Navigating the tremendous number of images in the Artstor Digital Library can be daunting, particularly to those in fields outside of art history. Where to start looking for images for, say, an Introduction to Philosophy class? To address that hurdle, we are introducing curriculum guides – collections of images from the Artstor Digital Library based on syllabi for college courses.
Blog Category: Teaching
The mission of Aalto University is to create a new science and arts community. In this video, chief information specialist Eila Rämö explains how Aalto uses the Artstor Digital Library.
By Mark Branner, University of Hawaii, Manoa
I have the great privilege of teaching an introductory college-level course on puppetry. Even though it is an introductory course, it is actually classified as an upper division course, which means that I generally have juniors and seniors straggling in, looking for an easy “basket-weaving” escape. There are even sniggers from some of the participants when I ask them why they are in the class. This is all pretty understandable. Just put the words together: “College. Puppets.” Already it feels like a bad Saturday Night Live sketch. No, we’re not saving the world (or destroying it) through biomedical engineering. We’re not planning a manned mission to Venus. We’re studying puppets, for crying out loud. What’s the earthly value in that?
We are happy to introduce the Teaching with Artstor discussion list, a forum where you can share ideas about teaching and where your questions can be addressed. Teachers and academics working at all levels of education are invited to contribute ideas and brainstorm ways to address content, find the perfect images on your topic, and present them in the classroom and lecture hall. In addition to Artstor-related topics, we encourage you to share other websites and resources you find helpful in your teaching practice.
Whether you are a seasoned specialist, a new faculty member or an overwhelmed teaching assistant, we want to hear from you! To join, simply send a blank email to firstname.lastname@example.org. We encourage you to forward this invitation to other faculty at your institution.
Gregory K. Martin, Ph.D.
Upper School Director, La Jolla Country Day School
In a compelling study of Western United States history, Patricia Nelson Limerick quotes Nannie Alderson, a former Virginian who moved to Montana in 1883. Alderson, looking back on a unique feature of her experience, recollected that there was on the frontier an abundance of cans: “Everyone in the country lived out of cans […] and you would see a great heap of them outside every little shack” (“Closing the Frontier and Opening Western History”).
By Rachel Pollock, University of North Carolina at Chapel Hill
Artstor helps me surmount a primary difficulty in teaching historical hat-making to my graduate students in theatrical costume production: diverse visual examples of our topics.
In millinery class, we consider not only styles and materials from which hats are made, but also their history—the provenance and significance of a given style, and depictions of it in art and advertising of the period. We analyze its cultural place of origin, and discuss ways in which its meaning might be explored or subverted in the context of stage performance and costume. I am fortunate to have access to theatrical costume storage and my university’s modest archive of antique clothing artifacts for practical tangible examples, but the bounds of those collections are finite.
Mrs. Michelle Apotsos
Doctoral candidate Art History/Architectural History
As a graduate student at Tufts University, I was once given the opportunity to give a lecture to a class of architectural history students on West African architectural form for the purpose of unsettling some common notions that inform Western conceptions of the built environment. I decided to present a case study of the Djenné mosque in Mali, West Africa as an example of an architectural tradition that utilizes distinctive structures, materials, and iconographies to resonate with its cultural context. The experience itself not only revealed to me the inherent challenges of teaching architectural studies in Africa, but also the necessity of having high-quality visual tools in order to recreate a convincing three-dimensional spatial narrative. Thus began my ongoing love affair with the Artstor Digital Library.
On June 4, 1919, U.S. Congress passed the 19th Amendment to the Constitution guaranteeing women the right to vote, and sent it to the states for ratification. To celebrate this momentous anniversary, we are featuring an essay by Stacy C. Hollander, senior curator and director of exhibitions at the American Folk Art Museum, on an anonymous 19th-century artist’s “Crazy” quilt (i.e., a quilt with no repeating motifs) and its message about women’s suffrage.
The constitutional amendment giving the vote to American women was not ratified until 1920. Therefore, the unidentified maker of this quilt voiced her political sentiments in one of the only socially acceptable means available to her in the late nineteenth century. Using the idiom of the Crazy quilt, she constructed a strong statement of Democratic sympathies in a highly fashionable format.
By Erin Giffin, University Of Washington
[The images in this post were selected to accompany the final exercise for the course “Introduction to Western Art — Ancient” (Art History 201) offered during autumn quarter 2010. This 300-student survey class balanced lectures by Professor Margaret Laird with meetings in smaller sections supervised by graduate student Teaching Assistants, one of whom was Ms. Giffin.]
Artstor was central to this assignment’s success. Professor Laird developed an exercise to teach independent research skills and the creative analysis of evidence. It challenged students to work in pairs to develop a 5-minute, illustrated oral presentation exploring how the Column of Trajan in Rome presented the enemy Dacians. Students were free to focus on any aspect of interest to them and to use any of the various art-historical methods they had learned in the course. Laird created an Image Group composed of forty-four slides showing episodes from the first Dacian War arranged in the order in which they appear on the column. Photographs of casts of the column (scanned from UCSD slides) clarified where each scene began and ended. Brief descriptions added to the “Instructor notes” tab explained the action in each scene. These slides introduced high-resolution color photographs of the same scenes from the column itself (made by Shmuel Magal for Sites and Photos). Students could consider figures across scenes or closely study individual sections in exquisite detail using the “zoom” feature.