The End of Diversity in Art Historical Writing is the most globally informed book on world art history, drawing on research in 76 countries. In addition some chapters have been crowd sourced: posted on the internet for comments, which have been incorporated into the text. It covers the principal accounts of Eurocentrism, center and margins, circulations and atlases of art, decolonial theory, incommensurate cultures, the origins and dissemination of the "October" model, problems of access to resources, models of multiple modernisms, and the emergence of English as the de facto lingua franca of art writing.

Arthur Efland puts current debate and concerns in a well-researched historical perspective. He examines the institutional settings of art education throughout Western history, the social forces that have shaped it, and the evolution and impact of alternate streams of influence on present practice.A History of Art Education is the first book to treat the visual arts in relation to developments in general education. Particular emphasis is placed on the 19th and 20th centuries and on the social context that has affected our concept of art today. This book will be useful as a main text in history of art education courses, as a supplemental text in courses in art education methods and history of education, and as a valuable resource for students, professors, and researchers. “The book should become a standard reference tool for art educators at all levels of the field.” —The Journal of Aesthetics and Art Criticism “Efland has filled a gap in historical research on art education and made an important contribution to scholarship in the field.” —Studies in Art Education

"Brings together the disciplines of art, music, and history to explore the importance of the past to conceptions of the present in the central Middle Ages"--Provided by publisher.

In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson’s Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics and art. Inspired and informed by collaboration with contemporary scientists and Goethe’s studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.

Responding to ongoing debates over the role of humanism in the rise of empirical science, Thomas DaCosta Kaufmann explores the history of Renaissance art to help explain the complex beginnings of the scientific revolution. In a rich collection of new and previously published essays addressing conceptions of the mastery of nature, he discusses the depiction of nature in works of art, scientific approaches to understanding the world, and imperial claims to world control. This interdisciplinary approach elucidates the varying ways art, science, and humanism interact. This book contains a new assessment of the origins of trompe-l'oeil illumination in manuscript painting in response to religious devotional practices; an account of the history of shadow projection in art theory in relation to perspective, astronomy, and optics; an analysis of poems by the painter Georg Hoefnagel demonstrating how religious, philosophical, and political concerns impinge on questions of imitation; ground-breaking interpretations of Arcimboldo's paintings of composite heads as imperial allegories; an account of a poet-astronomer's collaboration with artists; an essay on Ancients and Moderns in art and science in Prague; and a new review of art, politics, science, and the Kunstkammer.

Addressed to students of the image—both art historians and students of visual studies—this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects. Essays will analyze such topics as the disparities of power that privilege certain forms of temporality above others, the nature of temporal duration in different cultures, the time of materials, the creation of pictorial narrative, and the recognition of anachrony as a form of historical interpretation.

A philosopher makes the case for thinking of works of art as tools for investigating ourselves In his new book, Strange Tools: Art and Human Nature, the philosopher and cognitive scientist Alva Noë raises a number of profound questions: What is art? Why do we value art as we do? What does art reveal about our nature? Drawing on philosophy, art history, and cognitive science, and making provocative use of examples from all three of these fields, Noë offers new answers to such questions. He also shows why recent efforts to frame questions about art in terms of neuroscience and evolutionary biology alone have been and will continue to be unsuccessful.

According to Didi-Huberman, visual representation has an "underside" in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the "dreamwork", a mobile process that often involves substitution and contradiction.