Museums, Art History Programs, and ongoing Racism and Sexism

It is now 2019 and there are is still too many examples of professional art historians and art history programs failing to take an objective view of the information they present. A couple of examples of programming conveying inaccurate information–information that continues to marginalize cultures–comes from the University of St. Thomas. The first example shows… Continue reading Museums, Art History Programs, and ongoing Racism and Sexism

Ah the hyperbole of chapter 3. Presenting the Roman Empire…and its innate superiority…over all the cultures in the world…ever!

When considering the Framing the Era section for this chapter, one quickly understands the advantages of not covering cultures beyond Europe until the very end of the text! For example, anybody who is actually familiar with ancient art of China (chapter 18) realizes how extreme Eurocentrism is in this chapter (chapter 3). “No government, before… Continue reading Ah the hyperbole of chapter 3. Presenting the Roman Empire…and its innate superiority…over all the cultures in the world…ever!

Those blank cells in timelines…fascinating periods when absolutely no major art or architectural developments occurred..

The first blank is in the PREHISTORY AND THE FIRST CIVILIZATIONS timeline in Chapter 1, Prehistory. Who knew from 1070-900 BCE nothing of note was happening on the entire planet! Course the presumption might be that nothing was happening in Western Europe or Mesopotamia as these are the areas of focus for the chapter. Timeline… Continue reading Those blank cells in timelines…fascinating periods when absolutely no major art or architectural developments occurred..

“Scantily clad” figures? Why is this applied to Buddhist yakshi figures on the Great Stupa at Sanchi…and not examples of “Western” art?

In Gardner’s descriptions of Greek nude or semi-nude sculptures, analysis tends to emphasize the beauty and sexuality of the figures. The figures are presented as cutting edge sculpture – yet they are works that push the boundaries in a sensuous, and understandable manner. The caption for ALEXANDROS OF ANTIOCH-ON-THE-MEANDER, Aphrodite (Venus de Milo), from Melos,… Continue reading “Scantily clad” figures? Why is this applied to Buddhist yakshi figures on the Great Stupa at Sanchi…and not examples of “Western” art?

Gardner’s Art through the Ages: A Concise Global History – recognizing the Eurocentric perspective

Contents (the table of contents) Before digging further into cultural bias in the Introduction, it’s critical to note these biases permeate the entire text. The Contents affirm a Eurocentric perspective through the number of pages dedicated to artists and architects of European ancestry and the far fewer number of pages dedicated to artists and architects… Continue reading Gardner’s Art through the Ages: A Concise Global History – recognizing the Eurocentric perspective

Gardner’s Art through the Ages: A Concise Global History – cultural and gender biases in the “Introduction”

INTRODUCTION In art history texts introductions provide information about basic art historical questions and terms. They present an opportunity to introduce students to art, artists, and cultures throughout the world. Introductions set the tone for the entire text. Through images and analysis they can offer critical insights that encourages inclusivity. ¬†Or they can reaffirm unfortunate… Continue reading Gardner’s Art through the Ages: A Concise Global History – cultural and gender biases in the “Introduction”