The current administration’s stream of visual foibles is just one example of why policy makers and others should question their assumptions about the value of studying art history, argues Nika Elder.“If you are going to study 16th-century French art, more power to you. but you are not going to get a job," declared Sam Clovis, Donald Trump’s campaign co-chair in an interview last May.Of course, undergraduates (and their parents) as well as graduate students are right to think about their career prospects, and should be encouraged to do so.
The current administration’s stream of visual foibles is just one example of why policy makers and others should question their assumptions about the value of studying art history, argues Nika Elder.“If you are going to study 16th-century French art, more power to you. but you are not going to get a job," declared Sam Clovis, Donald Trump’s campaign co-chair in an interview last May.Tags: Bibliography A BookGulf War EssaysWritten Paper Airplane InstructionsMacbeth HomeworkNatural Language Processing Research PapersTennyson Seven Essays
In my introductory class, we also talk about 18th-century French artist Antoine Watteau and the ways his elegant and lighthearted paintings portrayed -- but also abetted -- the aristocratic indulgences that would ultimately bring about the Revolution.
More recently, contemporary artist Kara Walker’s installations of black paper silhouettes have become a staple of classes in African-American art, American art and contemporary art.
Within the central structure of the palace, the king's royal throne room itself was "guarded" by the Lamassu, supernatural winged, human-headed bulls with a four-tier headdress (signifying deity), no doubt serving as symbols of the king's divine right to rule.
Furthermore, the seemingly endless hallways, which led to the throne room, were lined with relief sculptures depicting the might of the Assyrian nation and king, the purpose of which was to impress and intimidate visitors with the power and majesty and courage and piety of the king.
It enables you to appreciate the finer things in life -- expensive objects you might see at a museum, but could never afford to own, or things you might discuss “at a cocktail party” (the backhanded compliment of all backhanded compliments to an art historian).
In his response to art history professor Ann Collins Johns’s criticism of his remarks in Wisconsin, Obama said the art history class he took in high school “has helped me take in a great deal of joy in my life that I might otherwise have missed.” Art can, of course, alert you to the beauties of the world.
1C CE) both convey their culture's notion of power and authority.
For the Assyrians, power and authority resided in the military strength of their kings and the palace of Sargon II reinforces this idea.
Applied directly to the museum or gallery wall, her antebellum characters engage in graphic sexual and violent acts, sending up genteel white culture -- from the Southern plantation to the modern museum -- and the ways in which it has sustained, enabled and promulgated racist ideas.
Art history is not, as Clovis’s and Obama’s remarks imply, a litany of obscure facts about artists’ lives, a catalog of auction records or the categorization of styles. It asks who or what is depicted, how, where and why -- questions central to the most pressing political and social issues in the United States today.