissance to ancient works.
Yes, the text is consistent throughout in terminology and framework. I believe the user would be better served by grouping less broad concepts within chapters, for example, photography. By discussing its history from the Camera Obscura to the iphone, students could see how it affected the history of artmaking while understanding also the development of criteria for judging it as an artform in the twentieth century. It is something students today will need to develop for computer generated art in their lifetime.
Chapter One in particular, is heavy on theory and would lose many of my students at the outset. Discussions of labyrinths and terms such as circumambulate would be off putting and unnecessarily confusing. Chapter Two is too ambitious and would serve students better if it followed a thread beginning with Gestalt and following up with two-dimensional media and only later addressing three-dimensional media such as sculpture and pottery.
Here is the rub, I am confused by the organization here. I would like to adapt portions of the text but the way topics are presented makes it challenging.
The text contains a wealth of information but the format and general layout of the chapters makes it a daunting task to absorb it into my course. I do really feel that a timeline of some sort coming later in the text is essential for students to place work in its social, political and historical context. All art can only be appreciated fully beyond its formal aspects when the viewer has access to the context in which it was created.
The format of this text confuses that by jumping around culturally and historically too much. I do feel the inclusion of maps to place the art in the world would greatly advance comprehension.
I also found the diagram used to explain the Lost Wax method of casting to be poor. If anything, I think the effort to be inclusive of cultures is overdone. Women could be better represented, though again within the framework of the text it is more challenging since their contribution has historically been ignored until the modern era.
I really enjoyed the text. I made copious notes and underlined passages on many of the pages that I will absorb into my own course as the information expands topics I touch on throughout the semester. I do feel it would be a monumental task to adapt this book to my course, given the population I deal with in an introductory course on art history and culture. In addition, my course concentrates on Western culture, and so references world art only in so much as it has influenced that aspect of our culture.
I am not quite sure what sort of student your text would address in so much as it is technical and expansive while not really addressing the needs of the novice in art history. I think it would be better suited for an aesthetics course than my introductory one. The class I teach is designed to help students develop a cultural understanding and appreciation of the visual arts, such as architecture, painting, sculpture and design.
Lectures, videos, projects and discussions focus on issues related to the practice and techniques of creating and valuing visual imagery. Special emphasis is given to developing an understanding of the language of visual art and design, learning the basics of art criticism method, and gaining an overview of the history of the visual arts with a priority given to contemporary works of art. The text is comprehensive, providing an introduction to design concepts and terminology as well as an historical survey of mostly Western-centric ideas around the production and interpretation of art.
Topics like ethical considerations in art, Topics like ethical considerations in art, originality, meaning and materiality, and community purposes for art are given thoughtful treatment, encouraging multiple viewpoints for class discussions.
The book lacks back matter — no comprehensive glossary, index, image list, or bibliography. I did not find any factual errors in the text, but I did find some errors in image captions ex: Figures 7.
I also encountered numerous broken or misdirected hyperlinks. These broken links were especially disappointing when they failed to show works by underrepresented artists, such as Jaune Quick-to-See Smith page The content could be more up to date, with examples by new media, performance, and social-practice artists.
I would also find examples by contemporary mid-career and emerging artists instructive and relevant. The bolded key terms and glossary in each chapter are very useful.
The prose is clear but drifts between accessible and academically clunky. I wish the images of artworks were captioned with the date completed and, where applicable, an indication that the artist is unknown rather than omitting artist information.
The text is internally consistent with respect to terminology used and the framework of each chapter. There is some inconsistency with including locations of architectural sites in image captions. The text is divided into chapters that can be digested in one reading assignment or broken into shorter assignments.
The divisions are clear and logical. This makes the text scalable for classes that meet multiple times per week, once per week, or on accelerated schedules. Individual chapters for example, Chapter 2 on form and composition, or Chapter 4 on formal and critical analysis could also be assigned as stand-alone readings, in lieu of adopting the entire textbook for a course, especially given the inclusion of a glossary within each chapter. The organization of this text builds progressively on concepts chapter by chapter, but is not self-referential in a way that requires reading the book from cover to cover.
The structure of each chapter, with learning objectives followed by content followed by a recap, comprehension questions, and key terms, provides a clear framework for students to prioritize information and test themselves. It is also conducive to reflective and indirect instructional activities in class or online. The interface is clean but has some leading issues in the text, where letters are slightly stretched, slightly squished, or cut off below the baseline.
The multi-decimal section numbering system is visually noisy and, in my opinion, no more useful than section titles and page numbers in helping students find reading assignments or refer to passages. In general, page layouts are tight, with minimal margins between images and text. This seems like a decision driven by printing concerns minimizing page count , but additional white space would improve readability. The text worked well with the text-to-speech reader in Google Chrome.
I encountered numerous typos and grammatical errors, mostly in the form of missing punctuation, missing words, missing letters, and awkward sentence constructions. This text presents more than the usual suspects found in introductory art appreciation and visual literacy books.
Images by pre-modern American and European women artists are refreshing and demonstrate efforts to go outside the traditional canon. That being said, it could still be much more representative and inclusive.
For example, the first chapter addresses the definition of art but approaches the debate through the ideas of notable white men without acknowledging the hegemony around this question. This trend continues throughout the book, where the vast majority of text and images are devoted to long-dead Western artists mostly white European and American men and static forms of art mostly painting and traditional sculpture , with good representation for Ancient Near East art traditions, less for Eastern traditions, and little consideration for new media or performance art, artists of color, and global south art and artists.
It would be great to see a more inclusive second edition of this book. While I have listed specific areas that need improvement, I am thrilled that this book exists as an accessible, free, and user-friendly resource for students and instructors. Many thanks to the authors, editor, and publisher who have generously shared this work.
0コメント