Hypermediated art criticism

Journal of Aesthetic Education

Volumn 41, Issue 3, 2007, Pages 1-24

  Taylor, Pamela G ^a   Carpenter II, B Stephen ^b  

^a Department of Fashion Design and Merchandising School of Arts Virginia Commonwealth University Richmond   (United States)

^b TEXAS A AND M UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949611997     PISSN: 00218510     EISSN: None     Source Type: Journal    
DOI: 10.1353/jae.2007.0030     Document Type: Article

References (53)

1. Marshall McLuhan, Understanding Media: The Extensions of Man (New York: McGraw-Hill, 1964), 60
2. Bob Cotton, and Richard Oliver, Understanding Hypermedia (London: Phaidon Press, 1993), 8
3. Terry Barrett, Criticizing Art, Understanding the Contemporary (Mountain View, CA: Mayfield Publishing Co., 1994)
4. and Terry Barrett, Talking about Student Art (Worcester, MA: Davis Publications, 1997)
5. Michael Joyce, "Beyond Next Before You Once Again: Repossessing and Renewing Electronic Culture (lecture recorded at the School of Literature and Communication and Culture at Georgia Tech, Atlanta, May 14, 1997; available online at http://www.Icc.gatech.edu/gallery/radio-idt/speakers/mjoyce. html#color), sec. V
6. Ricki Goldman-Segall, Points of Viewing: Children's Thinking, a Digital Ethnographer's Journey (Mahwah, NJ: Lawrence Erlbaum Associates, 1998), 8
7. N. Postman, Technopoly: The Surrender of Culture and Technology (New York: Vintage Books, 1992)
8. Barrett, Criticizing Art, xii
9. On Formalism see E. B. Feldman, Practical Art Criticism (Upper Saddle River, NJ: Prentice Hall, 1993)
10. and E. B. Feldman, "Feldman and Ragans: Our History with Art Criticism" (presentation given at the Georgia Art Education Association Conference, Saturday, October 18, 2003)
11. On Aesthetic Scanning see H. Broudy, Enlightened Cherishing: An Essay on Aesthetic Education (Urbana-Champaign: University of Illinois Press, 1972)
12. See Feldman, Practical Art Criticism and "Feldman and Ragans."
13. See also G. A. Mittler, Art in Focus (New York: McGraw-Hill, 1994)
14. and R. Ragans, ArtTalk Student Edition (New York: McGraw-Hill, 1999)
15. John Dewey, Experience and Education (1938; reprint, New York: Collier Books, 1963)
16. B. Davis, D. Sumara, and R. Luce-Kapler, Engaging Minds: Learning and Teaching in a Complex World (Mahwah, NJ: Lawrence Erlbaum Associates, 2000), 55
17. Karen Keifer-Boyd, "Interactive Hyperdocuments: Implications for Art Criticism in a Postmodern Era," in Art Education: Content and Practice in a Postmodern Era (Reston, VA: National Art Education Association, 1997), 122-31
18. Karen Keifer-Boyd, Explore a Work of Art (available at http://www.personal.psu.edu/faculty/k/t/ktk2/%20multivocal.html)
19. Christine Paul, Digital Art (London and New York: Thames and Hudson, 2003), 25
20. Keifer-Boyd, "Interactive Hyperdocuments," 129
21. Rachel Greene, Internet Art (London and New York: Thames and Hudson, 2004), 14
22. Other hypertext theorists and authors have attempted to translate what we like to call "a hypertextual way of thinking and knowing" to paper. Ted Nelson (Literary Machines 93.1 [1980; reprint, Sausolito, CA: Mindful Press, 1993] employed columns as well as what some may call callow drawings and schematics in many of his publications
23. Mark D. Taylor and Esa Saarinen's book Imagologies (New York: Routledge, 1994) consists of varied typefaces, random page placement, and striking graphics to represent what is in essence a running dialogue of e-mail correspondence
24. Jerome Agel produced Marshal McLuhan and Quentine Fiore's The Medium Is the Massage (1967; reprint, Corte Madera, CA: Gingko Press, 1996) as a tiny book filled with cogent black and white photographs, cartoons, and images represented as varied yet conceptually connected graphic illustrations and advertising
25. Tinderbox™ is a computer software program available from www.eastgate.com
26. M. Bernstein, Beyond the Navigation Problem (Eastgate Systems, 1998; available at http://www.eastgate.com/garclen/Beyond_Navigation.html)
27. "Changing Rooms" is a British Broadcast Corporation television series. Set in Great Britain, people have two clays to work with designers and a carpenter to redesign a room in their neighbor's homes. With a limited budget, they paint, borrow, steal, remake, and appropriate to create the illusion of dazzling design. An adaptation of the "Changing Rooms" television series, "Trading Spaces," airs in the United States on the Learning Channel
28. M. Guzdial, "Technological Support for Project-Based Learning," Learning with Technology: ASCD Year Book (1998): 47
29. G. Lovink, "Enemy of Nostalgia, Victim of the Present, Critic of the Future: An Interview with Peter Lunenfeld," in Uncanny Networks: Collected Interviews with Media Theorists and Artists (2002; available at http://www.mdp.artcenter/edu/∼sbaki/m1/lunensite_v1/pubs/interview3.html), 116
30. Bernstein, Beyond the Navigation Problem
31. R. N. Caine, and G. Caine, Education on the Edge of Possibility (Alexandria, VA: Association for Supervision and Curriculum Development, 1997), 11
32. A. Efland, Art and Cognition: Integrating the visual Arts in the Curriculum (New York: Teachers College Press, and Reston, VA: National Art Education Association, 2002), 11
33. Artist Jo Cook lives on Mayne Island, British Columbia, Canada. Her work can be seen on http://www/freemanifesta.org, http://www.smallworldtokyo.com, http://www.ikatun.com/digitalpocketgallery, and http://www.helsinki.fi/ ∼jjmvanha/wallet.htm
34. Using artist Cannon Colangelo's mixed media work entitled All but Forgotten, this interdisciplinary elementary art unit centered upon the idea of both understanding and preserving memory through such activities as creating collages that tell us where we live, exploring such mnemonic devices as a string around a finger, creating layered works of art with acetate and pentimenti techniques, and making memory books. Students also read poems and books about memory including Mem Fox's Wilfrid Gordon McDonald Partridge (London: Pearson, 1989)
35. and Thomas Hood's "I remember, I remember" (1826; available at http:://eir.library.utoronto.ca/rpo/display/poem1035.html)
36. Statement about the artist: "Jess Loseby is an established net and digital artist from the UK. Her primary medium is the internet. She exhibits in national and international projects both on and off line. Her work ranges from small and intimate online installations to large-scale digital projections and video. Loseby's unashamedly low-tech net installations and video build comparisons of the network and digitality in its frustrations, attention to triviality and repetition as absurdly compatible to the female domestic routine. Themes dealing with individuality and cyber-identity reoccur frequently as do the faces of her three children who seem to be bound up irrevocably with her digital self. Jess Loseby is young(ish), has three children, one husband and no time!" (Works by Jessica Loseby in the RSS Gallery, available at http://www.rssgallery.com/index.htm)
37. New York: Basic Books
38. See B. S. Carpenter, "Toward Non-linear Curriculum Design: Hypertext and the Preparation of Teachers in Art Education (VCU Emerging Technologies Day, 2003, available at http://www.at.vcu.edu/etech/etday/papers/carpenter .pdf)
39. B. S. Carpenter and P. G. Taylor, "Racing Thoughts: Altering Our Ways of Knowing and Being Through Computer Hypertext," Studies in Art Education 45, no. 1 (2003): 40-55
40. P. G. Taylor, "Hypertext-based Art Education: Implications for Liberatoty Learning in High School (PhD diss., Pennsylvania State University)
41. P. G. Taylor and B. S. Carpenter, "Inventively Linking: Teaching and Learning with Computer Hypertext," Art Education 55, no. 4 (2002): 6-12
42. Kerry Freedman, Teaching Visual Culture (New York: Teachers College, Columbia University and Reston, VA: The National Art Education Association, 2003), 128
43. P. G. Taylor, ed., Amazing Grace: The Lithographs of Joseph Norman (Boston: Museum of the National Center of Afro-American Artists, 2002)
44. On aesthetic scanning see Broudy, Enlightened Cherishing
45. on cross-cultural see T. Anderson, "Toward a Cross-Cultural Approach to Art Criticism," Studies in Art Education 36, no. 4 (Summer 1995): 198-209
46. on discursive aesthetic inquiry see G. Geahigan, "Art Criticism: From Theory to Practice," in Art Criticism and Education, ed. T. Wolff and G. Geahigan (Urbana: University of Illinois Press, 1997), 125-278
47. on feminist see E. Garber, "Implications of Feminist Art Criticism for Art Education," Studies in Art Education 32, no. 1 (1990): 17-26
48. on multivocal see Keifer-Boyd, "Interactive Hyperdocuments"
49. In his review of Barrett's Interpreting Art: Reflecting, Wondering, and Responding (2003), Carpenter (Studies in Art Education 47, no. 1 [2005]: 87-91) provided his own interpretation and critical reflection about the book but also connects the responses from his undergraduate students
50. a more skeptical review of the book by Petts (British Journal of Aesthetics 44, no. 2 [2004]: 197-99) rooted in aesthetic theory rather than art education, and his memories of his initial encounters with other texts such as Eco's Limits of Interpretation (1990), Bann and Allen's Interpreting Contemporary Art (1991), Goodman's Languages of Art (1968), Danto's Beyond the Brillo Box (1992), Eaton's Basic Issues in Aesthetics, (1988) and Dickie's Aesthetics
51. Greene, Internet Art, 12
52. Retrieved from http://www.pbs.org/art21/artists/wodiczko/clip2.html
53. Carpenter, "Toward Non-linear Curriculum Design," 1