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001433872 001__ 1433872
001433872 003__ OCoLC
001433872 005__ 20230309003658.0
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001433872 019__ $$a1236368341$$a1237864570
001433872 020__ $$a9783030436094$$q(electronic bk.)
001433872 020__ $$a3030436098$$q(electronic bk.)
001433872 020__ $$z9783030436087
001433872 020__ $$z303043608X
001433872 0247_ $$a10.1007/978-3-030-43609-4$$2doi
001433872 035__ $$aSP(OCoLC)1237409260
001433872 040__ $$aEBLCP$$beng$$erda$$epn$$cEBLCP$$dUAB$$dOCLCF$$dN$T$$dYDXIT$$dGW5XE$$dYDX$$dHTM$$dUKAHL$$dGZM$$dOCLCQ$$dOCLCO$$dMZA$$dVLB$$dOCLCQ
001433872 049__ $$aISEA
001433872 050_4 $$aHM621$$b.S63 2021
001433872 08204 $$a709$$223
001433872 24500 $$aSocially engaged art history and beyond :$$balternative approaches to the theory and practice of art history /$$cedited by Cindy Persinger, Azar Rejaie.
001433872 264_1 $$aCham :$$bPalgrave Macmillan,$$c[2021]
001433872 264_4 $$c©2021
001433872 300__ $$a1 online resource (xiv, 288 pages) :$$billustrations (chiefly color), portraits
001433872 336__ $$atext$$btxt$$2rdacontent
001433872 337__ $$acomputer$$bc$$2rdamedia
001433872 338__ $$aonline resource$$bcr$$2rdacarrier
001433872 504__ $$aIncludes bibliographical references and index.
001433872 50500 $$tIntroduction --$$gPart I:$$tEnvisioning --$$gChapter 2:$$tIntroduction to Envisioning -- g Chapter 3:$$tWhat Is Socially Engaged Art History? --$$gChapter 4:$$tCultivating an Engaged Art History from Interdisciplinary Roots --$$gChapter 5:$$tArt History and Its Publics: Weighing the Pedagogical and Research Benefits of Community Engagement --$$gChapter 6:$$tVisual Critical Pedagogy in High School: Students Offer an Alternative to the Official Art Curriculum --$$gPart II:$$tIntersections --$$gChapter 7:$$tIntroduction to Intersections --$$gChapter 8:$$tApplied Art History: Theory and Praxis --$$gChapter 9:$$tThe Course Has Left the Classroom: Community Engagement, Consensus Building, and Experiential Learning as Socially Engaged Art History --$$gChapter 10:$$tObserving Light and Catching Reflections: Experiential Environmentally Centered Art Historical Practice Inside and Outside the Classroom --$$gChapter 11:$$tPublic Sculpture Exhibitions in Neighborhoods: Arts-Driven, Heritage-Based, Urban Revitalization, and Social Practice (Part 1) --$$tCuratorial Practice as (Place) Making: Social Imagination, Cultural Laboratories, and Public Space in Madrid (2008-2015) --$$tMaking Worlds: Normative and Other Art Histories of Visually Impaired Photographers --$$gPart III$$tImplementation --$$tIntroduction to Implementation --$$tThe Power of Silence: Ahmet Ögüt's The Silent University (2012-Ongoing) --$$tCurating to Remember Injustice: Exhibitions on Toyo Miyatake and Roger Shimomura --$$tHAIR CLUB: A Case Study for Socially Engaged Art History --$$tThe Running Fence Corporation, LLC and Sociality --$$tTurning Students into Social Practitioners and Neighborhood Youths and Young Adults into Project Assistants: Arts-Driven, Heritage-Based, Urban Revitalization, and Social Practice (Part 2) --$$tBuilding Community (Art) History in Standing Together: The Selma Burke Project" --$$tStudent Docent Projects as Socially Engaged Art History --$$tStructuring Academic Jobs for Engaged Art History --$$tReflections on Socially Engaged History.
001433872 506__ $$aAccess limited to authorized users.
001433872 520__ $$aWhat is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.
001433872 588__ $$aDescription based on print version record.
001433872 650_0 $$aArt$$xHistory.
001433872 650_0 $$aArt and society$$xHistory.
001433872 650_6 $$aArt$$xHistoire.
001433872 650_6 $$aArt et société$$xHistoire.
001433872 655_7 $$aHistory.$$2fast$$0(OCoLC)fst01411628
001433872 655_0 $$aElectronic books.
001433872 7001_ $$aPersinger, Cindy,$$eeditor
001433872 7001_ $$aRejaie, Azar,$$eeditor.
001433872 77608 $$iPrint version:$$aPersinger, Cindy.$$tSocially Engaged Art History and Beyond.$$dCham : Springer International Publishing AG, ©2021$$z9783030436087
001433872 852__ $$bebk
001433872 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-030-43609-4$$zOnline Access$$91397441.1
001433872 909CO $$ooai:library.usi.edu:1433872$$pGLOBAL_SET
001433872 980__ $$aBIB
001433872 980__ $$aEBOOK
001433872 982__ $$aEbook
001433872 983__ $$aOnline
001433872 994__ $$a92$$bISE