case study meaning in art

Controversial Art Criticisms: In-Depth Case Studies

A white toilet on display in a glass case.

Like a bee to the flower, art draws you in. But not all art is created equally, and it’s often a battlefield between critics and artists.

This article will delve into case studies of controversial art criticisms throughout history. You’ll discover how pieces once rejected or dismissed, like Donatello’s ‘David’ or Vermeer’s ‘Girl with a Pearl Earring’, later became celebrated masterpieces.

We’ll also explore the scandalous side of artworks that pushed societal norms and caused outrage, such as Duchamp’s ‘Fountain,’ Picasso’s ‘Les Demoiselles d’Avignon,’ and Manet’s ‘Olympia.’

Despite their initial reception, these controversial pieces have shaped the world of art as we know it today. So buckle up; we’re about to embark on an eye-opening journey through some of history’s most fiercely debated artworks!

Above image: Marcel Duchamp – Fontaine, exemplary 2 – Tate Modern / Romainbehar / via Wikimedia Commons / Public Domain

Significance of Controversial Art

Have you ever thought about how some of the most impactful works in art history, like Donatello’s ‘David’ or Vermeer’s ‘Girl with a Pearl Earring,’ were once considered scandalous, creating a whirlwind of controversy? It’s true! Now seen as masterpieces, these pieces were initially met with harsh criticisms.

Consider Monet’s ‘Impression: Sunrise.’ It was laughed at and rejected by the Paris Salon. Its title even sparked mockery from critics who coined the term ‘impressionist’ as an insult! Yet today, it’s one of the greatest masterpieces of the century.

Art controversies are not just historical footnotes; they’re integral to understanding how these works challenged societal norms and pushed boundaries, leading to new artistic movements and changing our perception of what art could be.

Reaction to Rejected Art

It’s fascinating to delve into the world of art that was initially rejected yet later hailed as revolutionary and groundbreaking. Imagine the shock when Vermeer’s ‘Girl with a Pearl Earring’ was first dismissed as mundane! Now, it’s celebrated as a masterpiece.

Picture the scoffs at Monet’s ‘Impression: Sunrise,’ only for it to inspire an entire artistic movement. And who could forget Duchamp’s ‘Fountain’? A urinal labeled as art certainly caused outrage, but today, we recognize its significance in challenging our definitions of art.

These controversial pieces remind us that art isn’t just about aesthetics or pleasing patrons; it’s about pushing boundaries, evoking strong reactions, and often, causing a stir. So next time you stumble upon controversial artwork, remember – today’s scorn can become tomorrow’s praise!

Controversial Art Categories

You’ll find that controversial art can be grouped into several distinct categories, each with its unique ways of sparking debate and challenging societal norms.

For instance, did you know that 73% of people reported feeling angry or offended by at least one piece of modern art in their lifetime? This goes to show the profound emotional impact such works can have!

Some art pieces are controversial because they lack artistic merit or challenge viewers’ expectations. Others make bold political statements that stir up controversy. The definition of ‘good’ art is subjective and often leads to intense debates.

Remember that the value of an artwork isn’t just about its price tag; it’s also about the conversations it starts, whether they’re heated arguments or enlightened discussions!

Debating Artistic Merit

Consider this: when assessing the merit of an artwork, you’re not just looking at its technical prowess or aesthetic appeal but also its ability to provoke thought and elicit emotion.

Artistic value is subjective; what one person may view as a masterpiece could be seen as trash by another. This subjectivity often leads to controversy in art criticism.

Take, for instance, Marcel Duchamp’s ‘Fountain.’ At first glance, it’s just a urinal with a pseudonym scribbled on it. But when you consider its historical context and implications, it becomes a bold statement about the nature of art itself.

Similarly, Manet’s ‘Olympia’ received backlash for portraying a prostitute as unflattering, yet today, it’s admired for challenging societal norms.

So remember, controversies often signal groundbreaking work!

Political Statements in Art

Let’s delve into how artists have used their work to make powerful political statements, challenging societal norms and often stirring significant controversy.

Picasso’s ‘Guernica’ is a prime example. This mural vividly depicts the massacre of a Basque village during the Spanish Civil War, serving as a potent critique against fascism. Its raw power and unsettling imagery sparked heated debates about its propriety and impact.

Similarly, Ai Weiwei’s ‘Dropping a Han Dynasty Urn’ was seen as heresy, but it also symbolized his protest against China’s disregard for cultural heritage amid rapid modernization. Controversial? Absolutely! But these artists weren’t just seeking to shock – they were using art to confront political injustices head-on.

Challenging Viewer Expectations

Moving on from political statements in art, let’s delve into another provocative aspect – challenging viewer expectations.

Artists often shatter norms and push boundaries to evoke stronger reactions. Instances like Marcel Duchamp’s ‘Fountain’ or Ai Weiwei’s ‘Dropping a Han Dynasty Urn’ exemplify this.

Duchamp confronts us with a urinal, forcing us to question our definition of what constitutes art. Similarly, Weiwei shocks us by smashing a 2000-year-old urn, an act seen as heresy by many.

These pieces challenge the status quo and provoke thought and debate about societal norms and conventions in art. Remember that being controversial doesn’t strip these works of artistic merit; it merely adds another layer for interpretation and understanding.

Controversial Art and Offense

Imagine yourself in a gallery, coming face-to-face with Andres Serrano’s ‘Piss Christ’ or Robert Mapplethorpe’s sexually explicit photographs. You might feel shocked or even offended. That’s precisely what happened when these pieces first hit the public eye.

Serrano’s artwork, featuring a crucifix submerged in urine, sparked outrage and vandalism. Likewise, Mapplethorpe’s exhibition was canceled due to its explicit content, leading to protests and intense debates about art censorship.

Controversial? Absolutely. But remember that such artworks often aim to provoke thought and challenge societal norms rather than to offend. As you stand there amidst the controversy, consider this: Isn’t it the role of art to push boundaries and stir up conversation?

Rejection of Art in its Time

It’s heartbreaking to think that some of the most revered artworks today were once shunned and dismissed in their own time.

Donatello’s ‘David’ was hidden in private courtyards due to its controversial depiction of a young, nude male.

Vermeer’s ‘ Girl with a Pearl Earring ,’ now considered one of Europe’s most celebrated paintings, was initially regarded as unimportant and sold for barely anything at auction after his death.

And who could forget Monet? His masterpiece, ‘Impression: Sunrise,’ was laughed at by critics and rejected by the Paris Salon.

Yet these artists pushed boundaries and challenged norms, creating pieces that would eventually become invaluable contributions to art history.

Their work is a powerful reminder that art is subjective, misunderstood, and often underappreciated but consistently impactful.

Controversial Art and Ignorance

Well, isn’t it amusing how society can turn a blind eye to the brilliance of controversial art, opting to slap labels on them rather than taking time to appreciate their intricacies?

Look at Vermeer’s ‘Girl with a Pearl Earring,’ considered mundane initially but now deemed a masterpiece.

Or Donatello’s ‘David’—only displayed in private courtyards due to its daring depiction of nudity.

And let’s not forget Monet’s ‘Impression: Sunrise.’ It was laughed at and rejected by the Paris Salon, but today, it is one of history’s greatest masterpieces.

So, next time you encounter something unconventional or controversial in the art world, remember—today’s scorn might be tomorrow’s applause.

Determining the Value of Art

You’ve probably noticed that the value of art is not always determined by its initial reception but rather by the evolving reactions of critics, patrons, and the public over time.

It’s a fascinating process to observe, as an artwork can be initially misunderstood or reviled, only to be later hailed as a masterpiece. Take Monet’s ‘Impression: Sunrise,’ for instance. Initially laughed at and rejected by the Paris Salon, it sparked an entire artistic movement and is now considered one of his greatest works.

This highlights how subjective art appreciation can be. What seems controversial or devoid of merit today could very well become tomorrow’s invaluable cultural treasure. As such, it’s clear that controversy in art isn’t necessarily indicative of its lasting worth.

Outmane is the founder of Proactive Creative. He is an artist/designer.

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Introduction to Art: Design, Context, and Meaning

(58 reviews)

Pamela Sachant, University of North Georgia

Peggy Blood, Savannah State University

Jeffery A LeMieux, Brunswick, GA

Publisher: University of North Georgia Press

Language: English

Formats Available

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Learn more about reviews.

Reviewed by Eddy Mora, Faculty, Johnson County Community College on 5/8/22

Very comprehensive touching on subjects required not only to understand art but design as well. Topics were related to visual communication, visual literacy, and meaning. I love that the author does not stop at aesthetics but follows with cultural... read more

Comprehensiveness rating: 5 see less

Content Accuracy rating: 5

Having studied art for the last 30 years I can recognize the subject in reference and it appears to be accurate.

Relevance/Longevity rating: 5

Very relevant. I loved the introduction to the text because it makes it relevant to current and future generations of students, linking image use to cultural context and meaning.

Clarity rating: 5

Very clear and easy to follow and understand.

Consistency rating: 5

I like the sequential consistency of the text.

Modularity rating: 5

Very easy to pick up were left off.

Organization/Structure/Flow rating: 5

The book is very relevant in the progression of topics. I love how is organized. The organization logic could help teachers focused on specific topics.

Interface rating: 5

Beautiful interface put together and easy to follow. Very well documented with images and captions.

Grammatical Errors rating: 5

No grammatical errors that I found.

Cultural Relevance rating: 5

The text is very inclusive culturally. I liked how it helps the reader travel through continents with different styles, modes, histories, and artists.

I would recommend this book not only for its relevance to art history or fine art students but also to use with graphic design students. The many topics touched such as art structure, materials relevancy, communication, art analysis, and design formalities are more needed in design now more than ever, especially in face of the open cultural globalization our youth is experiencing.

Reviewed by Monika Meler, Assistant Professor of Art and Foundations Coordinator, University of Saint Francis on 12/30/21

Comprehensiveness rating: 4 see less

This book is a good and comprehensive text outlining themes and ideas. I see the audience for this text being complete beginners. It focuses less on formal principles and elements and tackles larger, more comprehensive themes like defining art, audience, and really large and complex ideas like identity, and power. Because it is a large survey textbook, these topics are not discussed in depth but do offer a brief introduction. The text does have a lot of questions at the end of chapters that would spark great conversation about these topics from beginning students. I don't mean to suggest that the book doesn't discuss elements and principles, but not nearly in as much depth as the textbook we use for foundations courses currently. I would use portions of this book for a 2D, 3D, or beginning drawing class, but it would not be an accurate replacement text for an intro/foundations course. For instance, the chapter on "describing art" would be very applicable to introduce students to critique. There are great examples of formal analysis that would be excellent to start the process of critique with.

The content of the book is very accurate.

Relevance/Longevity rating: 3

This is tricky to evaluate because this book is extremely relevant to beginning students. I could see this book being used in an art appreciation class or a class for non-majors not looking to go very deep. In our program, we teach a series of 1 credit beginning seminars for art majors that introduce them to different areas of study in studio art, audience, content, materials, and meaning. If I have the opportunity to teach one of these classes, I will definitely be pulling parts of this book. As you know, I am a fan of the "Describing Art" chapter and foresee using the "Connecting Art to Our Lives" chapter in the class as well as "Meaning on Art" in the courses.

My vote of "3" here is because of the lack of cultural diversity in the art that is represented and the fact that there are very few examples of more contemporary art. The examples are very European and this is why I would not use this as the sole text for any class. I would need to supplement with more contemporary/culturally diverse perspectives. Contemporary artists are mentioned, but few visual examples are used.

I think the book is very clear and consistent and believe that it communicates well to a beginning audience.

The book is very consistent. I like that each chapter begins with a section on "learning outcomes" and concludes with a review of key concepts. If your course includes tests or quizzes, this consistent structure would make it easier to construct the texts/quizzes and would serve as a nice study guide for students.

I addressed some of this in the "consistency" review above but this is one of the books biggest strengths. It is very easy to pull just one part of the book and teach from sections. The sections do no depend on the student having knowledge of previous chapters/sections.

As I have mentioned in previous points, this is a strength of the book.

There are no interface/navigation problems. I am impressed with the quality of images used.

I do not see any grammar issues.

Cultural Relevance rating: 1

This is one of the major issues I see with the book and I mentioned that in the points above. Other reviewers have also mentioned the lack of focus on cultural inclusion/diversity. If this book is to be used as a sole text for any course, it would have to be much more inclusive.

Reviewed by Christine Shearer, Adjunct Professor, Cleveland State University on 7/11/21

The book is a good resource for a basic art appreciation course that plans to focus more on topics and themes and less on formal qualities. Most of the examples are of a Western focus and provide a very Eurocentric viewpoint. There is a lack of female representation, both as maker and patron, providing a male-centric focus—a common occurrence in art historical textbooks.

Content Accuracy rating: 4

The images are great examples; however, they do not include any information that most professors would include in their lectures and PowerPoints—artist, title, date, medium, location.

Relevance/Longevity rating: 4

For a survey it has relevance, but it is not relevant for an upper division art history course. The book does not include much material post-1960, lacks representation beyond Europe and Western civilization, and is light on female contributions.

The template of the book is clear, nicely designed, and consistent. The writers have expressed their ideas in easy-to-understand language and have provided images and/or links to images to expand the learning experience visually. At the beginning of each chapter there is a list of learning objectives, and at the end of each chapter there is a review of key concepts, a test yourself section, and key terms.

The book is arranged thematically throughout, and the format is the same for each chapter.

Each chapter is broken down into subsections that are easy to pull out and assign in a different order than they are presented or as part of another course.

Organization/Structure/Flow rating: 4

The organization of the book is by theme. It is structured to cover what is art and how to make art in the beginning chapters and then progresses through different forms before landing on specific themes. It can be used as presented or re-arranged to fit another format.

There are hyperlinks that are a little long. These could perhaps by converted to bitly links to make it less distracting when you come across them in the text.

Grammatical Errors rating: 4

There are a few grammatical errors.

Cultural Relevance rating: 4

As stated above, the book is heavily Eurocentric and focused on Western art. Very little material on women and post-1960 is included within that focus as well. It does not include non-Western art and culture which is often lacking from many art historical texts. Sections could be used for supplementing material in other courses, but overall, it is a good source for an introductory art appreciation course.

Reviewed by David Chatfield, Adjunct Instructor, Community College of Aurora on 5/24/21

This text is not especially comprehensive. The first, and the most egregious example is the lack of historical and cultural contexts, normally found in the form of sections on art history. The authors attempt to embed art history into... read more

Comprehensiveness rating: 2 see less

This text is not especially comprehensive.

The first, and the most egregious example is the lack of historical and cultural contexts, normally found in the form of sections on art history. The authors attempt to embed art history into sections on material, Formal Elements, and Themes in Art, but it lacks a lot of context. This is especially the case when it comes to representation in non-western cultures. While I understand it is difficult to represent all cultures in dedicated chapters in this kind of text, and while I like the idea of embedding art history into other sections, they do not provide enough historical context and non-western cultures. One can choose a select group of representative cultures that demonstrate the relevant ideas that can give the students the structure and critical thinking skills needed to analyze the omitted cultures. Exposure to other cultures and other contexts is essential to developing empathy, essential in developing critical thinking skills when considering new and unfamiliar contexts.

Finally, while it is fairly comprehensive in describing other ideas, like materials, Formal vocabulary, and themes it's not very comprehensive on the application of those ideas.

Content Accuracy rating: 3

While the content seems accurate, it is not unbiased. As stated above this text is pretty typical in so far as the overrepresentation of Western cultures (and cultures generally accepted by the Western Canon like Egypt or China) in textbooks. This shows a bias toward an outdated Eurocentric viewpoint.

The content is not up-to-date. As an example, in the chapter on Protest and Shock, the most recent example is from 2001. There is a plethora of protest art from recent years, for example, BLM to the continued LGBTQ+ rights movements.

Though the text does include some contemporary artists, like Mel Chin, the examples are outdated.

The text also has at least 2 outdated links to image examples. Relying on links to other sources does not ensure longevity as the web is ever-changing. One could PDF the source and include that, or just include the images directly.

Clarity rating: 2

This text is pretty academic/inaccessible in its prose and doesn't provide much context for the terminology. For example, in the description of the often confusing Complimentary Colors, the authors state: "There is a slight delay between the depletion and restoration of this chemical supply within the neuron. In the interim, an afterimage occurs. Look at the green, orange, and black flag for 10 seconds, then look at a blank wall or empty white space. (Figure 2.52) For a few moments, you will see the complement, or opposite, of green (red), the complement of orange (blue), and the complement of black (white)..."

This idea is deceptively hard to teach, and even experienced art students are confused by Complimentary Colors. Describing chemical reactions and neurons might require one to explain what neurons are as well as what color wavelengths are on top of the cultural specificity of color and so-on and so-on only to additionally complicate a complicated idea, when what the student's need to know is how Complimentary Colors behave visually in contrast to Harmonious Colors, and why that is important to an artist. Compliments clash, while Harmonies don't.

Consistency rating: 4

The text is fairly consistent in its terminology and seems to be organized by an overall framework, starting with the vocabulary, then materials, then finally themes of Art. I would like to see more ties between the different sections using the vocabulary. For example, in the earlier section on the Formal Elements and the later section on visual analysis, the vocabulary used in the early section isn't brought forward in a clear and consistent way.

Modularity rating: 4

The text is modular, with sections delineated out into broader ideas that are then explored specifically, that can be viewed independently if needed.

Organization/Structure/Flow rating: 3

As stated above the text is well organized. Looking at the table of contents one can easily find specific ideas and jump to them using the page number feature. That being said, it would be far more intuitive and accessible if the sections in the table of contents linked directly to their corresponding sections.

Interface rating: 2

Though this text has some accessibility problems.

As to the interface, I have been able to copy and paste text easily, making me think the text accessible to an eReader. I'd like to see how this text works with an eReader for visually impaired or neuro-divergent students. As of now, I do not see an option for the text to be read within this interface requiring a third-party eReader.

The images are small and cannot be enlarged or opened in another tab. Being able to zoom in helps students interact with the work in a more intimate way. This is also a huge problem for visually impaired students.

There are several broken links, and I've found that the PDF takes a lot of time to load, even on a stable internet connection. This could be problematic if a user's computer or internet connection is slow. Could the sections be broken into smaller, linkable sectons?

Beyond a few links, the user experience is limited.

As best as I can tell there are or no grammatical or spelling errors. Though I'm no editor.

I did a keyword search and found a striking lack of non-Western Art. Renaissance is mentioned 30 times, while Africa/African: 8, Mesoamerica: 0, Aztec: 3, Mayan: 1. Aboriginal: 2, Pacific Island: 1, and so on. A cursory glance at the imagery is equally unrepresentative. I mostly see artwork from movements typically seen in Eurocentric Textbooks that dominate Academia (or cultures like Egypt or China, generally accepted into the Western Canon). The purpose of seeking out an OER is to move away from these types of texts. This lack of representation is highly problematic.

As to Higher Order Learning skills, specifically analysis/evaluation, I don't see enough in the text on how to analyze a work of art. They simply include a brief section with only two images and all too brief corresponding paragraphs of academic visual analysis. I don't see many connections to previous sections on the vocabulary used in visual analysis. The authors academically explain an idea, or a theme, but give the students much opportunity to apply those ideas.

A good book should lay the groundwork first on the necessary ideas, concepts, and vocabulary. When a student gets to the analysis in this book I don't think they would be prepared to understand the analysis the authors provide.

Then they need to have an immediate opportunity to apply those ideas. I realize this is part of my job, however, a good text does add exercises the authors find relevant to their text. My assignments may not be enough. At any rate, it's nice for the students to have additional options for the application of ideas.

This text also does not contain enough modalities in presenting the information. There are no supplemental videos, hands-on projects, or audio components. Just providing text and pictures is not enough. This particular text would require me to heavily supplement information, in which case I might as well toss the text and curate content that comes from multiple modalities myself.

Finally, quizzes at the end of each section may provide decent quantitative assessments, there is little here to help me provide qualitative assessments. Again, I understand that is my job to provide those opportunities, but I've found good text does as well.

Reviewed by Ines Corujo-Martin, Adjunct Assistant Professor, New York City College of Technology on 5/4/21

This textbook seeks to offer a deep and comprehensive insight into the world of art, including a broad variety of perspectives, such as art and meaning; art and power; art and ethics, among many other subjects. It contains over 400 high-quality images that illustrate the various forms of art, its technical applications, and its many uses. The table of contents seems detailed at first, but a closer look reveals the lack of logical and coherent progression. While Chapters 1 and 2 analyze the meaning of visual art, what is an artist, and the structure of art, Chapter 3 jumps into the study of materials, introducing jargon and technical terms that belong to an art history or more specialized course. Chapters 4 and 5, which respectively explore “Describing Art” and “Meaning in Art,” should have been placed right after Chapter 1, as they cover basic topics and terms. On the other hand, Chapter 7 delves into art in architecture, while other forms of art like painting, sculpture, or photography are neglected and find no space of deep analysis in the textbook. Overall, the content is imbalanced and needs more work, as well as the inclusion of updated materials and examples. Relevant chapters that could introduce thought-provoking and add new perspectives into the classroom (e.g., Chapter 8: Art and Identity; Chapter 9: Art and Power) are brief in comparison to other sections and offer a superficial and simplistic overview on very complex topics. For example, the authors do not illustrate the relationship between art and the construction of intersectional identities of race, gender, nationality, and ethnicity, mainly centering on religious and spiritual values (Chapter 6 and Chapter 10). Although each chapter ends with a section of "Key Terms," there is no glossary or list of illustrations at the end of the textbook. It includes footnotes citing the references employed, but there is no final bibliography, which is detrimental for an introductory college textbook that should provide a condensed view of documentation in the field. This textbook is inaccurately described online as “digital in nature,” when it takes on a conventional approach to teaching and learning. The only digital component is the inclusion of links embedded throughout the text, most of which are not contextualized. Some of these links do not work, and others send students to artworks with poor image quality. The textbook as a whole fails to provide digital activities and/or projects to expand students’ educational experiences beyond the textbook, helping them master concepts (i.e., quizlets, flashcards, videos, interactive images, etc.). It does not contain learning features like annotate and bookmark, which increase engagement with course content. Besides, there is no way to monitor students’ progress. It would have been useful to incorporate review, summary, and expansion activities at the end of the chapters, in addition to self-quizzes, to enhance student performance and facilitate the grasp of content.

The images do not include information on the artist, title, size, medium, date, and museum/collection of the works of art, and the emphasis is solely placed on the open source. Names of artists are sometimes misspelled and show no consistency like Vassily Kandinsky instead of Wassily Kandinsky (p.106).

As previously noted, this textbook takes on a traditional approach both in content and format, failing to add innovative insights to the art field. It mostly focuses on the pre-1960s period, and there is a notable absence of contemporary art, non-Western cultures, and art produced by female artists and people of color. There is barely no discussion of subculture art, urban art, or popular art, and the importance given to museums for the dissemination of art is minimal. There are stances in which the authors delve into topics that seem irrelevant to an introductory art course. For instance, the emphasis on the cultural value of materials (Chapter 3) seems very off-topic and, as already mentioned, should belong to an art history or material culture course. In contrast, relevant ongoing topics like digital art and the relationship between art and technology, often students’ favorite section, should be organized as a separate chapter instead of inserting disconnected and vague references throughout the text. The textbook does not provide enough opportunities for students to develop their critical thinking. This aspect could have been polished by designing exercises to analyze the works of art presented or by adding case studies on current and relevant artistic activities to interpret practical scenarios. To give an example, the eleventh chapter--"Art and Ethics"--could be greatly improved by introducing recent articles and real-world examples to explore ethical dilemmas related to the concepts of intellectual property, collecting, and censorship.

Clarity rating: 4

Overall, the language is clear and accessible, except for instances in which the authors use jargon and obscure terminology not appropriate for an introductory art course. Some of these technical words are not even included in the "Key Terms" sections at the end of each chapter, forcing the readers to figure it out by themselves and confusing students who might have little or no background in art.

The template used is consistent through the chapters. There is consistency regarding structure, framework, and terminology.

Each of the eleven chapters that comprise the textbook are organized into topics followed by subsections that are meant to connect back to the main theme. All chapters start off with a section of "Learning Outcomes," summarizing the learning objectives that should be attained at the end. After this, an introductory part provides background and presents the main themes and ideas that will be covered. The constant inclusion of rhetorical questions throughout the text allows students to reflect on their own learning process and to recognize the impact of art in their daily lives. Moreover, each chapter ends with two conclusive sections: "Before You Move On" and "Key Terms." The first one gives a list of discussion prompts to test the knowledge gained so far and to connect the content to students’ personal experiences. These self-reflection questions are particularly useful to engage students in their knowledge-building process and can be easily assigned to discuss in small groups during class or adapted for online forums to extend the exchange of views beyond the classroom.

There is no introduction/preface in which the authors explain the structure they follow, their educational goals or the relevance and application of the content in this textbook. Having a preface at the beginning of the textbook is useful to specify and give more information on the intended audience, as well as the educational level for which it is recommended (although we assume it is addressed to introductory college/university courses on visual art, art history, and art appreciation). There are no suggestions for planning the course and using the textbook in the classroom. This lack of pedagogical guidance could be greatly improved in the future.

Interface rating: 4

This is an aspect that needs improvement, as many of the links do not work or the linked images and pages are missing. In other cases, when referring to previously discussed images, the labeling tends to be incorrect. It is frustrating that the links within the body of the text are so long and that they are not enclosed with a period, which distracts the reader. Other than that, navigation through the text is straightforward and the text is clearly displayed.

The text does not include grammatical errors.

Cultural Relevance rating: 2

The approach of this textbook is clearly Eurocentric and Westernized, leaving out examples of art from Africa, Latin America, indigenous tribes, or any other non-Western culture. The only part in which the authors make some explicit references to other cultures (in this case Asian) takes place is Chapter 10 on "Art and Ritual Life"; however, this discussion occurs within the framework of Western themes. The vast majority of artworks in the textbook display white men and, as mentioned elsewhere in this review, there is no representation of female artists or people of color. This omission of diversity is problematic and one of its main downfalls. Art is one of the most powerful mediums to educate others on issues of inclusivity, social justice, and cultural sensitivity, which is key to forming well-rounded, global citizens. This textbook perpetuates a white-male-dominant perspective, following the typical works of art found within the canon of Western Art History. It is highly recommended that the authors revise the selection of pictures, citations, and examples to represent diverse cultures, races, ethnicities, genders, and backgrounds. In this respect, it is noteworthy to mention that the eighth chapter on the subject "Art and Identity" is one of the shortest and most superficial ones (in comparison, for example, to the previous chapter devoted to architecture that occupies more than 30 pages). The chapter "Art and Identity" provides over simplified conceptions of what cultural identity means (and constantly from a Westernized perspective) and misses out the fertile intersection of art with gendered and racialized identities over the course of history.

This textbook is not recommended as the main reference material or as a tool for organizing the course structure due to all the weaknesses in regard to content, structure, and cultural relevance detailed in this review. However, some of its sections can be incorporated into already prepared lessons, in particular Chapter 1, 4, 5, and 11, which from my perspective are the strongest. The textbook is not overly self-referential and some parts can be easily used as a supplemental material in combination with other educational resources.

Reviewed by Meidor Hu, Professor, Hawaii Community College on 4/23/21

This text is a comprehensive survey of ideas and subjects— theoretically and historically, similar to other text for an introduction to visual arts course. A wide variety of artistic media styles, time periods, and regions are covered, mostly with examples from Western art. Love the "Test Yourself" and "Key Terms" section at the end. It is lacking an index and glossary at the end of the text. I can see how this text can be easily incorporated with my previously prepared lessons.

The text reads unbiased and highly accurate. Although the image examples left out info on size, media, date and location of the art work.

The text is current but could give more focus on art since the 1960s and inclusion of more women artists.

The writing is clear and easy to read. The "Test Yourself" section at the end of each chapter is a great addition to check for understanding.

There is consistency in the logical structure and presentation.

The chapters and subheadings are logical. Each chapter opens with Learning Outcomes and ends Key Concepts, Test Yourself, and Key Terms sections to check for understanding. The subheadings are in easily digestible sections.

The text's organization is clear in format and structure.

The basic design is clear and non-distracting. The image quality were also good.

No issues with grammatical errors.

Cultural Relevance rating: 3

Although the text incorporated examples from different cultural and geological region, the majority of the discussions are Eurocentric in perspective. More attention to Asian, African, Pacific and the Americas would give the content more diversity.

Reviewed by Daniel Vedamuthu, Instructor of Art and Design, Rochester Community & Technical College on 4/1/21, updated 6/1/21

Books for Introduction to Art / Art Appreciation courses usually cover some standard topics: the definition of art, materials used to make, the elements of art and the principles of design, reasons for creating art, and methods of formal analysis of art. Introduction to Art: Design, Context, and Meaning covers these topics in the appropriate amount of depth. Texts usually then present a thematic, chronological, or cultural history of art. Introduction to Art: Design, Context, and Meaning focuses on a thematic approach. Figures often appear without dates. Courses that focus on a chronological approach will find this text lacking. The text lacks a “whole book” glossary of key terms. The Key Terms are found at the end of each chapter. The text includes a Table of Contents but does not have a formal index. This would have a negative impact on a printed version of the text. In the PDF version, searching the text is only a click away.

The text is accurate. One of the most important aspects of accuracy in a text in this subject is ensuring that the Artist, Artwork Name, and Date of Creation are correct. Doing a few random spot checks, when this information is present, the information is correct. Figures are labelled with the source author, source location, and the license. One area the text could improve is the lack of pronunciation guides in the text and in the Key Terms areas.

Being a text covering the thematic history of visual art, the content itself will not go out of date. The lack of contemporary imagery is the biggest drawback to the text, due to licensing of the figures. To include contemporary artwork in the text, links to outside images are provided in the text. Outdated links or redirects could cause the text to become obsolete. I believe it would be helpful to have a section after the copyright page or at the end of the text describing when links have last been updated or revised. However, the text is organizing in such a way that adding new images requires revising the thematic examples throughout the text instead of having to add and reorganize chapters. This is a benefit for adding new contemporary or cultural examples through the text.

The text is very clear. Art terms are clearly explained. Written examples are used to explain difficult terms. Even more importantly, Figures are used to demonstrate the meaning of art terms. When there are contrasting ideas, the text provides multiple Figures to demonstrate those competing ideas and provide instant opportunities for students to discussion about compare-and-contrast between the two figures.

The text is consistent on how it approaches topics. Art terms are using consistently throughout the text.

The text is built to be modular. Each chapter could be assigned in any order, though it’s obvious that the editor has an intended order for reading at the beginning of the text in order to logically introduce readers to the topics. Toward the end of the text, the topics become more thematic, and these chapters could be easily reorganized and adapted. Each Chapter’s main Chapter Content has clear headings and well-defined sub-headings. Each level of heading seem to be good breaking points to create smaller readings or to remix and rearrange the text.

Chapters in the text follow a logical and consistent structure. Each chapter establishes Learning Outcomes (which are meaningfully written), and Introduction, Chapter Content with well-defined subheadings, a conclusion named “Before You Move On” that includes Key Concepts and Chapter Questions, and finally, a list of Key Terms from the Chapter. Chapters build in a logical progression a the beginning of the text.

The real point of concern with any art appreciation text is the quality of the images. The resolution of most images appears to be sufficient for screen and print. Images are no distorted. Navigating the text is easy through PDF Bookmarks.

I observed no grammatical errors in the text.

This book features many examples that vary from the traditional art appreciation “textbook examples.” Images still tend to represent a “western art” perspective. There are examples from a range of different cultures but compared to some of the best commercial textbooks for cultural relevance, this text does compare to those standards. Are there any other comments you would like to make about this book? I am not fond of the typographic and typesetting choices made for the text. Multiple columns of text would reduce some of the very long line lengths found in the text. With a long line length and narrow leading, the lines seem to blend together. Figures do not seem to follow a strict layout grid that enhances the layout of the information. The drop-shadows on Figures are unnecessary. Fake small cap on Chapter names in the Table of Contents isn’t high quality.

Reviewed by Andrea Lepage, Professor of Art History, Washington & Lee University on 12/13/20

The text integrates all of the key areas traditionally covered in an art appreciation course with an emphasis on cultivating an art specific vocabulary and understanding the materials of art. The authors incorporate a wide variety of artistic media, traditions, styles, time periods, and regions into their discussions. The majority of the examples provided are drawn from Western art historical traditions, but the authors also include examples from regions beyond the West—especially China, Japan, and India. The text features some examples from Nigeria, Ghana, and North American indigenous traditions, but greater attention to African, Latin American, Central and South Asian, Oceanic, and indigenous traditions would be welcome. The work of male artists, mostly drawn from the Western art historical canon, dominate the discussions; greater coverage of women artists would also be welcome. The Table of Contents is hyperlinked and clearly organized, and each chapter concludes with an excellent glossary of terms. Including an index would assist students in navigating the book.

The content is mainly accurate throughout the text, with some typographical, spelling, and technical errors (broken links), especially in the second half of the book. As noted below, the text includes some inaccuracies or inconsistencies pertaining to indigenous cultures and artists. On occasion, the authors present controversial viewpoints in a straightforward manner. The 2003 toppling of the Saddam Hussein monument in Baghdad (p. 249) is one example. In a section dedicated to propaganda, the authors make no reference to the controversial nature of this incident, which may have been initiated or manipulated by U.S. military forces for propagandistic purposes.

The text is arranged in such a way that extended discussions and additional examples would be relatively easy to introduce. Updates might include extended discussions about artwork produced by women, indigenous, black, and other artists of color. In some cases, updates might simply expand the discussion around examples already introduced into the text (for example Gee’s Bend quilt maker Lucy Mingo, page 7; Judith Baca’s Great Wall of Los Angeles, pages 23-24; Jaune Quick-to-See Smith’s multi-media work, page 168). Such updates would help to further decenter traditional canonical Western art historical narratives. In addition, references to LGBTQ artists would be a welcome addition, as would including supplementary sections dedicated to contemporary artistic production. The authors have been careful to include discussions of more contemporary art forms like new media and graphic novels, and additional examples would be relatively easy to insert into the text. Discussions of early modern and modern art are already strong.

The text is written in clear and accessible prose. The learning outcomes at the beginning of each chapter give readers the necessary information to navigate each chapter. The concluding section in each chapter (“Before You Move On: Key Concepts”) does an excellent job of synthesizing the key points included in each chapter.

The text is arranged thematically rather than chronologically and is internally consistent throughout. Each chapter is well organized and easy to follow with a consistent arrangement that will be especially helpful for students as they study key points presented in the text.

The authors organize the text thematically, rather than chronologically as is the case with many introductory art history textbooks. Each chapter is organized consistently with learning outcomes, an introduction, a series of content sections that could be assigned at different points in the course, followed by a recap section entitled ‘Before You Move On,” and a list of key terms. The key term/glossary sections are extremely useful. In particular, the key terms included in chapter three, “Significance of Materials Used in Art”, provide an excellent and comprehensive glossary of artistic materials. It is easy to imagine students consulting this resource routinely throughout the course. Many of the ‘Test Yourself’ questions included at the end of each chapter could also double as in-class discussion prompts.

The book contains eleven chapters, organized thematically. The chapters cover conceptual questions, including: What is art, who is considered an artist, and why is art powerful (chapters one and nine)? How does art connect to our lives (chapter six), our identity (chapter eight), ritual life (chapter ten), and ethical world views (chapter eleven)? These conceptual discussions bookend chapters focused of the materials of art, and later chapters effectively circle back to themes briefly presented in the introductory chapter.

The remaining chapters provide students with art specific vocabulary and the descriptive and analytical tools to view, discuss, and interpret art and architecture. Chapters two (“The Structure of Art”) and three (“The Significance of Materials Used in Art”) provide students with an excellent and thorough description of the materials of art, which will be especially useful to students without a background in studio art. The authors are careful to include discussions of a wide variety of media including architecture (chapter seven), painting, printmaking, sculpture, video, performance, and new media. Chapters four (“Describing Art”) and five (“Meaning in Art”) provide students with an overview of strategies for formal and contextual analysis.

The Table of Contents provides links to each subsection, which is an effective navigational feature. The artworks and charts embedded in the text are high quality, well placed, and increase reader understanding of the concepts presented. The consistent design layout makes it easy for the reader to shift between image and text. Due to copyright restrictions, however, the authors are unable to include reproductions of all of the artworks discussed in the text. In those instances, the text includes links to the images. Some of the links to artworks are broken or point to sites that will require students to sift through extensive texts or image sets to find the artwork mentioned in the textbook. Along with the artist and title, it would be helpful to include the date, medium, size, and location in the label accompanying each artwork. This is a highly accessible textbook—the authors offer a variety of ways to download the PDF as both low- and high-resolution files, chapter sets (1-3; 4-7; 8-11), and in Japanese translation. The work is licensed under a Creative Commons Attribution-Share Alike 4.0 License.

The text does not contain obvious grammatical errors. However, it does contain typographical and spelling errors; accents are omitted at times.

Overall, the text makes use of examples that are inclusive of a variety of races, ethnicities, and backgrounds. At times, the text misses opportunities to bring the discussion into communication with cultures that flourish beyond the Western world. Greater attention to indigenous cultural specificity is warranted. For example, the authors reference the Aztec Plumed Serpent deity Quetzalcóatl (p. 256) in the context of Chichén Itzá, which is a Maya site located in the Mexican state of Yucatán. However, Kukulcán is the name of the Yucatec Maya deity to which the main temple at Chichén Itzá is dedicated. The authors should reconsider using the word ‘Eskimo’ (p. 270) or explain that ‘Eskimo’ is a designation imposed upon Inuit and Yupik people that has been rejected by Inuit communities for decades. This is one of several instances in which the authors could engage more significantly and critically with histories of settler colonialism. Other opportunities to confront biased Western narratives could occur in the sections focused on mahogany harvesting in the Caribbean (p. 88), Manifest Destiny (p. 161-162), and discussions of transatlantic trade in general. The discussion of Jaune Quick–to–See Smith's (an enrolled Salish member of the Confederated Salish and Kootenai Nation) "Montana’s Trade (Gifts for Trading Land with White People)" presents one such opportunity (p. 168), but both links to her work are broken. Because the artist’s name is misspelled twice in this section, students may encounter difficulties finding a reproduction of the work independently. Similarly, the authors could confront histories of enslavement more frequently, modeling their discussions on the section dedicated to Fred Wilson’s "Mining the Museum" exhibition (p. 289-290).

This text represents an important contribution in the effort to make art and the study of art accessible to students. Undergraduates studying art appreciation will benefit from the accessible prose, clear design layout, and high-quality in-text illustrations.

Reviewed by Julia May, Assistant Professor, University of Virginia on 11/30/20

I would use this text in my art appreciation/visual culture course. I very much appreciate the arrangement of the book, the first section dedicated to the fundamentals of art and the second, to central themes. These aspects provide a solid foundation for students who will want to know more. It is a sufficient balance of form and meaning, which you don't often see in introductory texts. It is accessible and easy to follow. The embedded hyperlinks to supplemental information is also a unique feature that students will find helpful.

The information is accurate and consistent.

Any updates will be easy to make. I don't see anything going out of date too soon.

The language is clear and accessible. Including glossaries at the end of each chapter is a great way for students to have ready access to key definitions.

The text is consistent.

I feel that the modularity of the text is adequate. The reader should not be overwhelmed by the above elements. Being able to zoom in on the images - is a great feature - they remain very crisp and clear, at least for me.

The authors organized the text effectively, considering the amount of material covered (see above). I appreciate how the authors include a set of learning outcomes at the start of each chapter and have "tests" throughout as well as "key concepts" and glossaries. My only concern is that there is no index, nor is there a bibliography (unless I missed them).

I think the interface is sufficient. I was able to access the material embedded in the hyperlinks. Using hyperlinks to supplemental content is a terrific way for students to obtain details on particular objects. I also like that authors used them judiciously.

I did not see any grammatical errors.

The chapter on art and ritual life serves as an excellent example of presenting the traditions of a variety of cultures in a balanced and respectful manner.

This book is a perfect companion to any college-level art appreciation course - and for today's student. The balance of form and meaning, the inclusion of learning objectives for each chapter, the "tests," and hyperlinks to supplemental material makes it unique and a text I would consider using in my course.

Reviewed by Danielle Bell, Adjunct Professor of Art and Art History, Community College of Aurora on 8/14/20

In reviewing this text, there were many things that I had issues with: 1. The text condenses the discussion on artistic mediums to half a chapter. This does not give students enough time to fully engage with the mediums since there is no context given. 2. There is a whole chapter dedicated to architecture, but only smaller sections within a chapter dedicated to other art mediums, such as painting, printmaking, and drawing. The chapter on architecture could have been condensed so much more and included in the mediums section. 3. In the sections on mediums, the text does not always show examples. For instance, in the printmaking section, they do not show an art example for each process, so the students reading would have no idea what a screen print even looks like. 4. My other issue with chapter 2 is directed at the sections on the elements of art and principles of design. These sections are very rushed. Its information overload. The authors do not spend an adequate amount of time/space on each element. Again, no context is given for each element and its many facets. There needs to be more time given to the elements and principles and more art examples given so that students are better equipped to identify such things when doing a formal analysis. 5. My next issue is that there is no definition of formal analysis given before the authors, in Chapter 4, begin performing a formal analysis on two different works of art. 6. Chapter 4 also has a rather quick, but comprehensive art historical section, but it doesn't really belong in this chapter as its supposed to be about "describing art." 7. The chapter on identity in art is incredibly Eurocentric, and is also is very focused on art before 1900. There is a significant lack of contemporary art discussed in this text.

The content that is presented and discussed is done so accurately and seemingly unbiased.

For the most part, the text is very relevant, especially its chapters on themes in art. However, there are times the authors delve into topics that seem irrelevant to an intro to art text. For instance, Chapter 3 on cultural value of materials is very out of place in this text.

Clarity rating: 3

The book is at times accessible and yet also full of scholarly jargon that is confusing to those not familiar with that type of writing. Throughout the text, the authors "name drop" scholars, art schools, historical figures and events, etc. without providing context. Even the metadata for artworks is always clear as there are times where the text will omit information rather than indicating that the information is unknown.

I encountered some inconsistency in the spelling of artist names. In the text, there are conventional transliterations of artist’s names. For instance, for artist Do Ho Suh, the name is spelled Do Ho Su on page 92, and Wassily Kandinsky is spelled Vasily Kandinsky on page 106.

The text is not overly self-referential and would be easy for any professor to cherry-pick sections to assign to students. I think the strongest chapters in this book that any intro to art class could benefit from are chapters 1, 5, and 11.

The organization of topics is strange and, at times, confusing. One area that really stood out to me as disorganized is found in Chapters 2, 3, and 4. Chapter 2 is titled "Structure of Art", which is already a confusing name for this chapter as the topics range from mediums of art to the elements and principles of art and design. Chapter 3 then gets into the intrinsic value of materials, which already seems of out place in this textbook as it seems like something more relevant to an art history class than an introduction to art class. Finally, in Chapter 4, there is a discussion on formal analysis, which really should have been included in, or put after, chapter 2 since it discussed the elements and principles.

There are a number of links given in the text that do not work and others send students to works of art with low image quality.

I found no grammatical errors in this text.

This text is pretty Eurocentric. While it does have sections where the authors discuss non-Western topics, such as Chapter 10 on ritual life and art, its only in the context of Western themes. African, Mesoamerican, and Native American art are some notable cultures that are either left out or barely discussed.

This is a decent textbook for cherry-picking specific topics from, but all together it is not a great text to use as a tool for creating course structure.

Reviewed by Don Oberheu, Lecturer, Leeward Community College on 7/14/20

The text does an excellent job of covering the areas and ideas that one expects from an introduction to art textbook. The table of contents is clear and provides easy navigation within the text. While there is no glossary at the end of the text, there is a chapter-specific glossary at the end of each chapter providing a convenient review of the concepts and terms covered in each chapter.

The content is accurate, error-free, and, with its many comparative references to different cultures and times, very unbiased.

The content is up-to-date and covers all of the mediums, including photography, that one would expect from an introduction to art text. It is written and arranged in such a way that any necessary updates will be relatively easy and straightforward to implement.

The text is written in organized and well-flowing prose that introduces and explains the ideas, the technical terminology, and the historical flow of the material it covers.

The text is internally consistent in terms of terminology and framework.

The text is easily and readily divisible into smaller reading sections that can be assigned at different points within a course. The text is not overly self-referential. One can cherry-pick whole chapters or sub-sections within a chapter to align with various subunits of a course without presenting much disruption to the reader.

The topics in the text are presented in a logical, clear fashion.

The interface is the only area of this text that needs some improvement. While the text is not overly self-referential, when it does refer to previously introduced and discussed images, the reference tends to be incorrect. The image referred to does exist however, the given labeling is often incorrect. Likewise, while it is great that the text is peppered with hyperlinks to images on the web, many of the links are not valid. The hyperlinks work, however, the linked images or pages are often missing.

The text contains no grammatical errors.

The text is not culturally insensitive or offensive in any way. In fact, it makes great use of examples that are inclusive of a variety of races, ethnicities, backgrounds, and time periods.

In addition to serving as a textbook for introduction to art courses, this text can also be used in more medium-specific introductory art courses, e.g., Introduction to Digital Photography, to help learners in the courses better understand both composition and the potential role of their own art as it relates to the medium they are learning.

Reviewed by Sandra Clyne, Adjunct Instructor, Bunker Hill Community College on 6/30/20

Although the text provides a detailed analysis of ancient, traditional, and modern visual art, it is notably deficient in its treatment of contemporary (post 1960s) art. This omission would lessen the appeal to college students of this otherwise... read more

Comprehensiveness rating: 3 see less

The text's treatment of anthropological and art historical detail is meticulous.

Art students require a text that provides insight into the revelatory role of visual art within human consciousness. This text is far too pedantic and does not invite exploration and imagination by the students in interpreting the works of art presented.

The text would be quite accessible for undergraduate college or university students. The concepts discussed are adequately introduced and the terms are well defined. The style of writing is quite clear and straightforward.

The text is quite internally consistent, without notable contradictions in its key propositions and theses.

The text is quite clearly divided into chapters and subheadings, and there is a "Key Terms" section at the end of every chapter. However, the text lacks an omnibus glossary and subject index.

The text "flows" from basic to more complex concepts. The text approaches the critical analysis of visual art from distinct perspectives that are clearly signaled by chapter headings.

The display features employed in this text are its beautiful illustrations, which bring to life the adjacent verbal analysis.

The grammar and sentence structure utilized in this text are impeccable.

The text examines visual art from a wide variety of cultures over a range of geographical sites, but is somewhat Eurocentric. More emphasis on African, Asian, South Asian, Native American and Oceanic art would have diversified its approaches and content.

Because of its logical structure and clear writing style, this text would provide an accessible introduction to the highly complex field of visual art for undergraduate community college, college, or university students.

Reviewed by Meridyth Espindola, Adjunct Professor, Bunker Hill Community College on 6/26/20

This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples. read more

This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples.

This book presents information in an accurate way, although it includes a very limited perspective on art by BIPOC. While this is characteristic of traditional art and design history texts, it is important to be aware of and address in the classroom.

The text focuses mainly on historical art history, and will not quickly become obsolete.

The text is well-written, easy to read, and follows a natural hierarchy of information. Visually, the page formatting is digestible, easy to follow, and well organized. This text is more inviting than other digital resources because of the visual design system in place.

Consistent tone of text and organization of information.

The division of content into small, clearly labeled and organized sections makes it easy to approach, navigate, and understand.

Well organized, clear structure and easy to follow. Both the written text and the visual design facilitate a clear hierarchy of information and digestible content.

Easy to use interface.

(Did not find any grammatical errors.)

The text is not directly insensitive or offensive, but examples of artwork by BIPOC are limited and presented from colonial perspectives. This is not a problem stemming from this book alone, rather the traditional Western perspective of recorded art history, theory, and criticism. However, this text also misses the opportunity to address cultural appropriation. In a section titled and devoted to "Appropriation" (Chapter 11), the only perspective offered is that appropriation is a "legitimate way" for artists to "re-contextualize" images. The singular artist example is photographer Sherrie Levine. To devote a section to appropriation, and yet leave out cultural conflicts entirely, misses an incredibly problematic aspect of appropriation in both the historical and contemporary landscapes of art and design. This is a critical discussion that belongs in the classroom, and a disappointing absence in this text.

The typography, image formatting, and layout system do a nice job of keeping information easy to read and navigate.

Reviewed by Talicia Honkola, Art Instructor, Mesabi Range College on 6/25/20

The textbook is comprehensive, offering topics on elements and principles covered in my course. In my opinion the first half would work better to introduce students to visual art. The book is arranged well and is easy to comprehend. read more

Reviewed by Marla Sweeney, Adjunct Instrcutor, Middlesex Community College on 6/17/20

The text is a good introduction to art and art history . It is not a chronological art history text but covers several periods, art forms and ideas related to understanding art. read more

The text is a good introduction to art and art history . It is not a chronological art history text but covers several periods, art forms and ideas related to understanding art.

The text is well researched and unbiased.

Although examples of art from many periods are addressed the final chapter on Ethics includes the most contemporary art examples. The text is arranged in a format that would allow updates to be easily implemented.

The text is written in clear understandable prose. Each chapter ends with an overview of key concepts, vocabulary and good test questions on the material.

The text is consistent in framework and terminology.

The text is organized in consistent module format. The format introduces each chapter with learning outcomes and a brief introduction. Each chapter ends with key concepts, vocabulary and good test questions as a review of the material.

The text is organized logically and the chapters are based on clear topics.

There are no navigation issues with the text or the display of image examples.

The text gives examples of varied types of art from diverse cultures. There are good visual examples from historical to contemporary.

This is a good introductory text to art. I feel it would be a good accompaniment to a chronological art history text. It addresses topics that may not be covered in other art texts as fully including a definition of art, the distinction between fine art and craft, art and identity and ethics in art .

Reviewed by Julia May, Assistant Professor, University of Virginia on 5/7/20

My only concern is that there is no index, nor is there a bibliography (unless I missed them).

Reviewed by WangLing Chou, Associate Professor of Art, Louisiana College on 4/30/20

The text is comprehensive, offering a wide range of material on the subject. Several of the chapters--mostly the latter ones--are more conceptual and/or philosophical and while they would be excellent for Art majors or upper level students, they would not be as useful for a general education Art Appreciation course. Still, many of the other chapters are more than sufficient in terms of comprehensiveness. In terms of an index or glossary, neither are present at the end of the book; however, at the conclusion of each chapter, all vocabulary from that chapter are listed and defined. An index and the end of the text would be helpful.

No inaccuracies were detected in the text. The book is unbiased except that is obviously favors a greater understanding of art, such as at the end of section 1.3.2. Chapter 11 briefly deviates from the text's usual objective tone, calling on the need for both society and artists to have a particular understanding of one another.

Even with the later chapters that touch on more recent phenomena in the art world such as identity and ethics, the material in the text is written in a way that it will be relevant for an indefinite period of time. Updating content should present no problems in terms of ease of implementation.

The text is easy to read and would be accessible to college students. All specialized terminology are conveniently in boldface type and are defined both in-chapter as well as in a section at the end of the chapter. The prose is not clinical and dry but is often inviting, making use of an inclusive third person perspective and sometimes directly addressing the readers with "you."

The text is largely consistent. One area to improve might be in the learning outcomes at the beginning of each chapter. While many of verbs are measurable such as identify, name, analyze, distinguish, explain, etc., the verb "understand" is used frequently in the outcomes and is not measurable based on Bloom's Taxonomy of educational objectives.

All chapters are divided into smaller, easily identifiable sections, ranging from anywhere to 5 up to 12. Most sections within chapters are only a couple of pages. Understandably, some sections are significantly longer, but multiple images can be a contributing factor to the increased length. The text does reference itself (i.e. "this text," etc.) on occasion, but such references are minimal.

The text is well organized, both in terms of the arrangement of chapters, as well as the divisions within the chapters. The text begins generally, moves to historical, practical, and knowledge-based content, and finishes with conceptual/philosophical content.

Interface rating: 3

One issue of concern is that in Chapter 11, every other page is incorrectly labeled at the top as "CHAPTER 10: ART AND RITUAL LIFE." Such a mislabelling could confuse readers. Also, the justified text is generally not a problem, but the inconsistency in spacing between characters is sometimes problematic. For example, the first line of the last paragraph on page 19 includes no spacing between any of the characters, making the sentence almost unreadable. Finally, while the images graphics are relevant and helpful, the text as a whole feels cramped and could use some negative space--more white space around images and graphics.

Few grammatical errors were detected. It should be noted that the writers employ all three points of view--often writing in first person. Such an approach likely makes the text more accessible to college readers. However, a small issue that arises is when the writer first mentions "the viewer," singular, but subsequently uses the pronoun "we" (plural). This agreement error was only noted a couple of times on page 14 and may or may not occur in other places. A simple fix is to change "the viewer" to "viewers."

The text does an excellent job on covering a broad spectrum of cultures, ethnicities, and backgrounds. At no point could any content be misconstrued as culturally inoffensive, as the writers did a good job in remaining objective in presenting the facts. For example, the section on The Dome of the Rock in Chapter Six is a sensitive topic, but the writers treated it with historical accuracy and cultural and religious sensitivity.

Even though several chapters are above and beyond what I need for my gen. ed. Art Appreciation course, I would still find this text useful.

Reviewed by Alexis Rusch, Adjunct Instructor, Oakland City University on 3/30/20

This book is easy to comprehend. I do think the first half is better than the second. There is no index which I do find useful. In the area of visual elements and principles of design, I do wish they went more into depth. read more

I find the information presented to be accurate.

The contemporary art could easily be updated to keep this as a current and relevant text especially since links are used.

I do think the first half of the book is a bit more clear than the second half. When teaching, I find it useful to have just 1-2 examples of art for each idea/concept I am discussing. The second half almost gives too many examples of some ideas and becomes confusing for students.

The book has an overall good and consistent structure. The terms being given at the end of each chapter are good and easy for students to find and study.

The organization of the chapters and subheadings is logical and makes sense. This book is easy to break up into small sections of readings for students.

I would consider the organization the best thing about this book!

All the links worked! The quality of images and text for those links varied from website to website.

No grammatical errors observed.

Examples of artwork are given from all over the world. Although the examples and content is heavy on Western Art, there is some reference to Non-Western Art. I did not find anything culturally offensive.

Closest thing you will find that is free to use for an art appreciation course. I would not use this as my only book for the course but would use it and have some online resources to supplement areas such as visual elements and principles of design. I do feel like this book relies heavily on European art as examples.

Reviewed by Kimberly Jones, Associate Professor, Sweet Briar College on 1/29/20

While the text is relatively comprehensive, I wish that it would have cast the net wider in terms of art forms to include a more extensive coverage of film, video games, textiles, typography, etc. Nonwestern art is included, but I would have like... read more

I do wish the authors would have expanded their discussions a bit more. In their attempt to be succinct, a choice, I imagine, made to keep the reader engaged, I'm afraid some important content is lost.

Additional information in the captions is also needed. Important facts, such as year, medium, size, etc., are not included.

I did not identify any errors. It appears to be unbiased.

I appreciate that the text stresses, right from the beginning, the importance of images in contemporary society. Asking the question -- how does Bouguereau's work relate to today -- is a good way to connect past art to the present. I do wish it would have given more examples though of new media art. I thought this was a lost opportunity to add relevancy.

I believe the text is organized in a way so as to easily implement updated material.

The style of writing is much more readable than other textbooks I've used. I believe today's students will find this style more accessible and will therefore be more likely to actually read the text. While the authors acknowledge art history's (and presumably their own) use of jargon, which they argue is "unavoidable" in any discipline, they avoid the use of unnecessary jargon. Key vocabulary words (jargon if you like) relating to art and art history are clearly and concisely defined.

I found the tone and style to be consistent throughout.

I very much like the way the text is organized. I appreciate that blocks of text are short. I think it would be easy to organize this text anyway you like when teaching, although the flow, the way one chapter leads into another, is nice, so I personally would not change it. The text is easily customizable, in my opinion.

Overall the interface is fine, but it is pretty basic. Extra features, like allowing users to zoom in on pieces, or adding arrows to specific parts of images under discussion might make this more accessible and interactive.

I did not identify any grammatical errors.

I did not find the text to be culturally insensitive.

I was surprised that the text did not take advantage of its online format to include links to videos, especially when discussing various techniques. The different printmaking methods, for instance, are much more easily understood when demonstrated. It could also have included actual videos in its discussion of video art and performance art, rather than a link to a photograph.

While I do see room for improvement, I appreciate what this text has to offer. I may even consider adopting it for my introductory course.

Reviewed by Mary Shira, Instructor, James Madison University on 1/8/20

This is not a book I feel I could adapt in its present form in my course, Art in the General Culture, a general education course designed to introduce students with little or no background in art. While it contains a wealth of information that I can adapt within my course, it is not laid out in such a way as to communicate new concepts, such as the elements and principles of design and the history of art following a timeline that is easily followed by novice students hoping to grasp the major concepts and apply them to their lives in a meaningful way. My biggest concern is with the layout of the content as it is. In broad terms it does introduce a wide range of cultures and artforms which is wonderful but would be overwhelming to my population. Early chapters contain media spanning history and techniques (architecture, photography, craft and fine art) that need defining before the more complex concepts such as aesthetics and criticism can be attempted

I found only two minor errors while reading the text: Page 123, in the hypertext notes mid page Beckmann has an “r”, Breckmann before the link. And in the discussion of the Palette of Narmer on page 239 it states the image on the back of the palette shows Narmer with the crown of Lower Egypt, when in fact he displays both Upper and Lower Egypt’s symbols as he is “The Great Unifier”.

The inclusion of contemporary art is well placed throughout. I do feel the inclusion of so many art forms and cultures throughout most chapters is confusing however. For example, Chapter 2 attempts too many media such as painting, printmaking, sculpture plus the elements and principles of design making it hard to absorb in a meaningful way.

Most of the technical information is well presented with good visuals to back it up. I particularly appreciated the inclusion of definitions for artist made prints versus reproductions to be helpful for students to understand the difference. As an artist and college instructor myself, I can easily follow all the information but my students would be challenged to absorb much of the technical aspects of the art presented as it jumps around in application from selfies and digital art to Renaissance to ancient works. The chapter on architecture, often student’s favorite section, is too broad and yet has little nineteenth and twentieth century urban examples such as the significance of The Crystal Palace and the contribution of Le Corbusier.

Yes, the text is consistent throughout in terminology and framework. It is as I have stated however the framework that doesn’t work for me in my class setting. I believe the user would be better served by grouping less broad concepts within chapters, for example, photography. By discussing its history from the Camera Obscura to the iphone, students could see how it affected the history of artmaking while understanding also the development of criteria for judging it as an artform in the twentieth century. It is something students today will need to develop for computer generated art in their lifetime.

Modularity rating: 3

I don’t agree that the text can be easily absorbed or supplanted into an existing course as it is initially challenging in the early chapters to define art without giving students the tools to make these decisions and injects historical imagery again without a way for placing it in a useful framework. Chapter One in particular, is heavy on theory and would lose many of my students at the outset. Discussions of labyrinths and terms such as circumambulate would be off putting and unnecessarily confusing. Chapter Two is too ambitious and would serve students better if it followed a thread beginning with Gestalt and following up with two-dimensional media and only later addressing three-dimensional media such as sculpture and pottery.

Organization/Structure/Flow rating: 2

Here is the rub, I am confused by the organization here. I would like to adapt portions of the text but the way topics are presented makes it challenging. The text contains a wealth of information but the format and general layout of the chapters makes it a daunting task to absorb it into my course. I do really feel that a timeline of some sort coming later in the text is essential for students to place work in its social, political and historical context. All art can only be appreciated fully beyond its formal aspects when the viewer has access to the context in which it was created. The format of this text confuses that by jumping around culturally and historically too much.

I do feel the inclusion of maps to place the art in the world would greatly advance comprehension. I don’t think students will likely access links referenced within the text though I appreciate the concept so that can create a navigational problem if the art is essential to understanding the concept. I also found the diagram used to explain the Lost Wax method of casting to be poor.

Only the one I mentioned previously. All in all the writing is engaging and easy to follow

If anything, I think the effort to be inclusive of cultures is overdone. Women could be better represented, though again within the framework of the text it is more challenging since their contribution has historically been ignored until the modern era.

I really enjoyed the text. I made copious notes and underlined passages on many of the pages that I will absorb into my own course as the information expands topics I touch on throughout the semester. I do feel it would be a monumental task to adapt this book to my course, given the population I deal with in an introductory course on art history and culture. In addition, my course concentrates on Western culture, and so references world art only in so much as it has influenced that aspect of our culture. I am not quite sure what sort of student your text would address in so much as it is technical and expansive while not really addressing the needs of the novice in art history. I think it would be better suited for an aesthetics course than my introductory one. The class I teach is designed to help students develop a cultural understanding and appreciation of the visual arts, such as architecture, painting, sculpture and design. Lectures, videos, projects and discussions focus on issues related to the practice and techniques of creating and valuing visual imagery. Special emphasis is given to developing an understanding of the language of visual art and design, learning the basics of art criticism method, and gaining an overview of the history of the visual arts with a priority given to contemporary works of art. .

Reviewed by Billi London-Gray, Adjunct Assistant Professor, University of Texas at Arlington on 12/30/19

The text is comprehensive, providing an introduction to design concepts and terminology as well as an historical survey of (mostly Western-centric) ideas around the production and interpretation of art. Topics like ethical considerations in art, originality, meaning and materiality, and community purposes for art are given thoughtful treatment, encouraging multiple viewpoints for class discussions. The book lacks back matter — no comprehensive glossary, index, image list, or bibliography. As an e-book, this can be solved with a CTRL + F search. If printed, it’s a limitation for users.

I did not find any factual errors in the text, but I did find some errors in image captions (ex: Figures 7.5 and 7.36) and spellings. I encountered some variation from conventional transliterations of artist’s names (ex: Do Ho Suh is spelled Do Ho Su, page 92, and Wassily Kandinsky is spelled Vasily Kandinsky, page 106). I also encountered numerous broken or misdirected hyperlinks. These broken links were especially disappointing when they failed to show works by underrepresented artists, such as Jaune Quick-to-See Smith (page 168).

This text offers a lot of relevant material, especially given that it’s free for students to access. The content could be more up to date, with examples by new media, performance, and social-practice artists. I would also find examples by contemporary mid-career and emerging artists instructive and relevant.

The bolded key terms and glossary in each chapter are very useful. The prose is clear but drifts between accessible and academically clunky. I wish the images of artworks were captioned with the date completed and, where applicable, an indication that the artist is unknown rather than omitting artist information. For most images, the date was provided in the running text, but this requires re-reading and could confuse context for students who don’t know what to look for.

The text is internally consistent with respect to terminology used and the framework of each chapter. There is some inconsistency with including locations of architectural sites in image captions.

The text is divided into chapters that can be digested in one reading assignment or broken into shorter assignments. The divisions are clear and logical. This makes the text scalable for classes that meet multiple times per week, once per week, or on accelerated schedules. Individual chapters (for example, Chapter 2 on form and composition, or Chapter 4 on formal and critical analysis) could also be assigned as stand-alone readings, in lieu of adopting the entire textbook for a course, especially given the inclusion of a glossary within each chapter.

The organization of this text builds progressively on concepts chapter by chapter, but is not self-referential in a way that requires reading the book from cover to cover. The structure of each chapter, with learning objectives followed by content followed by a recap, comprehension questions, and key terms, provides a clear framework for students to prioritize information and test themselves. It is also conducive to reflective and indirect instructional activities in class or online.

The interface is clean but has some leading issues in the text, where letters are slightly stretched, slightly squished, or cut off below the baseline. The multi-decimal section numbering system is visually noisy and, in my opinion, no more useful than section titles and page numbers in helping students find reading assignments or refer to passages. In general, page layouts are tight, with minimal margins between images and text. This seems like a decision driven by printing concerns (minimizing page count), but additional white space would improve readability. The text worked well with the text-to-speech reader in Google Chrome.

I encountered numerous typos and grammatical errors, mostly in the form of missing punctuation, missing words, missing letters, and awkward sentence constructions. None of these obscured the author’s meaning, but it could use another round of proofreading.

This text presents more than the usual suspects found in introductory art appreciation and visual literacy books. Images by pre-modern American and European women artists are refreshing and demonstrate efforts to go outside the traditional canon. That being said, it could still be much more representative and inclusive. For example, the first chapter addresses the definition of art but approaches the debate through the ideas of notable white men without acknowledging the hegemony around this question. No examples in this chapter are truly contemporary, with Maya Lin’s Vietnam Memorial, completed a generation before today’s students were born, being the most recent image example. This trend continues throughout the book, where the vast majority of text and images are devoted to long-dead Western artists (mostly white European and American men) and static forms of art (mostly painting and traditional sculpture), with good representation for Ancient Near East art traditions, less for Eastern traditions, and little consideration for new media or performance art, artists of color, and global south art and artists. Good opportunities are missed: while there’s more than a page of text devoted to Kehinde Wiley, the image of his work is accessed via hyperlink rather than embedded (pages 221-222) for effective appreciation of his art-historical reference. In the section “11.5 Ethical Considerations in the Collecting and Display of Art,” Nazi looting is criticized but there’s no mention of the colonial plunder that still resides in American and European institutions. It would be great to see a more inclusive second edition of this book.

While I have listed specific areas that need improvement, I am thrilled that this book exists as an accessible, free, and user-friendly resource for students and instructors. Its shortcomings are far less than other texts I’ve used, and its virtues are numerous, especially given the flexibility to make immediate improvements using the Creative Commons Attribution-ShareAlike license. Many thanks to the authors, editor, and publisher who have generously shared this work.

Reviewed by Rick Lostutter, Associate Professor of Art and Design, Hanover College on 12/20/19

This textbook is a fairly comprehensive primer on art from the approach of purpose, materials, structure and meaning. It provides readers with the foundational tools of understanding how to more formally assess art and the creation of many different kinds of visual representation. Having the "test yourself" and key terms sections at the end of each chapter allows the reader to develop a language and vocabulary that applies across the breadth of the nature and definition of visual art and helps solidify the elements presented within each area of art exploration. There are plenty of cultural references to the context of historical examples as well as the impact that art and design has had on society and the importance of art as a timeless reflection of the world. The structure of the book is an easy introduction into many different aspects of the study of art. I really enjoyed the inclusion and focused chapter on architecture within the greater context on art.

Having read through this text several times, I find it to be very accurate from an art perspective, technical reference and grammatical work. Statements made throughout the book are presented in a way that is supported with referenced examples and well agreed-upon art and design principles. The evaluation of art is traditionally an objective process, yet this text allows for expert opinion and fact to reside together in a way that allows for appropriate and open evaluation by the reader. So many art texts try to push specific agendas pertaining to narrow views of what art is or is supposed to be and this book avoids that in a very skillful manner.

The references and visual material presented in this book are of generally-accepted and representative examples of historic art. I would have liked to have seen some more contemporary art and artists represented as a comparison to art that has traditionally been used to illustrate the principles of art and conceptual design work. Given that this is a digital text that can easily be updated, it seems to provide a platform for having up-to-date and even current artists and their work represented. Students need to see that current work is being created that adheres to the traditional standards of the historical works referenced through the ages of art instruction. Having said that, the works used do not represent an obsolete view on art evaluation and instruction.

The reading acuity and age-appropriateness of the terminology, vocabulary and description are adequate and what I would expect for a college-level resource material. Again, the terms at the end of each chapter provide an easy reference tool for any language that a reader might not be familiar. It not only helps in the reading and retention of the material, but creates a great study guide for review after the reading of each section.

Having read many co-authored texts on specific subjects, the voice of the work is consistent and reads as though one author was the source for the entirety of the book. This is important, especially for a subject such as art, so the reader can begin to develop their own assessment of the topic without struggling through many different styles of evaluation.

The sections and chapters of this book are appropriately divided in a way that makes the subject digestible. The pacing of each chapter is segmented so that the ideas and concepts are easily incorporated into the overall topic of that chapter. This makes it a much better tool for grouping concepts from several different chapters into a lesson that requires many different elements to work together as a conceptual theme. Some chapters or sections may not be as relevant at particular times within a structured curriculum segment and the format allows for easy coordination of those individual concepts that will seamlessly integrate a cohesive lesson plan.

The organization of the topics in this book are clearly stated and work as a logical progression from one theme and area of art to another. Having said that, the topics can stand alone as needed for any given presentation within a class lesson.

The interface of this book is very clear and easy to use. Locating relevant topics from the table of contents and then quickly finding those topics within the text was thoughtfully accommodated with the section titles at the top of each page.

I have not found any grammatical errors in my assessment of each segment of this book.

Art is a discipline that has traditionally focused on the western culture and therefore has not been a very inclusive, historical representation af all cultures and races. This text does an adequate job in presenting examples that bleed outside of the traditional western historical examples of other texts. I would have liked to see more diversity which could have come from more contemporary examples of art. Given that, I did not find anything that I felt was culturally insensitive or inappropriate.

I would highly recommend this book as a great introductory supplement to any foundational art course that is meant to provide students with a base-level understanding of the complexities of art and design as a visual exploration. This should be incorporated as an essential text for students who are beginning their journey of the study of the creation of art and design. I could see this as a supplement to an introductory art history course as well.

Reviewed by Mike Morelli, Director Entertainment Management, University of Montana - Missoula on 12/19/19

This book provides a nice broad survey of styles, periods, artists' and types of art. read more

This book provides a nice broad survey of styles, periods, artists' and types of art.

The content is accurate for the vast majority of the book with few technical and grammatical errors. That being said, the errors (which appear in the second half of the book) have drawn notice from some of my students.

As an introduction, this book provides an excellent basis for discussion with students. The chapters and content are relevant, presented in a clear concise manner, and are supported by facts.

I appreciate the clarity of the material and the structure of chapters as well as the tone of the book. Color images with good labels and attribution make it easy to discuss and research further for students.

The text consistently presents concepts with supporting images and documentation in a logical and straightforward manner.

Good modularity for the most part. Given the way in which artists'/styles/concepts are presented in chapters, by necessity some ideas can only be examined contextually, and require a broader framework for understanding. The authors to a great degree provide that background and break down segments through titling with numbers to show flow while creating "bite sized pieces".

Excellent organization. Well laid out.

A logical combination of text, images, and titles delivered in a visually pleasing way.

As noted previously, few grammatical errors although enough to draw comment from students.

This text explores art as expressed by a wide variety of artist's with differing races, ethnicities, and backgrounds in inclusive and thoughtful ways. While I have had students react strongly to images or concepts in the book, (i.e. Hindu Swastika) it is not an objection to the manner in which the material is presented but often a strong initial personal reaction to a specific image, which is then discussed contextually in a manner that is both sensitive and dispassionate.

This book has worked well in several first semester Introduction to Art courses. It's clear, concise, and well written with logical and consistent organization.

Reviewed by David Riep, Associate Professor, Colorado State University on 12/10/19

I found this textbook to be very comprehensive. As one can quickly grasp from the table of contents, this book covers all of the major introductory topics for approaching and discussing art and visual culture (as well as some focused topics that are not typically found in "Intro to Art" texts). The authors organize the information in a manner that effectively builds upon previous sections, while also maintaining the ability to assign specific chapters and sections independently. Although this is not meant to be an art history text, I was impressed at how the content engages with numerous art historical methodologies (formalism, semiotics, social art history, feminist art history, iconography, connoisseurship, and even some key points coming from Hegel’s theories) without becoming cumbersome. The images of techniques and processes are also helpful (i.e. relief wood carving), as are the detailed explanations of media (i.e. what is egg tempera?). The key terms found throughout the text are also very helpful and are perhaps more useful at the end of each chapter, rather than a comprehensive glossary at the end of the book.

While it can be difficult to address global art production with an unbiased voice, I found the overall content to be thoughtful and generally balanced. I appreciated the broad questions posed to the reader, and found them to be very interesting and engaging (i.e. Why do we make art?, What defines an artist? What is the difference between Art V Craft?) as they provided the reader with the opportunity to further explore such topics. I also appreciated the authors’ openness regarding the strengths and limits of various perspectives and explanations throughout the text. While the discussion of some specific works are at times perhaps too narrow, and draw upon singular, declarative statements in order to support a point, the authors generally promote critical thinking and exploration of broad concepts. It is perhaps noteworthy to mention that some chapters were more effective in presenting a global perspective than others, although this is addressed in more detail below. Overall, I found the content to be accurate and well-researched.

One of the strengths of this text centers on the timely content, which references modern technology and concepts, as well as popular culture. I also really like the ability to pull up supplementary images throughout the text by clicking on imbedded links, although I found several of them in need of updates. I appreciated the inclusion kinetic art and new media within the comprehensive list of formal elements for 2D, 3D, 4D art, and found the overview of Aesthetics to be intentionally geared toward contemporary readers. There were many sections of the text that seemed to be specifically aimed at addressing current trends in art production and interpretation. For example, I enjoyed the dialog regarding architecture’s response to changing social development and advances, as well as the discussion in Chapter 8 which ties visual content to contemporary culture (popular media and activities such as genealogical websites, etc.). Chapter 9 equally engaged with the role of visual culture in contemporary societies by addressing Art and Power (propaganda, both symbolic and documentary), and offered an interesting dialog on building visual literacy. This chapter addresses the role and limits of media in recording or presenting images of power, and also addresses how imagery can appear “objective,” but can often contain specific messages. I found this to be extremely relevant, especially given the role of visual imagery in popular culture and social media. The chapter on Ethics is also quite relevant, and highlights the perception of visual culture and how it changes over time. Finally, the discussion on appropriation is very timely, as is the component that addresses museums. The questions posed regarding collecting and display practices are often left out of introductory texts, but are extremely relevant in contemporary times.

Overall, the text is approachable and clear in tone, and effectively guides the reader on how to best use this resource (i.e. explaining how the book will present content, and where the reader can expect to find various components). I found it to be a very useful text that presents complex concepts in a manner that non-specialists will easily understand. I also found the various case studies that are used to guide the reader in applying theories and methods to be very effective. The text presents content in a clear and concise manner, and I found the “Test Yourself” questions to be well constructed, approachable, and effectively open ended (when appropriate).

Another strength of this text is its consistency in presenting and disseminating content. The authors developed a number of components that are found in each chapter which draw the reader's attention to recognizing and applying key concepts. I found each chapter to be clearly and effectively structured, with appropriate subheadings and use of bold text to highlight important ideas and terms. This made the text very easy to navigate. I also found that the overall content maintained a consistency in tone, in spite of the fact that multiple contributors were working on any given chapter. The text is very clear and approachable, yet engages with complex theories and concepts.

It would be very easy to assign portions of this textbook throughout a teaching term, as most chapters can function as independent units, while also effectively engaging with other sections. I like the overarching themes of each chapter, which could easily be realigned as needed, and the fact that the subunits are of a manageable length. This book offers instructors a great amount of flexibility.

The book’s overall organization is clear and concise, with each chapter presenting measurable learning outcomes and ending with practical applications of concepts. I also found the subheadings to be very thoughtful in expounding upon the overall topic in each respective chapter. It is very easy to navigate through the various subunits, and the overall content is very appropriate in building an effective discussion of the various topics at hand.

While I really like the use of imbedded links to view images and expound upon concepts, some of the links did not work and need to be updated. Regardless, I like the fact that the use of links allows for the text to remain current, and to highlight contemporary content, developments, and artists.

I did not find any grammatical errors.

The text offers a sound explanation of artistic concepts, and makes an effort to present a global perspective. I appreciated the attempt to use both recognizable images from the Western canon as well as lesser known works, although some chapters were more effective in presenting a global perspective than others. For example, I was intrigued by the in-depth discussion / case study in Chapter 3 covering media in the eras of Constantine through the Ottonian Empire, although it could have been balanced by non-Western case studies (for example, the use and significance of metals in African cultures). Chapter 4 addresses formal analysis, although the overall discussion is largely focused on degrees of representation in the arts. This seemed to present a very "Western" perspective of artistic development, and could perhaps benefit by highlighting western and non-western objects, as well as naturalistic and abstract pieces. I especially liked the focus on “Interpretation” and highlighting how meaning is formed from multiple perspectives (the individual, society, and the impact of time), although I found the section on “Evaluation” to be rather narrow and perhaps unnecessary (what, for example, is the “verdict of history” that determines great art? Who / what determines this "verdict"? Why are museums placed at the center of this discussion, along with the suggestion that a work’s presence in a museum determines its artistic value? What do the authors mean by the phrase “best art”?). I appreciated the discussion of conventions in Chapter 4, and how the text traces them across cultures. However, when addressing cultural style, it might be helpful in some cases to note the role of "time" (the Western examples were presented according to how various artistic conventions developed over time, while many of the the non-Western examples, such as the Ancient Near East, are not given this same treatment). In a similar manner, the topic of individual artistic style could also benefit from exploring non-Western “anonymous” artists through a brief discussion of the history of collecting, and how one can trace the hands of unknown artists in the same way that Western artists have an identifiable style. I appreciate the inclusion of female artists such as Lilly Martin Spencer and Frances Palmer in Chapter 5, as well as the addition of a few non-Western pieces, but the chapter is still quite heavily Western, as is Chapter 6, which maintains a Judeo-Christian focus. This chapter could perhaps be broadened by engaging with diverse belief systems. This seemed to be rectified in numerous other chapters. For example, Chapter 7, which focused on architecture, was more intentional toward representing global perspectives and works of art, which I found to be very helpful in understanding global art production. Along the same lines, I found Chapter 8 to be very effective and inclusive in presenting concise notions of "the self" within expanding social spheres, and in discussing individual identity/gender, and external influences such as economics and class. I also appreciated how Chapter 10 highlighted global engagement with sacred structures, sites, rituals, and performances, as well as their significance.

The open source text "Introduction to Art: Design, Context, and Meaning" is an impressive resource that addresses the foundations of approaching, discussing, and understanding art through both historical and contemporary lenses. The authors took on an impressive amount of work to create a textbook that engages with contemporary topics, while laying the foundations for effective visual literacy.

Reviewed by Elizabeth Morton, Associate Professor, Wabash College on 11/6/19

This text covers almost all of the bases one would expect for an introductory class. Its biggest problem is the lack of inclusion of non-western examples in its presentation. The European art tradition dominates the discussion, with some allowance for Chinese and Japanese. You look in vain for references to African, Latin American, Oceanic, or indigenous art, even when they would be an obvious choice given the ongoing discussion.

This text has been written and edited carefully by veteran teachers. I did not see any errors or the use of suspect research

I believe the thematic approach to the material is far more relevant to today’s student than the classic approach based on historical progression. The chapters are judiciously chosen and are placed in a logical order. Again, the only thing old-fashioned here are the relentless insistence on using the western canon as the basis of discussion.

This text has been carefully written and has been painstakingly edited. I particularly thought Ch 2 was a standout in the way it presented the basic categories of art. At many points I berated myself for failing to present material so clearly in my own classes!

Once again, it is worth stating that the editing is of admirable quality. A lot of thought has gone into maintaining similar terminology and reference points as the chapters progress, even though they have different sets of authors. The use of keywords is also a strong feature, since many of them recur as the book progresses.

A definite strength of the text. Very easy to divide up the text by week, class, group, etc.

The editor is to be commended as the text flows smoothly from on section to another.

I liked the yellow bars on the right side which assist in moving between chapters. The “find” feature works well, and overall it was easy to use the extext. This is very user-friendly.

Once again, the editing here has been thorough and painstaking

Chapters 8-10 in particular are disappointing in that they offered a chance to move away from a traditional, Eurocentric approach. While the authors do include some non-western examples as they proceed, they still rely too much on European art. Chapter 11 is also disappointing—with non-western art having been plundered systematically for a long time and its placement in First World museums being increasingly problematic, it is not even mentioned.

Well done on a very user-friendly text. However, some extra work in terms of broadening the geographical base of examples is definitely in order

Reviewed by Jade Hoyer, Assistant Professor of Art, Metropolitan State University of Denver on 10/25/19

As other reviewers have noted, the text covers elements of design, rationale, context, and impact for and of making art. It’s a lot for a work to cover, and is generally successful, if sweeping, in doing this. I didn't note an index. The... read more

The exception to this for me is Chapter 2, which is essentially a studio class in a chapter (a rapid-fire discussion of all artistic media, design elements, design principles, and color theory for good measure. This chapter contains no less than 150 "Key Terms!"

I found the content to be generally accurate.

It was frustrating that most of the work’s contemporary examples were hyperlinked instead of embedded as images and potentially impermanent. Though likely a result of copyright issues, to present most contemporary accounts as a block of black text visually diminishes their importance. (It’s also likely that students won’t bother clicking the links.) Would like to see links changed to more persistent format.

With regard to writing, the work is generally clearly written, and approachable to beginning students. The tone of the writing is quite generous- the first chapter explains how art is ultimately about the viewer’s interpretation and adds “but we do have help if we want it. People who have made a disciplined study of art can offer ideas about what art is important and why.”

With regard to imagery, I thought that no dates, media, or sizes were listed for the works to be a big miss.

The work also had a tendency to bounce around. I felt many sections leapt centuries and continents (and often both centuries and continents) within a single page with transitions akin to “meanwhile in Russia…,” or “a few hundred years later.” I appreciate that many of these about faces were connected to efforts to be inclusive, but it presented a dizzying narrative, that was made more confusing for lack of timelines or context (like dates!) provided in the imagery.

Writing seemed consistent throughout. However, I found instances of sloppy formatting: definitions were often in bold a few letters or even a word beyond the word being defined. Beyond this, I could imagine this formatting being confusing for students as words that were in bold indicated definitions and sometimes, but not always, were designated as Key Words at the end of each chapter. For example, on p 63, four terms are defined in one paragraph (unity, variety, conceptual, interval, scale, proportion), but only two words (interval, scale) are designated as Key Words. I find using a different formatting technique in this case, such as color, would be helpful in assisting students in identifying Key Words earlier at the beginning of the chapter.

I enjoyed this aspect of the work! I would especially use the final chapters for my classes (such as Art and Power, Art and Ethics). I found these chapters to be thoughtful and relevant to students, and especially appreciated their being structured around case-studies.

I appreciated the general flow of the work beginning from simple definitions “what is art?,” “who is an artist?” to contemplating identity, power, ethics, and controversies in artmaking, though some sections seemed redundant. Good summaries and questions to accompany the readings, especially later in the text.

Worked great for me! I also appreciated how the Hyperlinks took me to new works, and that I could return to my spot on the page when I clicked the back button. Please note Relevance section regarding links.

I found limited grammatical errors.

I appreciated the interweaving of Western and Non-Western narratives, though found that, especially if one were focusing on the imagery, that the works presented felt skewed Western.

Great resource- will definitely utilize sections in my teaching.

Reviewed by Maria Guzman, Instructor - Art & Art History , Peralta Community College District on 9/26/19

I found this book to be a good "skeleton" text for a variety of courses. I liked that it had chapters dedicated to both formal analysis (Chapters Two, Four, and Five) but also managed to include global perspectives (Chapter Eleven: Art and Ethics was especially thought-provoking). The themed chapters (Chapter Eight: Art and Identity and Chapter Nine: Art and Power) are relevant for any Art History course, and I use them for all courses, including World Art, Art 1, 2, and 3 (these cover the prehistoric to contemporary periods, collectively). The addition of Key Terms at the end of chapters was also helpful.

When I decided to use this text, my main concern was regarding whether the content would be easy to connect to my prior courses' designs. I used Henry M. Sayre's "A World of Art" and the Marilyn Stokstad "Art History" textbooks. Thanks to the chapter that discussed the general theories about what art "is" (Chapter One), and the clear language that mirrored Sayre's creative drives (found in Chapter 6, mainly), I easily transitioned to using this book for my course. Most recently, I have adopted it for Art 101: Western Art History and ART 103: History of Modern Art.

Inclusivity is consistent in the discussion of works from different cultures and geographic areas. I was impressed by the mention of postcolonial topics, and even the addition of 4-D in relation to formal descriptions. This is a text that has incorporated recent scholarly perspectives and new genres in art. I had fun adding OER readings about identity, especially, in order to complement the chapter in this text.

I have had feedback from students regarding the easy-to-follow format and text used in this book. I also find it easy to get through in a short amount of time.

Overall, the terminology was clear and consistent.

Yes. I usually remix the chapter order, based on what type/periods I am addressing in a course. Chapters One, and Two are great for the first few weeks. I save Chapter Four for the middle of most classes, in which we are beginning to do more art descriptions as a group. I use Chapter Six towards the end of the courses, where the class begins to conduct research and observe more creative drives and themes. I apply Chapters Eight and Nine based on the time periods, and how relevant they are the subject matter or styles covered in the course. I have thought about inserting Chapters Eight and Nine right after Chapter One in order to address the modern period and the growing individualism in modern art.

Chapter Ten is especially good for any ART 1, 2, or World Art course, especially (ART 101 or 102 as well).

I will be teaching a short-term course about Architecture this semester, and am excited to use Chapter Seven: Form in Architecture.

Excellent -- these are short, include many genres, mediums, and cultural styles in a sensible way. Usually, the chapters include a variety, and this enhances the global perspectives that the authors encourage. It also makes it easier to select works of art to focus on, if you are covering particularly modern or World Art, for example.

No issues with interface. The format is easy to navigate, and my only suggestion is to create hyperlinked headings for chapters in the Table of Contents, so that you could jump to the chapters a little sooner. Small suggestion, though. It's very well formatted and designed.

As stated in the Relevance section, this book offered good topics that were easy to connect to contemporary or recent studies in non-Western art (Global Art perspectives). See pages 5, 8, and 9 for a few points made about this text's open format and my review of The Met Museum's OER text, "Art in Africa". It was a compatible text and I would recommend "Introduction to Art" for its culturally-sensitive and unbiased perspectives, especially if building a course about global approaches to art. Read my summary here: https://docs.google.com/document/d/1cSG4MWFta-nE9yTgSC__QP22D2dHpYjsg9evVysBQFg/edit?usp=sharing

No additional comments.

Reviewed by Mara Pierce, Assistant Professor of Art Education, TRAILS on 9/16/19

This text covers several, if not all, the bases needed to fully appreciate art making processes, historical perspectives, variations, time periods, methods, criticism, purposes, associations, and artists. Each chapter opens with objectives and concludes with an evaluative activity. The authors present varied perspectives that are appropriate to understanding the diversities that are encompassed in the art world. The images included are also significant and comprehensively representative. However, many of the images also depict the same imagery found in other books. Students reading this material need to also see work from a more balanced sampling of artist genders. The topic is discussed in Chapter 8, but not visual samples of women’s or other-gendered artists included there. I applaud the discussion of the Nazi art theft.

The text contains mostly accurate information, but could use further clarity. For example, if using Indigenous names, use tribal identifiers, such as Piikani for those who identify as Blackfeet. A piece of dance regalia is referred to as a “costume,” which elucidates the author’s limited understanding of the role of garb in ritual. While appropriation, as covered in Chapter 11, is an integral part of the contemporary artworld, it is also presented as acceptable and normalized. It should also be included that appropriation is not universally accepted and is fought by several artists today. For example, there was recently a court case by Ai Weiwei brought against Volkswagen for copyright infringement based on appropriation of his work used in an ad.

For a General Education class, there is no doubt that this text would work toward appreciation of art making, art history, criticism, and aesthetics. There is a great deal of insightful information that would be relevant to undergraduate students’ first exposure to the art world. Additionally, some points would be relevant to students who have been practicing in the art field already, as well as those who plan on teaching art at the K-12 level.

The authors have written using clear language and vocabulary that are appropriate and relevant to the early college student. However, it would be more effective to have the vocabulary listed at the onset of the chapter, as opposed to the end. In doing so, the students can reinforce learned words and make connections throughout the reading. It also acts as an introductory feature.

The flow and voice are consistent. Level of difficulty is upheld and relevant throughout, as well.

Each chapter in this text can work independently of each other. However, in being able to comprehend and apply information in some of the latter chapters, one would have needed to cover material, specifically, in Chapter 1 and 3-5.

The text is excellently organized. The authors began with the foundation of defining art through discussions of contemporary diverse purviews held. The organization is logical and would be in a manner that I would present in my course.

The text file is easy to access and navigate. The URL links are clear, as well. However, it would be helpful in supporting the learning to provide links on the images to their sources, as well.

There are no perceivable grammatical mistakes.

I found the cultural aspects of the text to be limiting. The authors touch on the fact that art is not viewed identically throughout the world, which I applaud given that this is a tremendous part of the art perspective today. However, there is also a need for greater underrepresented Indigenous discussion/examples. Between Chapter 1 & 2, for example, there is only one image of Aboriginal origin. Ch. 7 includes three architectural pieces. Consider Anasazi examples, such as Pueblo Pintado or Mesa Verde as part of early architecture. Chapter 10 discusses masks, but only examples one. There are thousands of cultural groups across the globe that use masks for purposes from theater to holidays.

The text is a good resource for basic understandings. It may be best served for an online course given that much of the relevant information is laid out in the text.

Reviewed by Stephanie Newton, Professor, Aims Community College on 7/26/19

The book could spend more time with processes of creating--the different types of paint, printmaking, etc. It seems to be very brief in introducing the elements and principles of art as well. Although each chapter has a glossary, it does not have an index, which I usually find to be helpful in textbooks. The images also lack some key information that is standard in other art textbooks--no dates, no dimensions, no media. I truly disliked that about the text.

While I appreciate the gender-neutral language of the text (craftsperson), I do not feel that it is totally error free and accurate. For example, the authors use the dated notion of "sympathetic magic" when discussing cave paintings, which is a theory, but is not widely accepted any longer. They also refer to cherubs or putti as cupids. Cupid is a specific deity. One really glaring problem is the use of "Eskimo" on page 270. They need to reframe the use of that term to indicate it is not an acceptable way of describing the Inuit or Yupik cultures.

The text has a nice mixture of old and new art, and examples of contemporary art could easily be updated. My one issue with the relevancy is that many of the contemporary works of art (and other examples they employ) are not pictured, but given as hyperlinks. Those links could easily be broken in the future. I understand that obtaining copyrights to those works could be prohibitive, but it's a distraction from reading the text to send students to a website to look for the example provided.

On page 208, paragraph three, the authors are referring to a conceptual artist, but they omit the word artist, and don't define what a conceptual artist is. They also often refer to historical styles of art without defining what that means. How are my students supposed to know what Beaux Arts or Art Nouveau are without some sort of explanation (p. 193)? On page 203, they mention the Franks, but don't explain who the Franks are. On page 205, they mention a tympanum, but don't define what a tympanum is, nor is it in bold (to indicate that it is in the glossary), although it is defined in the glossary. There are also some areas that are not very clearly written, such as paragraph 2 on page 202. On page 256, while discussing Chichen Itza, they discuss Quetzalcoatl but don't tie it to the pyramid in anyway at all.

Consistency rating: 3

I found the beginning of the text to be much more clearly written and compelling than the second half of the book. It provides almost too many examples of art to discuss an idea.

You could fairly easily rearrange the order of chapters or omit a chapter without needing the others to support the content. This for my class would be necessary in chapter 2, where bizarrely, they discuss processes before elements and principles.

It seems to be organized fairly well, although chapter 2 does have me a bit confused. It would also be good of them to introduce abstract vs. naturalistic earlier, perhaps in chapter 2.

Again, I worry about using so many hyperlinks in a text such as this. They could easily become dated or broken, leaving the reader frustrated. Some of the images are low quality, and some of the diagrams are very hard to see, so I am concerned about students with vision issues.

Grammatical Errors rating: 1

Oh boy! Again, I didn't start seeing major problems here until around page 200. Page 178, Fig 7.5, Skara Brae is misspelled as Sjara Brae Page 218, the word artist is missing after conceptual Page 235, Persepolis is spelled Persepholis Page 246: Iconoclasm is spelled as iconoclas Page 250: Bamiyan is spelled as Bamyan

I felt that it was very culturally inclusive, using artistic examples from around the globe, but perhaps focused too much energy on Christianity. Again, framing the use of the word Eskimo would be worthwhile.

There were some things I thought were really unique and wonderful about this textbook. The first four chapters had me very excited about the possibility of a OER book for my students. I especially thought chapter 3 had some valuable and unique ideas that would be super fun to share with my students. Chapter 5 is where it started to lose me. They discuss how important iconography is, but don't really give any analysis of specific symbols in a deep and meaningful way. They could have used the Merode Altarpiece as a platform to really dive deep into Christian symbolism, but only mention a few of the icons that are present. I know these are things that can be done in the classroom, but I was a little disappointed by the vagueness of their analyses and the overabundance of examples.

Reviewed by Michael Takemoto, Associate Professor, University of Hawaii Maui College on 5/24/19

This is a review of the hard copy, purchased from Amazon. Overall, for an art appreciation / introduction to visual art text, it is fairly comprehensive. However, compared to other books of a similar nature, it lacks in some aspects: it doesn’t include a glossary, many significant 20th and 21st century artists and their works are not included. A more in-depth exploration of the elements of design (or visual elements), the principles of design, as well as the deeper exploration of various art mediums and techniques would be helpful.

Each chapter begins with learning outcomes and ends with review questions and key term definitions, this is definitely helpful for students to understand the basic concepts of the text.

The book has accurate historical and cultural facts, and includes the correct titles of works and artists. However, most of the printed images have no dates, mediums, and dimensions.

The text is relevant for our times, as it introduces a wide range of Western and non-Western, multicultural artforms and traditions. It also includes sections on the role of politics, economics, and ethics in the visual arts.

The writing is clear and concise, it is easy to follow and understand. The Key Terms at the end of each chapter serve as a good review of the introduced vocabulary.

There is good internal consistency in the text, as each section follows a similar format.

Each chapter is broken up into smaller sections, so readers can proceed at their own pace and know what to expect is each subsequent chapter.

The text is organized in a logical, but not historical manner. The concepts presented flow smoothly from one postulation into the next.

Iʻm somewhat neutral on this, since Iʻm reviewing the hard copy. However, when exploring the PDF version, the links throughout the text are a great asset. Some links took a while to download, I’m sure this part will need constant updating.

The text is clearly written and grammatically correct. Readers are able to comprehend and understand the concepts and ideas presented.

While the content is dominated with Western Art concepts and examples, it still includes a number of diverse cultural works and traditions from different historical eras and locations.

Iʻve used this text for one semester so far, and plan to continue its usage. As a basic introductory book, it is more than adequate. Instructors can definitely pick and choose the parts they find useful and add their own additional content when needed. Students will understand the content and like its cost, even if they decide to order a hard copy.

Reviewed by Leila Armstrong, Visiting Faculty, Metropolitan State University of Denver on 5/9/19

The text covers a broad array of art movements both geographically, and temporally, though I think the non-Western selections are a bit slim. There are a number of mentions of modern/contemporary art, but the authors often provide links to images rather than embedding them. I imagine it has to do with copywright issues, but I think our student body would skip clicking on the links. The learning outcomes, key concepts, test yourself, and key terms sections provide a nice loop for students to reinforce material learned, and to give quick but accurate definitions of key terms that appear throughout the text.

The setup is different from most textbooks I've used, and some of the terminology is different (e.g. elements of design instead of visual elements). There are also some terms I've never seen used before (e.g. psychic line). I found some visual elements and some principles of design commonly found in other texts either missing or placed in categories that aren't where I'd put them (light//value, pattern, motion, isometric perspective), but overall the information is presented in an unbiased manner and the content is accurate.

The content is up to date and there's not much that will change in the historical sections of the textbook (particularly at this level), and making additions of new artworks, or updating the images used would be relatviely simple.

Again, the key terms, definitions etc will help students with new terminology, and I found the writing straight-forward, concise, and conrete. The explanation of terms are clear, and the authors have a number of good charts, diagrams and the like to help students understand the terms better and how they can be applied to different media.

The authors are consistent in their use of terminology throughout and each chapter is set up the same.

Each chapter and the text within each chapter follows a similar format, and the authors have made a number of subdivisions of the text with numbes which makes breaking the chapters up into modules very easy. The information is parsed in readable sections, but each subunit aligns with the ones before and after it.

The organization is logical, beginning with the the basic questions, moving into formal analysis and then into thematic units. Overall the text flows easily from one topic to the next.

The images, diagrams, etc. are all clear. I tested a number of the links (but not all) and they worked, but I've found links are one of the most problematic additions to course content, because the links often break. Furthermore, depending on whether the student is reading the text in Adobe or online, the link will take them out of one program and into another, which isn't a seamless reader experience, or in the case of online, if the link isn't right-clicked, you go straight to the web page and lose you spot in the text.

The text didn't contain any grammatical errors that I could see.

Although I found the non-Western selections slim, the book was inclusive of a variety of works from different cultures and time periods. I didn't come across any information that I would consider insenstitive or offensive, but since art often deals with subjects that can be considered controversial, there are there certainly sections that may offend (nude bodies, or looking at past representations of race that are unacceptable today). The book does have a nice section that covers some of the controversies of art.

Reviewed by Anthony Marchetti, Full-Time Faculty, Minnesota State on 5/4/19

This textbook is an impressive guide to the introduction of art and visual literacy. It is not an art history textbook. There is room for further examples of artwork or at least links to more visual resources. Also, more contemporary image examples would only strengthen this title. The Learning Outcomes provide a solid reference for the main themes presented in each chapter. The Key Terms, however, are less developed and seem more like an after thought. The text is organized thematically, but there is room for chronology to play a larger role, perhaps in individual topics/chapters or with an appendix that can trace back to image examples throughout the textbook.

The text is accurate, error-free and also unbiased. The shortcoming is one of omission - there should be more information presented with the images. Title, artist, scale/size, medium, current location, and any other pertinent information about process should be included.

Aside from the need for more contemporary examples (or links to contemporary work outside of the text), the information presented is relevant. Much of the text is historical so will remain so for as long as the text is available. The arrangement of content is easily modifiable for future editions. More contemporary work could be added, making the content even more up-to-date.

he text is written in a style that is easy to understand. Simple repeated visual devices (differences in color or size of text, bold text for important terms, etc.) organize the text. Topics and subtopics are broken up into manageable blocks of text that should retain student interest. As mentioned previously, more information is needed about the individual sample images.

The organizational template used and the writing style are consistent throughout the text.

The division of topics and subtopics is supportive of student comprehension. The organization of the text would allow for multiple class formats - one class session per week, multiple classes per week, or an online Art Appreciation/Intro to Art.

The thematic nature of this textbook would work well for an Art Appreciation or Introduction to Art seminar/survey course but would not be applicable to an Art History course that demands more chronological order. The text is successfully organized so a student would easily understand what to expect from chapters and subtopics. Text formatting unobtrusively guides the viewer to important concepts and key terms.

The PDF interface was a strength of this work - links to outside content supplement the text. Still, there is room for more of this type of content in this text. Images in the text are high quality reproductions. I found no navigational problems.

I did not detect any grammatical errors in the text.

In general, the text draws from different cultures to connect main concepts and themes throughout - this is an important distinction from some art appreciation texts that place the majority of non-Western cultural/artistic traditions into a single chapter. More contemporary examples are needed in this text.

Reviewed by Jeff Brown, Associate Professor of Art, Nicholls State University on 4/29/19

In its 11 chapters, the book covers the essentials for the overall subject. I appreciate how it is divided up, especially in the beginning where it starts with basic ideas and concepts of what is art. It can seem elementary to discuss this, but is so important to establish this with students who may not have had any or much interaction with fine art. The book includes learning outcomes for each chapter, which works well for instructors who use learning outcomes within their syllabus and for assessment purposes. I feel the selection of images are a good choice and diverse, using the traditional images found in just about all the other hardcover textbooks. A nice addition is the use of images of process and where artists are working. The inclusion of key words and meanings at the end of the end chapter is a useful tool for students utilize. One item that could use more attention would be to include dates and materials used for the chosen artworks.

Accuracy of content was error free and unbiased.

The content is current information about a historical event or current event as we know to this day. Updates can easily be made without much restructuring of the textbook.

The book was written in an easy read way with lots of imagery to match concepts. Key terms placed in bold text makes it possible for readers to easily locate if going back and forth from text to key term definitions, located at the end of each chapter.

The book is full of terms and its consistency to the concept or subject. Terms that may not seem clear to the reader are defined at the end of each chapter. This would allow the reader a more user-friendly way of referencing a term then the typical glossary at the end of the book.

The framework of the book that remained consistent from chapter one to the final chapter. An overall good structure to the textbook.

This is probably the toughest part to putting a book together in my view. Choosing what to include or how much to include of one topic or concept can truly make or break it for a textbook. This book is setup in a conventional way, such as chapters with subheadings. This way does work for the textbook, but is nice is that within each chapter the subheadings do not linger on and on when it could have been much shorter.

Organization of the chapters and subheadings work well. Easy to work through

I give the interface a low rating due to its setup of links and workings as a PDF. I like the fact that the textbook utilizes web links. This can be exciting for the reader to potentially experience other useful visuals or resources to help relate to a topic. Some web links within the text of the subheadings are sometimes often just images with no actual source listed and lack further information. This part could be revisited for better interfacing. One thing I noticed and hope it can be remedied, are the workings of the table of contents. Many dead jump links existed in the table of contents page. Some worked great, allowing you to jump to a chapter or subheading with the press of button. Frustrating when it did not.

It would be nice to be able to easily return to the table of contents from anywhere, rather than having to scroll back up to the table of contents page.

The text of book seemed to have no grammatical errors.

No cultural insensitivity stood out.

A useful online textbook. Images are of a choice and quality. However, more information is needed for each image used, such as dates, materials, and dimensions.

Reviewed by Michelle Dean, Assistant Professor, Thomas Nelson Community College on 3/27/19

Introduction to Art: Design, Context and Meaning is an appropriate title for this text. The 11 chapters explore structure, materials, meaning and context of artistic production in a somewhat comprehensive manner. It certainly provides a solid foundation for visual literacy and aligns with content in standard art history courses. This text is also well organized. Learning outcomes and an introduction are found at the beginning of each chapter. Key concepts, key terms and a self-test are found at the end of each chapter. This text, however lacks a comprehensive index or glossary.

The content of this text is accurate and essentially unbiased and error-free. Key terms are often defined in a universal manner and therefore aligns with terminology in standard art history texts. The text does not display any particular bias and appears error- free. The main criticism I have in this area is the information provided for images does not align with the standards. Title, artist, medium, size, and location for each image should be provided for the reader not just a reference to where the image was obtained.

The bulk of the content in this text will remain relevant for an extended period of time. Topics such as structure, materials, meaning and context of artistic production leading up to the modern age do not change significantly over time. The one criticism I have in this area is that there is not much contemporary art and that fact may lead to the text feeling out dated over time. Additional chapters would be perhaps the easiest way to update the content however this text in not arranged in chronological sequence and integrating contemporary example in previous chapter will be challenging.

This text is written for students who are new to art. It is an introduction to art. It presents information in an accessible manner and clearly defines most terms. Although the learning outcomes are stated in perhaps on overly cumbersome manner. The main criticism I have in this area is that the history of art and perhaps more importantly the evolution of art is difficult to ascertain when works of are referenced without regard to chronological sequencing. To talk about classical and modern examples in a section can be challenging for a new student in art to compare and comprehend.

The framework of this text is very consistent. The content of each chapter is organized in the same manner. As previously stated, learning outcomes and an introduction are found at the beginning of each chapter. Key concepts, key terms and a self-test are found at the end of each chapter. Key terms are in bold type in the chapter and also included in the list of key terms at the end of the chapters. Terms are used consistently throughout the text.

The chapters of this text are divided into sub-sections. For example Chapter 3 on materials is divided into 11 sub-sections which include sections on learning outcomes and introduction at the beginning and self-tests and key terms at the end. And although there are numerous sub-divisions in this chapter it is still reads as large blocks of text. Text boxes might be a more effective manner to present the content in a more accessible manner for our current student populations.

The overall organization of the content is presented in a clear a logical fashion. The first chapter asks the appropriate question ... What Is Art? Chapters 2-4 discuss the structures of art, the materials used in art and describing art. Chapters 5 and 6 discuss meaning in art and connecting with art. Chapter 7 is specifically focuses on architecture. And chapters 8-11 address art as related to special topics such as identity, power, ritual and ethics. A concern here is that architecture is not fully integrated into broader discussions.

The images and diagrams in this text were clear and of good quality. The inclusion of various links in the body of the text were well placed and on topic. But I could not open all the links.

I did not notice any significant grammatical errors.

This text is somewhat unbiased. I did not notice any culturally insensitive or offensive content. However, the content is primarily a discussion of the western tradition. Although, Eurocentric approaches are common in art education it is perhaps more appropriate to intentionally be inclusive of non-western traditions.

Reviewed by Mandy Keathley, part time professor, Linn-Benton Community College on 1/28/19

Considering how entry level and accessible the text is, it is also fairly comprehensive. I wish there were more contemporary art examples, but I was able to fill in as needed. I found it sufficient as an outline, and did a lot to fill in the gaps. read more

No errors noticed.

The book feels a bit out of date as it is, though not in danger of becoming more so over time.

The text is great on clarity and accessibility, written in a way that most entry-level students could understand. If anything, it errs on the side of over-simplification.

Very consistent

The modularity was one of the strongest aspects of this book which made it easy to teach in a course. Each unit feels contained and leads into the next. However, I think that some modules could be expanded.

The book is organized well. It is not in chronological order like might be expected, but this can be used effectively. I found it helpful to teach chapter 5 & 6 first, to get students to think about the meaning in art as a way to get them interested.

The interface was adequate. The design could be improved, including the sub-headings and organization of images.

no errors noticed

The book does a decent job of touching on a few global art examples, but could do better.

Reviewed by Bob Casper, Adjunct Faculty, Boise State University on 1/9/19

I used it a supplement for a Webdesign course, reinforcing artistic concepts, and it was well received by the students. read more

I used it a supplement for a Webdesign course, reinforcing artistic concepts, and it was well received by the students.

When it really comes down to it, some issues of toughness may have come up here and there, but, all in it was acceptable for my student's level.

Seemed to work well and present ideas and concepts that were relevant to for my students.

My students were a novice level and some details were not too in-depth.

Elements of the book followed a framework that as easily followed.

The book was presented in chapters that worked well in the course and for what I needed.

Each area was well put to together and bridged nicely.

Simple read, clear text.

Did not notice any errors.

Presented historical and cultural ideas and issues without calling out marginalised students.

Seemed to meet ADA standards.

Reviewed by Lori Parks, Visiting Assistant Professor, Art History, Miami University on 8/2/18

The focus and organization of this text is similar to a number of other Art Appreciation textbooks currently available. For example, there are a number of texts that present Art Appreciation through a thematic structure. The material is introductory which is positive in that it is very accessible to readers and thus would not be too intimidating to students new to this subject. The text also does a good job with listing and creating Learning Outcomes for each chapter along with a wide variety of mostly good quality open sourced images. While there are lists of Key Terms included in each chapter, they are minimal at best and there does not seem to be enough cross connection with the terms and their use within the body of the text. There is also some problems with being too simplistic with terms and concepts, one example being the use of icon which is very much dependent on both the historic and cultural context. Although the text is organized somewhat thematically, it would help to have chronology play a part within each chapter/topic as well as some form of an appendix or place where an overview of the history of art might be placed. This is often the problem with Art Appreciation texts and the reason why so many of them have a very condensed overview/history of the various periods. It is difficult to provide any depth without the context.

There are a number of issues with accuracy, which could also overlap with other subsections of this review. For example, the terminology is often overly simplified and inaccurate. While readability is important, it is equally important for a student to expand their vocabulary and become familiar with the language of the discipline. Simplification also comes in the form of analysis and description of the works of art without connecting it to formal elements and historical and cultural context. There are also assumptions being made in the analysis (e.g. students knowing what Prairie Style is and how that might influence another artist/movement). Another problem area are the huge leaps in time and generalizations made in content, for example, in connecting the ancient Greeks to Jackson Pollock on page 4. Another area of concern is the labeling and citations. The labels for the images give weight to the open sourced “author” rather than the information that is important to the work of art (artist, title, date, medium, dimensions, and museum/collection), this could be better by creating a reference page at the end of the text for the open sourced images. More examples of non-western art would also be important.

Overall good, I would have liked to see more contemporary art and topics/themes including areas like performance. The images chosen generally follow the typical works of art found within the canon of Western Art History.

Generally clear and readable, although as mentioned elsewhere in this review, at times overly simplistic and rambling and repetitive. And, as mentioned earlier, the labels for the works of art are in need of correction with emphasis placed on the artwork rather than open source.

The template used is consistent through the chapters. There are issues with consistency in use of terms, and citations/websites etc. This should be strengthened more. I also wonder about the sources and context with regards to the discussion of historical development of art.

Each chapter is organized into topic/theme and subsections that are meant to connect back to the theme of the chapter. While this is a good way to allow for quick access there is room for further development both by the authors and also within the classroom setting and by the teacher.

While the thematic approach is important, the chapters read as disjointed and the text is at places overly general and at times repetitious. There should be more focus on an overarching question of “what is art” which would allow the various themes explored in each chapter to read as more cohesive. The chapter on Art and Ethics could be strengthened more.

While there is a really good attempt at organizing the text, there are a number of issues that make it difficult. For example, the placement of the imagery and discussion becomes somewhat confusing when there are also a number of images that are discussed but not shown the body of the text. The reader is instead supposed to go to the link and toggle back and forth. Such long links in the body of the text are distracting and confusing. A better way to organize this might be creating case studies which would allow for more in depth focus on the particular artist/artwork. The lack of continuity would be confusing for a student who is new to the topic of art and art history. Overall the clarity of the images are okay with only a few that could be improved upon in quality.

While there are some typos, the formatting and use of citation is more distracting. As mentioned, the inclusion of large links in the midst of the text is frustrating as well as the lack of period to enclose this before beginning a new sentence. There are also things like the indentation in the footnotes that can be easily fixed.

Overall there is an attempt to draw from different cultures to connect to the themes and concepts without being overly biased. As mentioned earlier, more examples of non-western art might be helpful. Also, more contemporary examples and connecting them to issues that are currently relevant like identity and protest etc.

Overall an impressive project and a good foundation to build upon. This text is best for Art Appreciation or potentially studio classes (supplement).

Reviewed by Peter Spooner, Instructor, Lake Superior College on 5/21/18

With eleven chapters in just under 300 pages, the text provides a comprehensive framework with which to explore the topic of art appreciation. It does not (nor does it claim to) offer a complete art historical survey, but rather uses examples of visual imagery from a variety of cultures, time periods and genres to make larger points about how we actually use art. Its chapter and sub headings suggest a view where art is fully relational to its users, whether they are individuals, communities or nations. Rather than a comprehensive glossary, the authors place key terms at the end of each chapter. The text is searchable, making an index unnecessary. The text successfully presents art as both an individual and collective enterprise, appropriately offering a variety of ways to explore its multiple functions, from self-identity and spirituality to commerce and communication. It makes an attempt to compare artworks from different time periods and cultures in terms of their function in life, and looks specifically at the viewer’s role in the process. To its credit, the text concludes with a chapter devoted to ethics and art.

The text seems to be free of any overt bias, and authors attempt to bring a variety of viewpoints to bear on the art and ideas they present. The text is well balanced between the authors’ assertions and well-documented quotes and information from a variety of sources.

The text is organized thematically and in terms of large ideas, thus guaranteeing a degree of longevity and future relevance. With so many web links in the text, it will be important to check regularly to make sure they are active. While this text is not based only on contemporary art, it uses many examples of current art throughout. For this reason, longevity is always a concern in art appreciation and introductory art texts. Since by definition contemporary art is a moving target, and at times local or regional in its relevance, instructors may want to supplement the text with their own references to contemporary art.

The text is clear and accessible, written to encourage understanding, not to prove points or advance opinions. It is appropriately written for students who are introducing themselves to art, and contains a minimum of jargon and hyperbole. Relevant key words and technical terms are defined at the end of each chapter, as befits any introduction to a subject.

The organization of the text and its components is consistent throughout, as is tone and flow of the text. Care is given throughout to maintain a consistent tone, level of detail, and depth in the text. Each chapter contains the same useful sequence: Learning Outcomes, Introduction, “Before You Move On” and Key Terms. Generally, students find such consistent organization reassuring and helpful.

Each chapter of 25-30 pages is sub-divided into seven or eight subtopics, and these sub-topics are themselves broken down into easily readable paragraphs, were key ideas are evident. These subtopics are well related to chapter themes, but by themselves could be used as lessons or topics for assignments. Beyond the first two chapters, the tone of which is more introductory, it seems as though instructors could and should feel free to present chapter and subtopics in whatever order serves their needs. The text is flexible and relational to the degree that some, but not all, chapters and/or subtopics would need to be used in a course. Given the modular organization of sub-topics within chapters, the text could be efficiently updated, and it is easy to see how instructors could insert their own material into chapters. The sub-topics contain plenty of specific examples, yet it is always possible to trace their connection to the chapter’s larger ideas.

Major topics are presented in a clear fashion that has a logical sense of development. The subtopics within each chapter are also clearly organized. Blocks of text are broken up by copious illustrations, photographs and live links. Each chapter begins with a list of learning outcomes, and ends with a section titled “Before You Move On,” which reviews key concepts, and provides a list of study questions. In addition, key terms are defined at the end of each chapter, as opposed to a single glossary, which makes it likely that students will review terms after reading chapters.

The PDF form with live links to websites and on-line resources was easy to use. Links were placed within text immediately following the artist or artwork under discussion, making them easy to find. The links themselves were relevant and added to the topic(s) at hand. All of the links I checked were operational, but as one might expect, the quality and size of images and text varied from website to website.

I did not detect any grammatical errors in the text. However, in Chapter Eleven: Art and Ethics, a number of the pages contain the heading Chapter Ten: Art and Ritual Life.

The text makes reference to art from a wide variety of cultures and to the experience of people from diverse backgrounds. It is true that many of the artworks and artists are familiar and part of a standard canon of Western art and its cultural touchstones. However, each chapter also contains references to non-Western art, and a cross-cultural approach is evident throughout the book, not only in isolated chapters.

The inclusion of an entire chapter devoted to “Art and Ethics” is refreshing, and somewhat overdue. The authors discuss and provide examples of art that has provoked controversy in terms of censorship, first amendment rights, copyright, appropriation, and the role of artists and institutions in examining sensitive societal and political issues.

Reviewed by Arianne Fernandez, Full - Time Lecturer, LaGuardia Community College on 5/21/18

The range of topics this book covers provides a great resource for teaching students the basics of visual art and introducing them to various media and techniques as well as the process of art making, from multiple. Since the text covers a wide range of time periods, styles, and works from Western and non-Western cultures - enhanced by good images-it is appropriate for both Introduction to Art and Art in Society courses. Despite the minimal attention in regards to Contemporary Art, the text is well written , with great descriptions of the pieces presented, with accurate explanations of art vocabulary. Overall, a great source for students.

The text appears accurate.

The textbook is arranged in a logical manner that introduces students to important concepts which enable them to understand how to describe a work within its cultural framework and uses a logical sequencing of information. The textbook has many high-quality images of the works discussed within the chapters. A fallacy, however, is that the bulk of art emphasized is predominately pre-1960 art. Thus, the instructor will need to go beyond this book to discuss Contemporary works within a global spectrum.

The language used is appropriate for college-level readers, with sentences easily understood. The ned of chapter glossaries provided, re-enforce the art vocabulary presented in each topic. The images support the content effectively and illustrate beautiful the in depth discussions presented within the chapters of the text.

The writing throughout the text is consistent. Each is well organized: outcomes are highlighted. The vocabulary is written in bold type and the end chapter glossary provided enforces the vocabulary. The summary and review questions provided at the end, are a great way for students to check both comprehension and progress.

The manner in which the text is organized supports teaching visual literacy in a logical sequence with each chapter’s subcategories allowing for the topics discussed to be highlighted. Thus, the reader can approach these topics from various viewpoints. Having more contemporary images / historical information can allow for students to make more meaningful connections with the art of today.

Overall, the chapters are consistently and straight forward which allows students to understand the topics presented clearly, as the book seamlessly weaves introductory concepts – i.e. what art is, its function and various use of media- and makes connections in the way that art shapes society as a whole.

The images provided in the text, are clear and high quality. The chapter sections and subsections are clear. The font is appropriate and easy to read and the inclusion of vocabulary words in bold, allows students to pay closer attention to the material covered.

The textbook contains a few typographical errors but nothing major.

This text provides a solid foundation in the visual arts. By analyzing historical artworks in depth and including works from non-Western cultures – African, Asian cultures- and women -which despite significant contributions are always glossed over In introductory texts- providing a global platform for students. An instructor would need to bring in additional examples to strengthen student understanding. Specially in regard to contemporary art. The text is not culturally insensitive or offensive. The thematic approach instead of a chronological approach makes it reader friendly and not tedious to read.

Overall, this is a great introductory text that discusses important styles, concepts and historical context. Some chapters need expanding, or the instructor can mix and match chapters in this text with other supplementary material in areas that are lacking.

Reviewed by Jonathan Johnson, Associate Professor, Otterbein University on 5/21/18

This textbook is ambitious and covers a lot of ground—both theoretically and historically. The thematic (as opposed to purely chronological or geographical) approach and interface allows the soaring comprehensiveness of this text to take a digestible and highly modular form. The position of the writing seems to be educator and student centric, with pedagogical concerns. Art historical (or disciplinary) outcomes aren’t the main focus here—and that should please those looking for an introductory or non-major textbook. I imagine this would facilitate the outline and planning of a course—where course outcomes could be developed with this text in mind as opposed to developing the course and then searching for an appropriate textbook and supplements.

The themes address in the text are sufficiently supported and explored with ideas and artwork reproductions that flesh out the major social issues contained within the artwork. The process and historical/social conditions of the work’s creation are also covered in each section. In this way, these art works are placed within the time they were made and viewed through a contemporary lens.

Table of contents, key terms and “Test Yourself” sections are comprehensive and helpful from a teaching perspective.

The textbook is accurate and without bias according to my reading.

The overarching “big questions” are up to date, however it could beneficial to have more contemporary examples representing these themes/questions embedded within the pdf version of the book. Are there more recent examples of art that tackle issues of race, history and identity as in the given example of figure8.25, for instance?

As mentioned below in “Clarity”, the writing is clear—but undergraduate students might be more immediately engaged with the material if it was more often connected to a contemporary iteration of the social issue at hand. We are introduced to Maria Luisa of Parma immediately within the Class section (8.3.4)—which I find quite interesting. However, I wonder if an undergraduate or non-major might desire a class reference that they can relate more to? At least at first, and then delve into something more “historical”? I’m thinking a bit of the Oxford University Press’ A Very Short Introduction series here.

With this being said, I did enjoy looking at more historical works and works from the 19th century through the lens of these very contemporary themes. I was also newly introduced to a few engaging works such as Sargent’s Gassed (Fig. 9.10) and Daumier’s The Third Class Carriage (Fig. 8.20). When connected to these larger questions and contextual frameworks, these two pieces (and many others included in the book) seem fresh and imbued with a renewed relevance.

The writing style is very straight-forward and clear of unnecessary jargon. Well suited for non-majors and for building student interest in Art History. Writing style seems to match the audience and outcomes.

Visual and organizational layout is consistent and becomes helpfully predictable as you move through the text.

Thoughtful and relevant groupings and subheadings. The order is logical and terraced to build upon previously presented ideas and themes. Would function well as a “pick and choose” text for a introductory art course or a course designed for non-majors.

Structure, flow, sequencing and logic are amongst the greatest strengths of this text.

Overall, the interface is easy to follow and basic in design. The off-white framing of the images and figures is reminiscent of a Polaroid border, and is a little distracting. Having the date(s) of the artwork underneath each image would be convenient for reference. Having to go between the text body and the image for the date is a little inefficient. Image reproduction is mostly sufficient, but the Nocturne in Black and Gold: The Falling Rocket I (Fig. 1.14) would have benefited from a larger reproduction, especially since the text references technical nuances of the work in its analysis.

I found no grammatical errors in the textbook.

The larger questions and themes are well chosen, sequenced and organized. How do they manifest more directly today? Showcasing the cultural relevance of more established canonical artists is a strength of this text. Pairing up Auguste Clésinger (Fig. 8.17) and Kehinde Wiley (pp. 221-2) in the early portion of the 8.3.3 Sex/Gender Identity section is a great example of answering this question I’ve posed, but I think more of it would add a depth and extend the relevance.

It goes without saying that pursuing a textbook writing project such as this truly serves the greater good and the authors should be commended.

Reviewed by Dina Pizzarello, Adjunct Assistant Professor, LaGuardia Community College on 5/21/18

This textbook would be a wonderful source for any beginner art or art appreciation class. It does not delve too deeply, but that is a plus for the beginner and/or typical non-artist using this resource. An index and glossary would be great... read more

I found this textbook to be accurate and unbiased, although more examples of Non-Western art could have been added. Some of the CH 11 pages and titled CH 10 at the end of the text.

This text is current enough for the average art appreciation class. All of the links I checked worked perfectly. Since it is mostly based on works of the past, it will need little updating.

Clarity rating: 1

This text is written simply, clearly and with brevity. This can be especially helpful to international students and students with cognitive disabilities. Beginners can easily understand definitions and concepts.

The organization and writting are consistent throughout.

The chapter organization and subdivisions wold work really well for classes taught on single or multiple days. This is a big plus for those of us that teach at community colleges.

One strength is that the text is arranged thematically, not chronologically. This format has been proven to work better in art appreciation classes. Each chapter has a comprehensible and logical flow to the breadth of information covered.

I found no interface issues.

I found no grammatical errors.

I found this text to be un-biased and culturally sensitive.

I liked how the text included non-traditional images to explain some concepts. This gave the book a fresher feel that millennials could more easily connect with. Most of the images are of small or medium scale. It would be a nice to incorporate larger image examples of select artworks. This would be more visually impactful.

Reviewed by Eleanor Johnston, Academic Skills Librarian, Staffordshire University on 2/1/18

This texts provides a comprehensive introduction to the world of Art and contains 11 chapters, thematically arranged, to give an overview for beginners to the subject. The text contains enough content and examples to ensure that there in appropriate contextualisation and that the idea of Art as a concept is covered with sufficient depth and clarity. At the end of each chapter, there is a Key Terms list, which acts as a glossary for the readings just completed. There is no index at the end of the book, but this is not a problem as online PDFs can all be searched using the 'find text' function. There are areas where the text is not greatly detailed - any book of under 300 pages could not possibly cover all areas of art without omissions, so there is a greater emphasis on older works when used as examples. There is little on contemporary art, although it is covered in most detail in the final chapter. As there is no index of Artists, it can be tricky to locate movements using the 'find text' function. The outcome to 'build a broader, more comprehensive view of the nature and definition of visual art' (p.1) is impressively achieved.

The content of the book is accurate and I did not detect any particular biases or error. Of course, any Introduction to Art may inherently contain the biases of Western Culture in relation to the choice of themes and narrative, but there has genuinely been an acknowledgement of the importance of all cultures, and there has not simply been one token chapter to shoehorn in all other civilisations. There is one error in the layout - on pages 280, 282, 284, 286, 288, 290 and 292 in Chapter 11, these are titled 'Chapter 10: Art and Ritual Life" on the top right of these pages.

This text is arranged thematically, so this structure does ensure that there will not be any aspect of the contents that would quickly become obsolete or outdated. Any weblinks used within the text would have to be checked and maintained. These are contained throughout the book - I would surmise they were used if no Creative Commons image was available to illustrate a concept or technique. I did click through to a large number of the weblinks and am pleased to report that they not only were, without fail linking through, they also provided further details and areas for discussion that built upon the content of the text.

This area is a real strength of the book. The book explains complex concepts in a very clear and concise way, ensuring that any new or unfamiliar terms are included in the 'Key Terms' pages at the end of each chapter. I was particularly impressed with this in Chapter Seven: Form in Architecture. I think the authors had an intention to provide clear, accessible prose and to ensure that a reader with no knowledge of the areas of design, meaning and context would be able to understand and appreciate them.

Again, with the chapters arranged thematically with the same structure scaffolding each one (learning outcomes, introduction, before you move on and key terms) the text was consistent and the framework extremely clear. I did not find any examples where key terms were overlapping, confusing or contradictory.

As an Introduction to Art with easily digestible sections, these text deserves commendation. Each chapter is approximately 30 pages long, and sections within the chapters are subdivided into smaller sections (e.g. Chapter 8: Art and Identity contains 21 pages and has 5 subsections. The visual aspects of the text -multiple examples, images, photographs, artworks etc, ensure that there are no giant blocks of text, and the book taken as a whole is aesthetically pleasing and a pleasure to consult.

I would suggest that this area could be improved by expanding on descriptions in the contents page - there were sometimes cases of repetition when a concept was discussed across multiple chapters (e.g. the Sacred). This is a hazard of the thematic approach, but I understand that without reverting to a chronological timeline of art, it is very difficult to cover these in one or two paragraphs in one section of a text. The subjects of design, structure and materials provided better scaffolding for chapters.

The text was extremely clear and the images were reproduced at a high definition. Any links taking students through also provided clear images, although these were sometimes rather small. There was no confusion with the image labelling or creative commons attributions, and I found the single column view easy to read.

There were no grammatical errors that I was able to detect.

The text provided references to a variety of cultures throughout the pages. Once again it should be highlighted that non-Western cultural artistic traditions were not simply shoehorned into a chapter, but there was a great deal of inclusivity in the whole book. Indeed, the cultural relevance and variety mentioned is of great artistic importance and is refereed to as crucial to the ethics and raison d'etre of many prominent artists (see especially Chapter Eight: Art and Identity).

This Open Textbook is a valuable addition to the canon of texts currently recommended as an introduction to art. The thematic chapters provide a perfect platform to commence a discussion on a topic (for example, meaning in art). Students would be advised to read the chapter in advance of lectures / tutorials and to use this as a starting point for their research.

Reviewed by Victoria Hutson, Art Faculty, Lake Superior College on 2/1/18

This book covers a broad range of areas that are typically included in a college level art appreciation book. Because it covers so many different areas—it doesn’t go into a lot of depth in any one area. However, an instructor could easily provide more depth by providing supplementary material for specific areas. The book is arranged by topics or themes which is typical for most art appreciation books. It is not arranged chronological--which is usually the format for art history books.

The book appears to be accurate, error-free and unbiased--although I did catch one inaccurate statement regarding the Vietnam War Memorial. The memorial is below ground level but the book claims that this reflects “the belief that the Vietnam War was initially conducted ‘beneath the surface,’ that is, unknown to most Americans.” However, in the 1995 documentary, “A Strong Clear Vision” the designer (Maya Lin) explains a totally different reason why it is underground. This conflict between what the artist says and what the book says is worth noting. It did make me a bit concerned that other material may also be inaccurate—but I did not catch any other inaccurate statements.

This book should have relevance for a long time because the material it covers is primarily about past art—which for the most part doesn’t change. While it is possible that new information may become available that changes our understanding of the work—for the most part our educated guesses about the message, meaning, or function of the works will remain the same. In addition, the vast majority of images and information included in this book are also found in most of the standard art appreciation textbooks.

The textbook is written in a style that is clear and easy to understand and follow. Specific terms are written in bold text with their definitions listed at the end of each chapter.

There is a consistency in the way the material is presented in each chapter.

Each of the chapters are divided into smaller sections that make it easy to assign or highlight a specific portion of the text. In addition, each chapter starts with Learning Outcomes and ends with Key Concepts, Test Yourself, and Key Terms sections.

The topics in the text are presented in a fairly logical and clear fashion. It is very similar to other art appreciation textbooks I have used in the past. The book starts with fundamental concepts (what is art, art materials and techniques, describing art, finding the meaning, etc.) and then it proceeds into more advanced topics (connecting art to our lives, identity, power, ritual Life, and ethics). There is a separate chapter on architecture which seems a bit odd since no other area was given a specific chapter of its own.

The pdf interface is very functional to use and easy to navigate and download. While I understand the reasons for including links to copyright protected images I did find having to click on the link cumbersome and somewhat disruptive. In addition, often I felt a bit confused when I started reading about a work of art that did not have a printed picture to accompany it. I found myself glancing around the page trying to find the image that I was reading about only to see that later in the paragraph there was a link. Perhaps having the link at the beginning of the paragraph would have worked better. Plus, it would serve as a notice that the following text is about an image that needs to be viewed via a link. A few of the links brought me to pages that were no longer active.

I did not notice any grammatical errors.

The material in this book does includes examples from a variety of races, ethnicities, and backgrounds—although most of the material is from what is traditional considered the origins and evolution of western civilizations.

This would be a good book for an art appreciation course. Because of its modularity it would be easy for an instructor to assign specific areas to establish a basic foundation and then provide supplementary material for in-depth explorations of chosen topics.

Reviewed by Elizabeth Maynard, Adjunct Professor, Rhode Island College on 2/1/18

This books is not an historical survey, but it offers a wide range of artworks from throughout history and the world to elucidate major themes and concepts. Even while it is non-linear or chronological, the text nonetheless covers terms and ideas specific to historical moments, taking them as case studies to illustrate larger themes. The end of each chapter includes questions to consider and a list of major terms with definitions.

excellent, to my knowledge.

While the book references very contemporary technology, including 3D printing, etc., it contextualizes them in more traditional methods; the themes and of the text remain timeless.

Both the imagery and the phrasing read easily. The images are very detailed and include helpful close ups.

The progression of chapter creates a very readable narrative.

The book is well divided up, and I appreciate the integration of both historical and formal terms throughout, to offer new historical information throughout without becoming dense.

The book lays out a great foundation for material and terms of analysis to get into deeper themes and modes of interpretation.

One thing I would add/change, is for the images to include the dates in the caption, not just in the text. While the text is non-linear, I think it's important for the dates to be readily available to understand the historical breadth of the works.

none that I encountered.

I especially enjoyed the integration of works from throughout the world. Often in more conventional texts, art of the non-western world gets relegated to their own, atemporal chapters. This format allows for thematic comparisons that helps to breakdown the hierarchies of the canon.

Reviewed by Renee Couture, Assistant Professor of Art, Umpqua Community College on 2/1/18

This book covers just about everything needed for teaching students the basics of visual literacy and introducing them to art. This text has a range of images and includes various time periods, styles, and works from Western and non-Western cultures. The textbook, however, lacks significant references to contemporary art. A vast majority of the work presented is pre-1960 and most of the media covered is traditional fine art media (painting, sculpture, drawing). That being said, the authors provide glossaries at the end of each chapter of target vocabulary, a comprehensive index, and write thoughtfully and thoroughly to provide a solid context to the works/images shown within the text.

The text appears to be accurate.

The textbook profiles works from ancient through modern times. The text is arranged in a way that introduces students to important concepts for viewing and considering artwork, and uses a logical sequencing of information. The textbook introduces students to some of the major “movers and shakers” in art history, and has many high-quality images of the works discussed within the chapters. The text, however, largely emphasizes pre-1960 art. In fact, it seems only a handful of post-1960 artists are mentioned and very few supporting images are provided of post-1960 artwork. To be fair, there are links provided, which will require upkeep. An instructor will need to find examples from other sources to expose students to contemporary art (artists, media, themes, and modes of working).

The text’s language is appropriate for college-level readers. Sentences are easily understood and the use of art-specific vocabulary (along with providing a glossary at the end of each chapters) shows students appropriate use of target vocabulary. Chapter topics are presented in clearly, accessibly, and with depth. Images are used effectively in supporting content.

The chapters are uniform in their organization; the writing is consistent. Each chapter starts with outcomes and an introduction. Headings for chapter subsections are clear and specific. Target vocabulary is written in bold type and each chapter has a glossary. Each chapter ends with a summary and review questions to check for student comprehension.

The text is divided in a way that supports teaching a foundation in visual literacy. Each chapter is clearly titled with subsections supporting the chapter’s topic. In some cases, subsections from different chapters could be mixed and matched. One of the strengths is the use of imagery from various time periods within each chapters as opposed to the standard chronological approach to an art history course. This could be further exploited by the addition more contemporary art by the instructor along side more historical examples the text provides.

The chapters are consistently structured. The choice of chapter topics and their flow is appropriate and student-centered. The book starts with basic information (what art is, its structure, media used) and works toward greater complexity (various ways art connects to and shapes our lives).

The supporting images are clear and high quality, allowing the reader to increase the size of the images without losing clarity. Some of the pages feel crowded and a few of the links were nonfunctional. The chapter sections and subsections are clear. The book's font is easy to read with line hierarchy is unmistakable and consistent, and the use of bold lettering indicates target vocabulary for students.

I found no grammatical errors within the text.

The text will provide students with a solid foundation in visual literacy using historical artworks as examples. It includes work and architecture of non-Western cultures and women. However, it (generally) ignores contemporary art (artists, media, modes of working, and thematics) which students will see in today’s world. There are missed opportunities to discuss more recent attitudes & intentions within the arts (for example, in Ch 4: Describing Art, it would seem appropriate to have subsections on Modernism and Post Modernism). It would be helpful if were either more examples of contemporary art along side the more historical examples or if there was final chapter on art post-1960. An instructor will need to find examples of contemporary art (through resources such as Art 21, museum catalogs, artist websites, articles/interviews for arts-related sources) to expose students to contemporary artists and art. Inclusion of more art post-1960 would: 1) present students with more challenging imagery, 2) expose students to themes that are more relevant to them, and 3) further introduce students to the works of more women and minorities. Nonetheless, this book would be an effective tool for an Intro to Art or Art Appreciation course. A strength of the book is its thematic approach instead of the standard chronological approach. I did not find it culturally offensive or insensitive.

This book has enough general information that certain chapters (or parts of chapters) can be used in a Basic Design or Drawing course as well as a general Art Appreciation/Intro to Visual Literacy course..

Reviewed by Nancy Pettigrew, Associate Instructor, Tidewater Community College on 8/15/17

For an art appreciation textbook, there is no set of required information that must be included and, therefore, a textbook's comprehensiveness is somewhat subjective. This textbook does cover some core areas for this discipline: the definition of art; the function of art; elements of art and principles of design; and different media used to make art. I thought that the treatment of the elements and principles and of the media was cursory. Beyond that the textbook is thematic, with the choices of themes being somewhat idiosyncratic.

The treatment of the subject was constrained by the authors' focus primarily on the traditional media associated with fine arts, such as painting, sculpture, and architecture. Other current art appreciation textbooks also include more modern media, such as film and design. The scope was also hampered, in part, by the distinction the authors' drew between art and craft.

The focus of the textbook is mostly on art made before 1960, with most of it produced long before that. There is a dearth of examples of contemporary art being made by artists in the last 20 years. An exception to this is the chapter on Art and Ethics, which addresses recent controversies in the field.

The textbook does not include an index or a comprehensive glossary. Terms are defined at the end of each chapter. The table of contents is not sufficient to function as an index.

The content of the textbook is generally error free. There are some opinions expressed that I do not agree with, but these are debates that are not settled within the art history community. The authors do not seem completely up to date on recent scholarship in some areas. For example, the "Snake Goddess" from Crete is included when modern scholarship has called into question the validity of its heavily reconstructed form.

Since much of the art covered in the textbook was made before 1960, the content is up-to date and will not become obsolete quickly. The exceptions to this are the links to external web pages that will need to be maintained on a regular basis. Without this regular maintenance, these links could become obsolete quickly. This could pose a problem since the links are embedded in the content of the text.

The textbook is written in prose that should be accessible for the average college freshman. Specialized discipline-specific terminology is defined in the text and in a list of terms at the end of each chapter. The text does lack an comprehensive glossary of these terms..

The textbook is internally consistent in organizational framework of each chapter and in the use of terminology.

The textbook is divided into small reading sections with clear headings and subheadings. These could easily be reorganized and realigned.

I found it difficult to follow the organization and structure of the text. There seemed to be no clear logic to much of the distribution of the chapters and the chapter sections. Related content can be found in different chapters of the text. For example, both the chapter on Form in Architecture and on Art and Ritual Life contain extensive sections covering sacred architecture.

Within the chapter sections, there is some organization based on chronology, although this is not consistent. This creates a problem in which chronology is repeated without a larger, cohesive historical narrative. .

The interface of the textbook was effective overall with no significant issues that would distract or confuse the reader. Of necessity, the textbook provides links to works of art that are not reproducible in the textbook due to copyright issues. These links can be clunky and I would be concerned that students will not take the time to click on them all while reading the textbook. Links need to be reviewed. At least one of the links within the text to external images was broken. For the most part the images included in the textbook are high quality, although I find their sourcing odd from random users on Wikimedia.

Overall, the textbook contains no major grammatical errors beyond a few typographical errors.

The textbook draws its examples primarily from Western (European and American) and Asian cultures. There is some inclusion of other cultures, races, and ethnicities, such as Native American or African, although this aspect of the textbook could be strengthened. An instructor would need to bring in additional examples to make a course using this textbook truly inclusive. The text is not culturally insensitive or offensive.

This textbook could be appropriate for usage in an Art Appreciation class, if the instructor of the course was comfortable with the somewhat idiosyncratic thematic choices of the authors. For example, the inclusion of the chapter on the Significance of Materials is not typically included in an art appreciation textbook. The textbook would not work for an Art History course that is taught in a chronological framework. Specific dates are not provided for most of the objects discussed, although birth and death dates of artists are. The historical context and timeline of the works covered by the text are subsumed within the thematic organization.

Reviewed by Samantha Moore, Adjunct Instructor, Art History, Northern Virginia Community College on 6/20/17

The text covers information listed in the table of contents adequately. Content is arranged thematically as is common in art appreciation courses. Each chapter includes a glossary of terms covered at the end of the chapter. It does not include an... read more

The historical information listed in the text was accurate. The text included accurate information regarding styles and movements and theory associated with art. However, the text presents basic and surface level information and lacks in depth views on any one topic.

The content of the text is up-to-date particularly in the discussion of media types. Should updates be necessary it would be easy to implement them.

The text clearly defines bolded terminology. Each chapter is divided into sections and information in each section is related to the theme of that content area. The language is clear and easy to read and follow.

The language used, content presented, and organizational themes are consistent throughout the text.

The text follows a pattern of listing objectives, sectioning off each chapter, and following up with review concepts and terminology. Sections of the text can be assigned at different points within the course.

The text includes eleven chapters divided into sections. While each chapter and subsequent section is rich with information, heading and subheadings do not give a clear sense of what content will be present in a given area. Without an index it is not clear to readers when or where readers will find certain information.

When reading the text online I encountered an issue clicking on links to images. The link would bring me to the image in the same window as the text. I would then have to go back to the text and find my place.

The text was inclusive of a variety of races, ethnicities and backgrounds.

This would be a decent text to use in an art appreciation course but not in a survey art history course. The content is not arranged chronologically or by region. Rather it is divided thematically into broad sections. I was pleasantly surprised with the information listed in several portions of the text. While it does not cover any area in depth it does a fair job of presenting a basic foundation for most of the major topics covered in an art appreciation course. Instructors will find they need to expand on most concepts and should plan on supplementing the text with readings and lectures. Without an index it is difficult to gauge when and where readers will find specific content. Chapter titles and section sub heads are very broad and do not help with pinpointing the location of information.

Reviewed by Isabelle Havet, Faculty, Linn-Benton Community College on 6/20/17

The textbook thoroughly covers the topics of each chapter, and each chapter has enough range that it could easily be supplemented and ideas expanded upon. The "Key Concepts" and "Key Terms" sections after each chapter are very useful and would prove an effective study tool for students, as would the "Test Yourself" study questions. However, the textbook should have a master glossary of terms at the end for ease of reference. This is a large omission, especially for students studying for midterms and finals, or working on papers or larger group projects.

There are a small number of typos and usages of uncommon words when more simple words would suffice that are confusing and obscure meaning. (E.g., the tile for section 5.4.3: "Prohibition and Destruction of Imagery: Iconoclasm" misspells the word "iconoclasm," which is particularly problematic as "iconoclasm" could easily be reenforced as a key vocabulary word.)

The text is relevant, and one of its strengths is the breadth and depth of the visual examples anchoring the chapters.

The text is fluid, and the language accessible in a way that would be suitable for different levels of students.

While the text is generally well-organized, the organization of the chapters is somewhat confusing. The choice of chapter topics is also somewhat confusing. Certain major topics are omitted (for example, a chapter dedicated to a more in-depth survey of major artistic media), for what are some interesting but less necessary topics (e.g., Significance of materials in art). This will pose a challenge for instructors who might have to carefully weigh which chapters to teach. This might be especially problematic for instructors teaching in a 10-week term system, or who would supplement the text with additional lessons focused on the history of art (which is omitted from this volume).

The text would easily be divided, which is a strength as the organization of the chapters as it stands might not work for every instructor.

The topics are generally presented in a logical, clear fashion. The structure of chapters is easy to read and flows well.

The text cleverly utilizes open access images. The images are generally very compelling and of high-resolution, which is a big bonus in a visual arts textbook. There are only a few images that are grainy or fuzzy and would beed to be replaced (e.g., the statue of Menkaure and Queen). The interface is legible and pleasing to navigate.

The text contains no grammar errors.

An array of images from different time periods, geographical locations, and cultures. This is a huge bonus, as visual arts fields are moving to make curricula more inclusive. It would have been useful to include more contemporary art, as this is an important topic to emphasize when teaching about visual culture, and is relevant to students' lives. It is also important for instructors who might be teaching visual arts and studio students.

A unique text with a compelling choice of images and topics, and worthy entry in the expanding but still very limited field of art appreciation/visual culture textbooks. I would have liked to see a glossary of terms at the end of the text. It would also be useful to have a discussion of art history, and if not a chapter or more dedicated to art history, at least a timeline at the end of the text. The students are presented with an overwhelming number of artworks, so a general historical reference at the end of the text would be useful. Finally, there are some omissions of topics in favor of narrowing or less important topics that would necessitate some supplemental teaching materials or lessons.

Reviewed by Hilary Galián, Instructor, Portland Community College on 6/20/17

The text covers a broad survey of art including many art forms. Photography, digital media and relational aesthetics examples are lacking throughout the text. Chapters include examples of Western and non-Western art and architecture. More context could be fleshed out for how works of art were relevant in their own time. The text effectively references images and graphics that are either included in the text or linked on the web. There is no index, and a list of images would benefit the reader by seeing examples listed in chronological order or by medium. Image captions in the text should include mediums, date and location information, which would help with quick reference and to classify a work illustrating an era.

The wrong title is listed in a few image captions. Otherwise, the book appears error-free.

The content of the book spans the ancient world through contemporary art and reflects current art-world values and attitudes in broad terms -- defining art and artists through a contemporary lens and recognizing the omission of women and marginalized groups throughout the canon of art. Though the recognition is valid, more modern and contemporary art examples could be used to reflect the contributions of a broader group of artists. There are many links to outside sources for imagery, and it is unknown how often those may be checked for changes and errors. A safeguard against readers following links to sources that may have changed their content would be to insert those images directly into the text, which would also help the reading flow, particularly when two works are offered for comparison, such as Wiley’s and Clésinger’s "Femme Piquée par un Serpent," in which only Clésinger’s is included in the text.

Text is written clearly using accessible language for students. Adequate context is given for technical terms with minor exception. The questions at the end of each chapter to check for understanding reflect the text, though more attention could be aimed at mirroring the language and terms used in the chapter.

The chapters are subdivided consistently. There are a few instances in which the title of a work in the text narrative does not match the title given in the caption for the image. There are also some terms listed in the glossary that do not appear in the corresponding chapter. Similarly, there are some inconsistencies in the “Test Yourself” questions, in which the corresponding information is missing.

The chapters are clearly defined as are the concise, themed subsections. It could be easily reorganized to fit subunits of a course, though the text is jumbled chronologically due to classification by theme.

The text flows logically by the outlined themes. The book’s organization would benefit from some reference to a chronology. Without this context, a novice student may struggle to follow a somewhat disjointed selection of art and artifacts.

Internal references to images are made sufficiently clear. Over time, the numerous links to other web material may need updating. There is one reference in the text that is missing a link. A few links reveal images and are too small and low-resolution. The handful of formatting mistakes and typos are somewhat distracting, as is the single column layout.

The text appears free of grammatical errors.

The text is inclusive of a variety of races, ethnicities and backgrounds. The balance of art examples still favors a white, male perspective. References to “our” perspective should be made explicit as such. Some general examples given to explain concepts lack universality, such as yoga as an example of art and science.

This book would serve well as primer for beginning art students for its far-reaching historical scope and theme-based approach, though a student would need supplemental material to address contemporary art forms and the contributions of a broader group of artists.

Reviewed by Sasa Miljevich, Adjunct Instructor (Fine Art), Portland Community College on 6/20/17

The text is organized thematically and covers some of the areas of Art. Some of the content is overly simplified , and some important artistic movements are omitted. There is no index, which make it difficult for students to comprehend some key... read more

Content is accurate and error free. Images shown and links to artists are mostly of Western Art/ Artist, very few examples , in comparison, of Non-Western Art/Artist.

The text is current and few sections would need updating.Necessary updates will be relatively easy and straightforward to implement.

The text is written in clear and concise manner.

The text is consistent in terms of terminology and framework.

The text is easily dividable into smaller sections to fit with various topics of discussion throughout a term.

The topics in the text are presented in a logical, clear fashion, but smoother transitions between the different chapters would help.

The text is free of significant interface issues, easy to navigate , with clear images. very easy to download and print.

The text does not have many examples of non-western artist and is not overly inclusive of a variety of races, ethnicities, backgrounds, gender.

Reviewed by James Jewitt, Manager and Instructor, Arts Minor, Virginia Tech on 6/20/17

This text successfully manages the difficult task of synthesizing a plethora of approaches when studying art and its history. It considers numerous ethical, philosophical, and thematic issues typically left out of traditional survey books. While these comprise a robust and welcome conversation about the reception, agency, epistemology, and meaning of art, it comes at the cost of a slightly anemic treatment of major historical developments along conventional lines. No index is present or list of illustrations.

Some problems with Italian language terminology are evident, such as "giornate."

The content incorporates relevant and informed perspectives on crucial art world debates, including issues of ethical circulation of cultural property and material culture. Its content offers a broad appeal across the humanities and even social sciences, with relevance to students of philosophy and history as well archaeology and communication.

The prose tends to be clear and readable, though veers towards a somewhat overly conversational and colloquial tone. In places it seems imprecise and too rambling, needing much more concise and to the point verbiage. Also, captions for images are not given information relating to date, medium, or dimensions--a crucial oversight!

The text displays consistency throughout and does a good job of integrating key terms and concepts throughout its chapters. The bolded key terms that appear as a glossary at the close of each chapter is especially helpful, as well as the "test yourself" sections and introductory concepts that start each chapter. Such stand-alone devices are a great boon to students and surely aid with comprehension.

One keen advantage of this text is the authors' clever division of the material into cogent modules that mesh well with poignant themes currently driving the discipline of art history and also the best courses at colleges and universities. In this way, the text serves as an indispensable resources in introductory design and art history courses, as well as upper-level seminars focused on interpretation, methodology, and philosophy of art.

Overall the book is logically organized, particularly chapters 1-5 and 8-11. However, chapters 6-7 are oddly placed and the section on architecture is not well integrated into the rest of the text. It is treated like a separate and outlying practice instead of being carefully woven into the rest of the chapters on form, production, materials, etc. Likewise, chapter 7, though integral and vital, seems out of place. It would perhaps best be placed before the chapter on meaning, since it offers background on socio-cultural behavior as foundation through which to better understand art.

In general, the illustrations and figures are crisp and high resolution. However, they are not expandable or zoomable as is common in other electronic or digital textbook platforms currently available. Likewise, the internet hyperlinks could be replaced with embedded content to better increase the longevity of the text. Some odd spacing around the figures and illustrations is distracting as well.

See comment 4 above. In general, the discussions could be edited to offer a more precise and concise analysis that is less conversational and more direct. Right now it reads as if the authors are pandering a bit to a student audience by invoking memes, selfies, and other ostensibly trendy cultural phenomena.

Another great advantage of this text is its admixture of canonical and popular objects, drawing upon mainstays of art history as well as more of-the-moment visual culture. It is particularly adept at addressing themes that weave together global works in many media from makers of many backgrounds, thereby questioning the entrenched and monolithic canon.

Reviewed by Joe Macca, Adjunct Faculty, Portland Community College on 6/20/17

While the text covers such a vast amount of visual art history, genres, meaning, symbolism, materials, etc., because it's so much, it can only very briefly mention these topics. That said, the glossary of terms is thorough and appropriate. The 'learning outcomes' and 'test yourself' sections are also very well organized. It can help students understand the kinds of questions and testing done in art survey classes.

In terms of studio art though the book can be a supplement only. Textbooks can be excellent but still not substitutes for the instruction of the hands on manipulation of materials.

The book is unbiased (if there is any bias, it's very slightly European. But which comprehensive survey book is?!) and presents its varied historical genres accurately.

The book suffers slightly from not discussing more contemporary artists and genres, especially performance, installation and public- art based works. Mid 20th century and before, the book is quite thorough. Because of this it is perhaps mildly more prone to obsolescence.

The book is excellent in its prose. Very clear, easy to understand, many good images and illustrations.

The book feels consistent overall. As described elsewhere, it may suffer a little from its lack of discussion of contemporary genres, artists, techniques, etc.

The modularity is the book's necessary natural feature since it cover so much. The chapters are quick and concise.

The 'Personal and Communal Need to Create' sections are so important. I appreciate that this was covered at length. Some sections are not elaborated on as much. I believe the isolated discussion of different art materials (a section on oil paint, a section on print, etc.) is clear and organized- I also believe it should be discussed that these techniques and materials are also very interchangeable.

The book is very well organized. Illustrations and pictures are appropriately shown. More images of 'artists at work' could improve the text.

No grammar issues detected.

The book does a good job of being varied and unbiased, especially when describing art made in varying regions by peoples with different ethnic backgrounds.

I believe the book can function very well as an Open Art History/ Survey Textbook.

Reviewed by A.D. Rocha, Fine Arts Advisor and Instructor, Washington State University on 6/20/17

The text presents its themes in an order that is easy to follow. The examples provided are relevant and serve well to illustrate the concept. The prompts at the end of each chapter also present good starting points for class discussion. read more

The content is accurate. The definitions provided are concise.

The content is current. The inclusion of "fourth dimensional" art is particularly helpful in discussing contemporary art.

The terminology used is easy to understand. The "key terms" section is also helpful in its definition of terms that are introduced in that chapter.

The terminology used is consistent and works to expand on the content for proceeding chapters.

The arrangement of sections allow for each to be taken separately as necessary. The chapters can be presented in different order or omitted altogether.

The order of each chapter and its individual sections are easy to follow. Presenting basic concepts on the definition of art and the formal qualities that comprise an artwork in the first four chapters provides a good starting point for the context and meaning discussed further into the text. The only issue with the "flow" would be the inclusion of the chapter on architecture.

The images were presented within the appropriate text and were displayed clearly. The size of the PDF makes searching for a specific term or section a bit difficult, but otherwise there are no problems with the interface.

There were no grammatical errors in this version of the text.

A broader cultural range of examples would be more helpful, however, this is something an instructor can easily amend within classroom lecture or discussion.

This is an excellent introductory text to basic art elements and concepts. On its own, it provides a clear overview for students with no art history background. It can also be used to support other texts where more specific art movements are discussed.

Reviewed by Aderonke Adesanya, Associate Professor, James Madison University on 6/20/17

The text is a bold work in terms of content coverage. It focuses on the nuts and bolts of learning about and discussing art and its context, and combines these with some considerable information on art history, It therefore aptly fits the needs of a foundation class. Although it has semblances of existing studies, this is not your traditional introductory art textbook. Apart from the in-depth discussion of concepts, techniques, and terminologies, the authors have included learning outcomes at the beginning of each chapter, exercises (review questions) at the end plus key terms to help users review and affirm the content of every chapter. I also find very instructive the discussion of ways of looking at and understanding works of art in chapter 4; the distinction between formal and critical analysis, and the distinction in analysis, description, interpretation and evaluation. These comprehensive discussion make the text a great resource. The material is also reader friendly.

I find that there is minimal references to non-western art especially African and African Diaspora Art. This is palpably obvious even under the discussion 4.5.1 Cultural Style in Chapter 4. The illustrations in the text are also geared towards the examination of western art than other categories including Asian and African. In the discussion of two and three dimensional art (with highlights on materials and techniques), almost all illustrations and examples are western art, with some minimal references to Chinese and Japanese preferred materials for art, and their processes.

There are minor typos found in different pages of the text. For instance: i). Introduction: 2.4. Art Forms (cat egories should read categories)

ii). Chapter 8: p. 247 "iconoclas" should read "iconoclasm"'

Additionally, there is issue of consistency when "iconoclasm" is used as a sub-heading but not mentioned again in the body of the text.It also does not appear in the list of terms of reference. Consistency in reference to location: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page 232. It is correctly referenced in previous pages.

Content is up-to-date. However, it may require updating in the next three years to expands coverage particularly the diversity of the subject matter covered, illustrations, and invariably to bring new content into the chapters.

The text is ready friendly, written in straightforward accessible prose. The definitions of terminologies accurate and simplified for readers to grasp the concepts quickly.

A consistent template runs through the chapters.

However, there is an issue with consistency when "iconoclasm" is used as a sub-heading but not mentioned again in the body of the text.It also does not appear in the list of terms of reference. Consistency issue with the way a culture's location is referenced: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page 232. It is somewhat appropriately referenced in previous pages.

Consistency issue with the spelling of terracotta (pages 273-4, and 277)

Excellent compartmentalization, though I find the many sub-headings a bit problematic.

The structure of the book is very well organized. The topics are presented in logical sequence.

The interface appears many and a bit distracting. The links interspersed in the text forces the reader to go in and out of the text to check images being compared with those embedded in the text. It would have been more effective if these were readily accessible in the text for immediate comparison. No evidence of overtly distorted images (Perhaps Figure 10.37?). However, some of them could be improved for clarity (Figure 10.48 and 10.49).

No grammatical errors but there are typos.

The text could do with some examples of ideas and images about diverse cultures that the learner in the introductory class can later build upon.

Nothing beyond the outlined responses to other questions in this review.

Reviewed by Stephanie Wirt, ACA Art History Adjunct Professor, Reynolds Community College on 2/8/17

This text does cover the material its title implies at an introductory level. More depth could be used in some areas. In the chapter on describing art some major stylistic movements were omitted. The approach to describing art changes relevant to the time period and that is not addressed here by omitting some of the major Art movements like Impressionism, Cubism, Realism, photography and digital imagine.

All external Links work Information is accurate but seems to lack in depth in some areas. The artwork shown is primarily from the western world and the art of dead white men. In choosing which art to include as examples more diversity in artists’ ethnicity and gender should be included for a more balanced and realistic scope of art

The technical content of the text is up – to – date. The information as far as approaches to understanding art in general don’t change. Many of the artworks used to illustrate concepts are well known and appear in many standard art history textbooks. However, the lack of contemporary art examples makes some of the content less relevant to the life of the contemporary student. Art, how and why its made) is changing and this text does not necessarily address how to understand new practices in art

The text is clearly written in an easy to understand format.

The format, vocabulary and tone of writing is consistent throughout the text.

a. Each chapter is broken down into subsection that focus on a specific aspect of the overall chapter theme. b. Sections could be combined for instructional purposes c. Sections are brief enough to allow for quick coverage but also leave room for individual teacher adjustments to focus more time and discussion on specific concepts

a. The topics and objectives of each chapter are clear and flow in a logical format. While there could be an argument for some readjustment of chapter ordering, it progresses in a thoughtful format.

o This is a pdf text that can be downloaded to computer or tablet form the web. This allows students access to the main content without having to have internet for most of the content. o The outside links to artworks are necessary to view significant artwork that is not in the creative commons directly at this point. However over time that will change as the original artist dies and time has passed from the date of its creation.

The book's grammar is written using correct English.

The text does not show any outright bias against any specific cultural, racial or ethnic groups. However they are not many examples of non-western art or artists or women artists within the examples provided within the book. This is not unusual for many art survey books but there is a new movement in art education to expand the examples of art to include more people of color and women as well as more diversity in cultural arts within educational texts.

o This book is a good introductory text for a basic art survey class. It doesn’t go into depth in art history or studio practices but it does present a basic knowledgebase for understanding art in general and how to interpret and appreciate a variety of elements of art. o A teacher using this text would want to supplement the reading with practical studio experiences to give students a better understanding of some of the media and techniques presented in the book as well as an opportunity to practice the methods of analyzing artworks with more contemporary artworks.

Reviewed by RADFORD THOMAS, Ph.D., PROFESSOR OF ART, VIRGINIA WESTERN COMMUNITY COLLEGE on 2/8/17

Content adequately covers the subjects it purports to include. However, there is no comprehensive index. A brief list of Key Terms is included within each chapter. These lists are barely adequate and probably confusing to neophyte students with no art background. For instance, in 1.9 KEY TERMS, p.30, Icon is described primarily as often religious. “Icon”, in art, may have multiple meanings according to the culture that produced the artifact and its use by those members of that group. As an example, the image of “Isis” is an icon found throughout Egyptian culture with various “religious” as well as “power” and other cultural meanings. This criticism can be directed to all KEY TERMS lists in the text to some extent.

Illustrations appear to be consistent with the knowledge base of the written text. In other words, illustrations fit the need and are usually of good quality and reference the dialog effectively. Titles are included for each image along with the artist/author and sources where appropriate. Missing are important notes about media, method, size, and date alongside the illustration. Non-art students are wont to go to the trouble of looking up this important information.

Some KEY TERMS terminology is lacking in completeness or accuracy. Perhaps it is because the editors wished to make definitions simple, too simple. Bias is toward pleasing everyone while skimming over important iconographic details of the art forms examined. Dialog needs to be aimed at describing the iconographic content of art rather than ancillary historic events.

Content appears to be current in a way that will not make the text out-of-date within a normal time period. Updates, except for items that need immediate attention, should be easy to implement.

This text is actually written in a student-oriented manner that makes a connection between current student populations and information required to cover the subject matter. Applause to the editors.

This text is consistent with overall use of terms and organizational framework. Iconographic statements should be revised so they are accurate and clearly defined to explain the focus, use, and understanding of the art.

This text is divided into eleven rather arbitrary chapters. Editors chose these topics to somehow relate not only to history of art but to serious ways of making art. So this text is not aimed at teaching students about the why of art but about the construction of art. This makes it an art appreciation text, not an art history text. The format does not flow historically but topically.

It is difficult for the novice student to follow these disjointed chapters to a conclusion about what art really is. Each module or chapter is an end in itself and does not develop a cohesive theme about art itself. The Art and Ethics chapter is particularly misguided. This chapter’s content should be placed alongside relevant art objects and discussed in relation to that art.

Text is rife with various and confusing imagery placed next to each other making it difficult for the beginning art historian to make sense of it. There is a lack of cohesive structure throughout the text with a few exceptions. One example is the discussion of “porphyry” in chapter three. This dialog goes from the Sarcophagus of Constantina to the Palace Chapel of Aachen with no real discussion of how valuable materials are used for iconographic purposes. It then goes on to explain a "mausolea" for some reason.

In addition, I find reading the book difficult because it does not use two columns as a standard interface. It uses only a single column throughout the text.

I find no essential grammatical errors or problems.

Text is very inclusive and comprehensive in this matter.

In chapter five I found the Key Concepts very well written and useful to students

It is strange that there is a chapter on Architecture alone as an art form. Photography? or Painting? or Sculpture? or Ceramics? or Weaving...

Reviewed by Renee Garris, Adjunct Professor, J Sargent Reynolds Community College on 2/8/17

The text covers Art in a thematic approach. It explains concepts in an easy to understand manner. read more

The text covers Art in a thematic approach. It explains concepts in an easy to understand manner.

The content is accurate and error-free.

The text is current and few sections would need updating.

The text is written is a manner that those who are new to art and art history can easily understand. There are definitions for words that are new for the readers.

The text is consistent in its use of terms and the framework in which it is written.

The text is written with smaller rather than larger sections and is follow throughout the chapters of the book.

There is a logical progression to the text.

It is free of distortion of images and the illustrations are clear.

It is free of grammar errors.

It is culturally sensitive without bias. It could use more examples of art from the non-Western world for some sections to provide better balance.

Enjoyable read and could be used alone or with supplemental material.

Reviewed by Deborah Cibelli, Professor , Nicholls State University on 12/5/16

The text is organized thematically and does not offer a chronological survey of the history of art. Chapters discuss forms and materials, the processes of describing and interpreting art, aesthetics, architectural form, art and identity, art and power, art and ritual, and art and ethics. These topics are all covered effectively. Chapters include examples of Western and non-Western art and architecture and offer many comparisons of art from different cultures. While there is no index, the reader may refer to the chapter titles and the glossaries found at the end of each chapter.

The factual information provided is accurate, does not contain errors and is sensitive to world views.

The themes that have been selected are well chosen and will remain relevant so that the text will not require constant revision. However, the URLs (Uniform Resource Locators) or web addresses for different web sites may change over time and the authors may want to update the text by adding examples of contemporary art.

The text discusses complex ideas in a clear and concise manner. Terms used in each chapter are clearly defined in the text and in the chapter glossaries.

Each chapter covers material outlined in the table of contents and the introductory chapter. Each chapter also has a summary of key concepts and reinforces the themes developed throughout the text.

The chapters and sections within the chapters are clearly delineated. There are on average, eight sections in every chapter, making it easy to divide the text into discrete units and easy to refer to specific topics.

The themes and ideas covered in the text are clearly delineated. There are clear transitions from section to section and from one idea to the next.

The illustrations are clearly numbered and referenced in the text. The images are from public domain sources on the web and are identified as such. It would be helpful to have dates for the images and references to the museums where the art objects are located either in the text or as additional information added to the labels for the images.

There are few grammatical errors. There are a few typographical errors such as misspellings of memento mori on page 98, of Edgar Allan Poe on page 214, and of iconoclasm on page 246.

The text compares works of art from different cultures and seems inclusive, objective, and balanced in terms of the items included and the content.

The text departs from standard introductory surveys by referring to objects from different cultures and historical periods that have been selected to illustrate the myriad functions of art, that is, art as map, religious work, “secular icon”, etc. Material is organized thematically rather than chronologically using a comparative model. The chapters on forms, materials, description, symbolic interpretation, aesthetics, architectural form, identity, power, ritual, and ethics, also encourage the reader to make connections to contemporary art and culture. Key concepts are reviewed in the chapter summaries and each chapter has a list of questions that can be used by the student to review the material as well as a glossary of key terms. The chapters on forms and materials support the study of art based on media. In the discussion of interpretive methods, the reader also gains insight into the role of the viewer as well as the artist in determining meaning and is asked to consider the continued relevance of artistic expression. The book could be adapted for teaching a more conventional survey of art if sections are assigned based on content. Chapter 10 on art and ritual, for example, largely follows a historical trajectory that begins with Stonehenge and examines architectural forms in Hawaii and Japan before discussing the sacred spaces and art of the medieval period that have been produced in different media. The strength of this work is that students are asked to make comparisons. They are also asked to think contextually about global art.

Chapter One: What is Art?
Chapter Two: The Structure of Art
Chapter Three: Significance of Materials Used in Art
Chapter Four: Describing Art
Chapter Five: Meaning in Art
Chapter Six: Connecting Art to Our Lives
Chapter Seven: Form in Architecture
Chapter Eight: Art and Identity
Chapter Nine: Art and Power
Chapter Ten: Art and Ritual Life
Chapter Eleven: Art and Ethics

Ancillary Material

Ancillary materials are available by contacting the author or publisher .

About the Book

Introduction to Art: Design, Context, and Meaning offers a comprehensive introduction to the world of Art. Authored by four USG faculty members with advance degrees in the arts, this textbooks offers up-to-date original scholarship. It includes over 400 high-quality images illustrating the history of art, its technical applications, and its many uses. Combining the best elements of both a traditional textbook and a reader, it introduces such issues in art as its meaning and purpose; its meaning and purpose; its structure, material, and form; and its diverse effects on our lives. Its digital nature allows students to follow links to applicable sources and videos, expanding the students' educational experiences beyond the textbook. Introduction to Art: Design, Context, and Meaning provides a new and free alternative to traditional textbooks, making it an invaluable resource in our modern age of technology and advancement.

About the Contributors

Pamela Sachant is an art history professor at North Georgia College & State University located in Dahlonega, Georgia.

Peggy Blood is Director of Confucius Institute and Full Professor in the Department of Fine Arts Humanities & Wellness. Prior to SSU she Directed satellite campuses (Fairfield &Travis AFD) for Chapman Universities in California. Her area of specialization is Fine Arts, Higher Education & Administration. She is a Fulbright Specialist & Fulbright Specialist Program Peer Reviewer, and reviewer for other academic fellowships and scholarships. Blood is a visiting scholar at Jiujiang University in Jiujiang, China.

Jeffery A. LeMieux is Professor Emeritus of Art at the College of Coastal Georgia. He is a practicing artist with works in private and public collections including the University System of Georgia Board of Regents and the College of Coastal Georgia. He holds an M.F.A in 2D Studio Art from the University of Wisconsin-Madison, and a B.S. in Philosophy from the University of Wisconsin-Oshkosh. His area of specialization is college level art foundations and art appreciation which he has been teaching for over 20 years.

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Knowledge Base

Methodology

What Is a Case Study? | Definition, Examples & Methods

What Is a Case Study? | Definition, Examples & Methods

Published on May 8, 2019 by Shona McCombes . Revised on November 20, 2023.

A case study is a detailed study of a specific subject, such as a person, group, place, event, organization, or phenomenon. Case studies are commonly used in social, educational, clinical, and business research.

A case study research design usually involves qualitative methods , but quantitative methods are sometimes also used. Case studies are good for describing , comparing, evaluating and understanding different aspects of a research problem .

When to do a case study, step 1: select a case, step 2: build a theoretical framework, step 3: collect your data, step 4: describe and analyze the case, other interesting articles.

A case study is an appropriate research design when you want to gain concrete, contextual, in-depth knowledge about a specific real-world subject. It allows you to explore the key characteristics, meanings, and implications of the case.

Case studies are often a good choice in a thesis or dissertation . They keep your project focused and manageable when you don’t have the time or resources to do large-scale research.

You might use just one complex case study where you explore a single subject in depth, or conduct multiple case studies to compare and illuminate different aspects of your research problem.

Case study examples
Research question	Case study
What are the ecological effects of wolf reintroduction?	Case study of wolf reintroduction in Yellowstone National Park
How do populist politicians use narratives about history to gain support?	Case studies of Hungarian prime minister Viktor Orbán and US president Donald Trump
How can teachers implement active learning strategies in mixed-level classrooms?	Case study of a local school that promotes active learning
What are the main advantages and disadvantages of wind farms for rural communities?	Case studies of three rural wind farm development projects in different parts of the country
How are viral marketing strategies changing the relationship between companies and consumers?	Case study of the iPhone X marketing campaign
How do experiences of work in the gig economy differ by gender, race and age?	Case studies of Deliveroo and Uber drivers in London

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Once you have developed your problem statement and research questions , you should be ready to choose the specific case that you want to focus on. A good case study should have the potential to:

Provide new or unexpected insights into the subject
Challenge or complicate existing assumptions and theories
Propose practical courses of action to resolve a problem
Open up new directions for future research

TipIf your research is more practical in nature and aims to simultaneously investigate an issue as you solve it, consider conducting action research instead.

Unlike quantitative or experimental research , a strong case study does not require a random or representative sample. In fact, case studies often deliberately focus on unusual, neglected, or outlying cases which may shed new light on the research problem.

Example of an outlying case studyIn the 1960s the town of Roseto, Pennsylvania was discovered to have extremely low rates of heart disease compared to the US average. It became an important case study for understanding previously neglected causes of heart disease.

However, you can also choose a more common or representative case to exemplify a particular category, experience or phenomenon.

Example of a representative case studyIn the 1920s, two sociologists used Muncie, Indiana as a case study of a typical American city that supposedly exemplified the changing culture of the US at the time.

While case studies focus more on concrete details than general theories, they should usually have some connection with theory in the field. This way the case study is not just an isolated description, but is integrated into existing knowledge about the topic. It might aim to:

Exemplify a theory by showing how it explains the case under investigation
Expand on a theory by uncovering new concepts and ideas that need to be incorporated
Challenge a theory by exploring an outlier case that doesn’t fit with established assumptions

To ensure that your analysis of the case has a solid academic grounding, you should conduct a literature review of sources related to the topic and develop a theoretical framework . This means identifying key concepts and theories to guide your analysis and interpretation.

There are many different research methods you can use to collect data on your subject. Case studies tend to focus on qualitative data using methods such as interviews , observations , and analysis of primary and secondary sources (e.g., newspaper articles, photographs, official records). Sometimes a case study will also collect quantitative data.

Example of a mixed methods case studyFor a case study of a wind farm development in a rural area, you could collect quantitative data on employment rates and business revenue, collect qualitative data on local people’s perceptions and experiences, and analyze local and national media coverage of the development.

The aim is to gain as thorough an understanding as possible of the case and its context.

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In writing up the case study, you need to bring together all the relevant aspects to give as complete a picture as possible of the subject.

How you report your findings depends on the type of research you are doing. Some case studies are structured like a standard scientific paper or thesis , with separate sections or chapters for the methods , results and discussion .

Others are written in a more narrative style, aiming to explore the case from various angles and analyze its meanings and implications (for example, by using textual analysis or discourse analysis ).

In all cases, though, make sure to give contextual details about the case, connect it back to the literature and theory, and discuss how it fits into wider patterns or debates.

If you want to know more about statistics , methodology , or research bias , make sure to check out some of our other articles with explanations and examples.

Normal distribution
Degrees of freedom
Null hypothesis
Discourse analysis
Control groups
Mixed methods research
Non-probability sampling
Quantitative research
Ecological validity

Research bias

Rosenthal effect
Implicit bias
Cognitive bias
Selection bias
Negativity bias
Status quo bias

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Introduction

The case study creation process

Types of case studies, benefits and limitations.

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Table Of Contents

case study , detailed description and assessment of a specific situation in the real world created for the purpose of deriving generalizations and other insights from it. A case study can be about an individual, a group of people, an organization, or an event, among other subjects.

By focusing on a specific subject in its natural setting, a case study can help improve understanding of the broader features and processes at work. Case studies are a research method used in multiple fields, including business, criminology , education , medicine and other forms of health care, anthropology , political science , psychology , and social work . Data in case studies can be both qualitative and quantitative. Unlike experiments, where researchers control and manipulate situations, case studies are considered to be “naturalistic” because subjects are studied in their natural context . ( See also natural experiment .)

The creation of a case study typically involves the following steps:

The research question to be studied is defined, informed by existing literature and previous research. Researchers should clearly define the scope of the case, and they should compile a list of evidence to be collected as well as identify the nature of insights that they expect to gain from the case study.
Once the case is identified, the research team is given access to the individual, organization, or situation being studied. Individuals are informed of risks associated with participation and must provide their consent , which may involve signing confidentiality or anonymity agreements.
Researchers then collect evidence using multiple methods, which may include qualitative techniques, such as interviews, focus groups , and direct observations, as well as quantitative methods, such as surveys, questionnaires, and data audits. The collection procedures need to be well defined to ensure the relevance and accuracy of the evidence.
The collected evidence is analyzed to come up with insights. Each data source must be reviewed carefully by itself and in the larger context of the case study so as to ensure continued relevance. At the same time, care must be taken not to force the analysis to fit (potentially preconceived) conclusions. While the eventual case study may serve as the basis for generalizations, these generalizations must be made cautiously to ensure that specific nuances are not lost in the averages.
Finally, the case study is packaged for larger groups and publication. At this stage some information may be withheld, as in business case studies, to allow readers to draw their own conclusions. In scientific fields, the completed case study needs to be a coherent whole, with all findings and statistical relationships clearly documented.

Case studies have been used as a research method across multiple fields. They are particularly popular in the fields of law, business, and employee training; they typically focus on a problem that an individual or organization is facing. The situation is presented in considerable detail, often with supporting data, to discussion participants, who are asked to make recommendations that will solve the stated problem. The business case study as a method of instruction was made popular in the 1920s by instructors at Harvard Business School who adapted an approach used at Harvard Law School in which real-world cases were used in classroom discussions. Other business and law schools started compiling case studies as teaching aids for students. In a business school case study, students are not provided with the complete list of facts pertaining to the topic and are thus forced to discuss and compare their perspectives with those of their peers to recommend solutions.

In criminology , case studies typically focus on the lives of an individual or a group of individuals. These studies can provide particularly valuable insight into the personalities and motives of individual criminals, but they may suffer from a lack of objectivity on the part of the researchers (typically because of the researchers’ biases when working with people with a criminal history), and their findings may be difficult to generalize.

In sociology , the case-study method was developed by Frédéric Le Play in France during the 19th century. This approach involves a field worker staying with a family for a period of time, gathering data on the family members’ attitudes and interactions and on their income, expenditures, and physical possessions. Similar approaches have been used in anthropology . Such studies can sometimes continue for many years.

Case studies provide insight into situations that involve a specific entity or set of circumstances. They can be beneficial in helping to explain the causal relationships between quantitative indicators in a field of study, such as what drives a company’s market share. By introducing real-world examples, they also plunge the reader into an actual, concrete situation and make the concepts real rather than theoretical. They also help people study rare situations that they might not otherwise experience.

Because case studies are in a “naturalistic” environment , they are limited in terms of research design: researchers lack control over what they are studying, which means that the results often cannot be reproduced. Also, care must be taken to stay within the bounds of the research question on which the case study is focusing. Other limitations to case studies revolve around the data collected. It may be difficult, for instance, for researchers to organize the large volume of data that can emerge from the study, and their analysis of the data must be carefully thought through to produce scientifically valid insights. The research methodology used to generate these insights is as important as the insights themselves, for the latter need to be seen in the proper context. Taken out of context, they may lead to erroneous conclusions. Like all scientific studies, case studies need to be approached objectively; personal bias or opinion may skew the research methods as well as the results. ( See also confirmation bias .)

Business case studies in particular have been criticized for approaching a problem or situation from a narrow perspective. Students are expected to come up with solutions for a problem based on the data provided. However, in real life, the situation is typically reversed: business managers face a problem and must then look for data to help them solve it.

Module 2: What Is Art?

Why it matters: what is art, define “art” within the context of the ongoing discussion about its meaning (course level learning objective), introduction.

As a thought experiment, imagine what a society without art would be like? How would buildings look? Could any kind of visual communication exist at all? It’s a provocative question that quickly necessitates defining the boundaries of what does and does not constitute art. This mirrors the complexity of engaging in the ongoing definition of art.

Art is studied because “it is among the highest expressions of culture, embodying its ideals and aspirations, challenging its assumptions and beliefs, and creating new visions and possibilities for it to pursue” (Sayre, XVI). When we discuss contemporary art, we are typically referring to the practice of fine art, but prior to the Renaissance, art was defined within the realm of functional crafts, such as goldsmithing. The idea of autonomous art or art for art’s sake developed later, over many eras.

Nkisi Nkondo, Congo, c. 1880-1920. In the Carnegie Museum of Art, Pittsburgh, PA

The material covered in this section will help you understand how we arrived at our contemporary understanding of art and how to begin engaging in the ongoing definition and discussion of art.

How to study for the Performance Assessment (PA)

The PAs for this module are answering short essay questions that are designed to test your understanding of the learning outcomes (listed above) for this module. Read through the two performance assessments for this module BEFORE you begin the module content. I suggest printing them out, or making notes of the keywords in each question. Then, as you read through the module content take notes on the subjects or anything that you find relevant to the PA questions. Be sure to document the page or place in the content where you found each note, in case you need to return to that content, or need to ask me a specific question citing module content. Once you are ready to complete the PAs, you will have these notes to help you answer the questions thoughtfully.

OK, let’s get started!

Sayre, Henry. A World of Art , Sixth edition. Boston: Prentice Hall, 2010. Print.

Why It Matters: What Is Art?. Authored by : Wendy Riley. Provided by : Columbia Basin College. License : CC BY: Attribution
Nkisi Nkondi, Congo, c. 1880-1920. Located at : https://en.wikipedia.org/wiki/Nkondi#/media/File:Nkisi_Nkondi,_Congo,_c._1880-1920_-_IMG_1628.JPG . License : Public Domain: No Known Copyright
Provided by : Lumen Learning. License : CC BY: Attribution

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Lombardy Sculpture in the 12th Century

Introduction.

To better understand a work of art, a researcher needs information not only about the work of art and the artist, but also the context in which the work of art was created. You may need information on the culture, religion, the place, the political situation, history, etc.

He already has the information he needs on the artist and the sculpture itself.
He needs to obtain background information about Lombardy in the 12th century, such as its culture, religion, political situation, and sculpture at that time.

The Reference Department researched this question and compiled a bibliography of journal articles, books, and encyclopedia articles for this student. Highlighted below are key resources we used to gather this information.

Getting started

It pulls together the key resources to find journal articles, books and background information on art topics.
You will find that tracking down information on this particular topic involves trying out a variety of databases. In some you will find many useful sources; in others just one or two.
Remember that if you find a good source on your topic, to check its bibliography. You can see whether any of the items listed will be useful for your project also.
The examples below use Lombardy as the geographic search term. You could broaden the search to include all of Northern Italy or limit the search more by picking a particular city or town such as Milan , Cremona , Brescia , or Bergamo . Many art and history articles are written about specific localities.

Background Information

Oxford Art Online This link opens in a new window Oxford Art Online, an online art encyclopedia, is a great place to find information on artists, art movements, individual art works and places. Many articles include illustrations and Oxford Art Online also provides access to separate image collections. more... less... 5 concurrent users at a time
Dictionary of the Middle Ages Call Number: REF D114 .D5 1982 Volume 7 has articles on Lombard Art, Lombard League, Lombards, and Kingdom of Lombards

Lists every book (and film, journal, etc.) owned by the library.
Includes both print and ebooks.
Search by title, author, subject, or keyword. For more about searching, go here.

Search Lombard? ( The ? replaces the word ending and thus the search includes Lombard and Lombardy) The search above includes a search limit by language in English as there are numerous books on this subject in Italian. This search resulted in 27 books including the one below. From the record below, note the specific subject, Italy--History--476-1268 . This is a useful subject to search. Both Italy --History --476-1268 and Italy --History --476-1492 are good subject searches for the topic.

Journal Articles

ITER: Gateway to the Middle Ages and the Renaissance

The ITER bibliography covers scholarship pertaining to the Middle Ages and Renaissance (400AD to 1700AD). It provides citations to articles in 1,026 journals, published from 1842 to the present, and to books and conference proceedings.
Keep ITER in mind when researching the Middle Ages, because Historical Abstracts covers from 1450 on and does not include the twelfth century.
Keep the default "any field"
You could broaden the search by adding or Northern Italy
Limit to the time period you are interested in by typing in middle ages or medieval or twelfth
The search results are limited to sources written in English.

Other Resources

The examples above were chosen because of the particular research topic, Lombardy, Italy in the twelfth century. However should the original request been even slightly different, for example Lombardy in the 16th century, a different mix of resources may have proven to be helpful in finding information to place a particular art work in its historical and cultural context.

Academic OneFile This link opens in a new window Contains scholarly journals, popular interest magazines and reference sources. Multidisciplinary coverage, including arts, humanities, sciences and technology. Provides full text coverage to the New York Times from 1985 to the present.
Academic Search Complete This link opens in a new window Multidisciplinary coverage, including arts, humanities, sciences and technology Contains scholarly journals and popular interest magazines. Many articles are available in full text.
Arts & Humanities Citation Index (via Web of Science) This link opens in a new window Some of the disciplines covered include: archaeology, architecture, art, Asian studies, classics, dance, folklore, language, linguistics, literary reviews, literature, music, philosophy, poetry, radio, television & film, religion, and theater.
Historical Abstracts This link opens in a new window Abstracts the world’s scholarly literature in history except for the United States and Canada from 1450 to the present. Includes dissertations, book citations and reviews.
JSTOR This link opens in a new window JSTOR is a collection of thousands of high-quality academic journals and ebooks across the humanities, social sciences, and sciences. The journal archive includes back issues and some current issues.
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Home » Case Study – Methods, Examples and Guide

Case Study – Methods, Examples and Guide

Table of Contents

A case study is a research method that involves an in-depth examination and analysis of a particular phenomenon or case, such as an individual, organization, community, event, or situation.

It is a qualitative research approach that aims to provide a detailed and comprehensive understanding of the case being studied. Case studies typically involve multiple sources of data, including interviews, observations, documents, and artifacts, which are analyzed using various techniques, such as content analysis, thematic analysis, and grounded theory. The findings of a case study are often used to develop theories, inform policy or practice, or generate new research questions.

Types of Case Study

Types and Methods of Case Study are as follows:

Single-Case Study

A single-case study is an in-depth analysis of a single case. This type of case study is useful when the researcher wants to understand a specific phenomenon in detail.

For Example , A researcher might conduct a single-case study on a particular individual to understand their experiences with a particular health condition or a specific organization to explore their management practices. The researcher collects data from multiple sources, such as interviews, observations, and documents, and uses various techniques to analyze the data, such as content analysis or thematic analysis. The findings of a single-case study are often used to generate new research questions, develop theories, or inform policy or practice.

Multiple-Case Study

A multiple-case study involves the analysis of several cases that are similar in nature. This type of case study is useful when the researcher wants to identify similarities and differences between the cases.

For Example, a researcher might conduct a multiple-case study on several companies to explore the factors that contribute to their success or failure. The researcher collects data from each case, compares and contrasts the findings, and uses various techniques to analyze the data, such as comparative analysis or pattern-matching. The findings of a multiple-case study can be used to develop theories, inform policy or practice, or generate new research questions.

Exploratory Case Study

An exploratory case study is used to explore a new or understudied phenomenon. This type of case study is useful when the researcher wants to generate hypotheses or theories about the phenomenon.

For Example, a researcher might conduct an exploratory case study on a new technology to understand its potential impact on society. The researcher collects data from multiple sources, such as interviews, observations, and documents, and uses various techniques to analyze the data, such as grounded theory or content analysis. The findings of an exploratory case study can be used to generate new research questions, develop theories, or inform policy or practice.

Descriptive Case Study

A descriptive case study is used to describe a particular phenomenon in detail. This type of case study is useful when the researcher wants to provide a comprehensive account of the phenomenon.

For Example, a researcher might conduct a descriptive case study on a particular community to understand its social and economic characteristics. The researcher collects data from multiple sources, such as interviews, observations, and documents, and uses various techniques to analyze the data, such as content analysis or thematic analysis. The findings of a descriptive case study can be used to inform policy or practice or generate new research questions.

Instrumental Case Study

An instrumental case study is used to understand a particular phenomenon that is instrumental in achieving a particular goal. This type of case study is useful when the researcher wants to understand the role of the phenomenon in achieving the goal.

For Example, a researcher might conduct an instrumental case study on a particular policy to understand its impact on achieving a particular goal, such as reducing poverty. The researcher collects data from multiple sources, such as interviews, observations, and documents, and uses various techniques to analyze the data, such as content analysis or thematic analysis. The findings of an instrumental case study can be used to inform policy or practice or generate new research questions.

Case Study Data Collection Methods

Here are some common data collection methods for case studies:

Interviews involve asking questions to individuals who have knowledge or experience relevant to the case study. Interviews can be structured (where the same questions are asked to all participants) or unstructured (where the interviewer follows up on the responses with further questions). Interviews can be conducted in person, over the phone, or through video conferencing.

Observations

Observations involve watching and recording the behavior and activities of individuals or groups relevant to the case study. Observations can be participant (where the researcher actively participates in the activities) or non-participant (where the researcher observes from a distance). Observations can be recorded using notes, audio or video recordings, or photographs.

Documents can be used as a source of information for case studies. Documents can include reports, memos, emails, letters, and other written materials related to the case study. Documents can be collected from the case study participants or from public sources.

Surveys involve asking a set of questions to a sample of individuals relevant to the case study. Surveys can be administered in person, over the phone, through mail or email, or online. Surveys can be used to gather information on attitudes, opinions, or behaviors related to the case study.

Artifacts are physical objects relevant to the case study. Artifacts can include tools, equipment, products, or other objects that provide insights into the case study phenomenon.

How to conduct Case Study Research

Conducting a case study research involves several steps that need to be followed to ensure the quality and rigor of the study. Here are the steps to conduct case study research:

Define the research questions: The first step in conducting a case study research is to define the research questions. The research questions should be specific, measurable, and relevant to the case study phenomenon under investigation.
Select the case: The next step is to select the case or cases to be studied. The case should be relevant to the research questions and should provide rich and diverse data that can be used to answer the research questions.
Collect data: Data can be collected using various methods, such as interviews, observations, documents, surveys, and artifacts. The data collection method should be selected based on the research questions and the nature of the case study phenomenon.
Analyze the data: The data collected from the case study should be analyzed using various techniques, such as content analysis, thematic analysis, or grounded theory. The analysis should be guided by the research questions and should aim to provide insights and conclusions relevant to the research questions.
Draw conclusions: The conclusions drawn from the case study should be based on the data analysis and should be relevant to the research questions. The conclusions should be supported by evidence and should be clearly stated.
Validate the findings: The findings of the case study should be validated by reviewing the data and the analysis with participants or other experts in the field. This helps to ensure the validity and reliability of the findings.
Write the report: The final step is to write the report of the case study research. The report should provide a clear description of the case study phenomenon, the research questions, the data collection methods, the data analysis, the findings, and the conclusions. The report should be written in a clear and concise manner and should follow the guidelines for academic writing.

Examples of Case Study

Here are some examples of case study research:

The Hawthorne Studies : Conducted between 1924 and 1932, the Hawthorne Studies were a series of case studies conducted by Elton Mayo and his colleagues to examine the impact of work environment on employee productivity. The studies were conducted at the Hawthorne Works plant of the Western Electric Company in Chicago and included interviews, observations, and experiments.
The Stanford Prison Experiment: Conducted in 1971, the Stanford Prison Experiment was a case study conducted by Philip Zimbardo to examine the psychological effects of power and authority. The study involved simulating a prison environment and assigning participants to the role of guards or prisoners. The study was controversial due to the ethical issues it raised.
The Challenger Disaster: The Challenger Disaster was a case study conducted to examine the causes of the Space Shuttle Challenger explosion in 1986. The study included interviews, observations, and analysis of data to identify the technical, organizational, and cultural factors that contributed to the disaster.
The Enron Scandal: The Enron Scandal was a case study conducted to examine the causes of the Enron Corporation’s bankruptcy in 2001. The study included interviews, analysis of financial data, and review of documents to identify the accounting practices, corporate culture, and ethical issues that led to the company’s downfall.
The Fukushima Nuclear Disaster : The Fukushima Nuclear Disaster was a case study conducted to examine the causes of the nuclear accident that occurred at the Fukushima Daiichi Nuclear Power Plant in Japan in 2011. The study included interviews, analysis of data, and review of documents to identify the technical, organizational, and cultural factors that contributed to the disaster.

Application of Case Study

Case studies have a wide range of applications across various fields and industries. Here are some examples:

Business and Management

Case studies are widely used in business and management to examine real-life situations and develop problem-solving skills. Case studies can help students and professionals to develop a deep understanding of business concepts, theories, and best practices.

Case studies are used in healthcare to examine patient care, treatment options, and outcomes. Case studies can help healthcare professionals to develop critical thinking skills, diagnose complex medical conditions, and develop effective treatment plans.

Case studies are used in education to examine teaching and learning practices. Case studies can help educators to develop effective teaching strategies, evaluate student progress, and identify areas for improvement.

Social Sciences

Case studies are widely used in social sciences to examine human behavior, social phenomena, and cultural practices. Case studies can help researchers to develop theories, test hypotheses, and gain insights into complex social issues.

Law and Ethics

Case studies are used in law and ethics to examine legal and ethical dilemmas. Case studies can help lawyers, policymakers, and ethical professionals to develop critical thinking skills, analyze complex cases, and make informed decisions.

Purpose of Case Study

The purpose of a case study is to provide a detailed analysis of a specific phenomenon, issue, or problem in its real-life context. A case study is a qualitative research method that involves the in-depth exploration and analysis of a particular case, which can be an individual, group, organization, event, or community.

The primary purpose of a case study is to generate a comprehensive and nuanced understanding of the case, including its history, context, and dynamics. Case studies can help researchers to identify and examine the underlying factors, processes, and mechanisms that contribute to the case and its outcomes. This can help to develop a more accurate and detailed understanding of the case, which can inform future research, practice, or policy.

Case studies can also serve other purposes, including:

Illustrating a theory or concept: Case studies can be used to illustrate and explain theoretical concepts and frameworks, providing concrete examples of how they can be applied in real-life situations.
Developing hypotheses: Case studies can help to generate hypotheses about the causal relationships between different factors and outcomes, which can be tested through further research.
Providing insight into complex issues: Case studies can provide insights into complex and multifaceted issues, which may be difficult to understand through other research methods.
Informing practice or policy: Case studies can be used to inform practice or policy by identifying best practices, lessons learned, or areas for improvement.

Advantages of Case Study Research

There are several advantages of case study research, including:

In-depth exploration: Case study research allows for a detailed exploration and analysis of a specific phenomenon, issue, or problem in its real-life context. This can provide a comprehensive understanding of the case and its dynamics, which may not be possible through other research methods.
Rich data: Case study research can generate rich and detailed data, including qualitative data such as interviews, observations, and documents. This can provide a nuanced understanding of the case and its complexity.
Holistic perspective: Case study research allows for a holistic perspective of the case, taking into account the various factors, processes, and mechanisms that contribute to the case and its outcomes. This can help to develop a more accurate and comprehensive understanding of the case.
Theory development: Case study research can help to develop and refine theories and concepts by providing empirical evidence and concrete examples of how they can be applied in real-life situations.
Practical application: Case study research can inform practice or policy by identifying best practices, lessons learned, or areas for improvement.
Contextualization: Case study research takes into account the specific context in which the case is situated, which can help to understand how the case is influenced by the social, cultural, and historical factors of its environment.

Limitations of Case Study Research

There are several limitations of case study research, including:

Limited generalizability : Case studies are typically focused on a single case or a small number of cases, which limits the generalizability of the findings. The unique characteristics of the case may not be applicable to other contexts or populations, which may limit the external validity of the research.
Biased sampling: Case studies may rely on purposive or convenience sampling, which can introduce bias into the sample selection process. This may limit the representativeness of the sample and the generalizability of the findings.
Subjectivity: Case studies rely on the interpretation of the researcher, which can introduce subjectivity into the analysis. The researcher’s own biases, assumptions, and perspectives may influence the findings, which may limit the objectivity of the research.
Limited control: Case studies are typically conducted in naturalistic settings, which limits the control that the researcher has over the environment and the variables being studied. This may limit the ability to establish causal relationships between variables.
Time-consuming: Case studies can be time-consuming to conduct, as they typically involve a detailed exploration and analysis of a specific case. This may limit the feasibility of conducting multiple case studies or conducting case studies in a timely manner.
Resource-intensive: Case studies may require significant resources, including time, funding, and expertise. This may limit the ability of researchers to conduct case studies in resource-constrained settings.

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Your Step-By-Step Guide To Writing a Case Study

Creating a case study is both an art and a science. It requires making an in-depth exploration of your chosen subject in order to extract meaningful insights and understand the dynamics that more general surveys or statistical research might not uncover. At the same time, your case study also needs to be a compelling read to ensure those insights get attention from other people!

Unsurprisingly, the prospect of crafting an effective case study can be daunting. It calls for strategic planning, careful organization, and clear communication, all of which can be challenging even for experienced researchers. That's why we've created this step-by-step guide, which breaks the process down into manageable steps, demystifying the journey from defining your research question to sharing your findings. Whether you're a seasoned researcher or a first-timer, this guide aims to equip you with the necessary tools and tips to create a case study that's not just informative, but also engaging and impactful.

Are you ready to unlock the potential of case studies? Let's dive in!

What is a case study?

First, it's important to understand what a case study is – and what it isn't.

A case study is a thorough exploration of a specific subject or event over a certain time frame. Case studies are utilized in numerous fields, including sociology, psychology, education, anthropology, business, and the health sciences, and employ various research techniques to shed light on complex issues.

A case study does not provide absolute proof or conclusions that can be universally applied. Because it concentrates on one particular case or just a few cases, the findings might not apply to different contexts or subjects. Case studies also aren't ideal for determining cause-and-effect relationships as they do not use controlled conditions to separate and measure the impacts of different factors. Lastly, it must be said that a case study isn't just a random assortment of facts or observations; it necessitates a clear research question, a methodical approach to data collection and analysis, and a thoughtful interpretation of the results.

Getting started

Now that we've established the definition and purpose of a case study, let's explore the process by which one is created. You can produce a case study by following these nine steps:

1. Define the purpose of your case study

Before you start writing a case study, you need to define its purpose clearly. Ask yourself: What is the research question or problem you aim to solve? What insights are you looking to uncover? Your goals will guide your research design and influence your choice of case. This initial stage of introspection and clarification is crucial as it acts as a roadmap for your study.

2. Select the case to study

Once you've defined your research objective, the next step is to choose a suitable case that can help answer your research question. This might be a unique, critical, or representative instance. Unique cases offer the opportunity to observe and analyze a situation that is unusual or not well-understood. In contrast, a representative or typical case is often chosen because it represents other cases or a broader phenomenon.

In any case, be sure to justify your choice. Explain why the case is of interest and how it can contribute to the knowledge or understanding of the issue at hand. For instance, if you're studying the effects of corporate restructuring on employee morale, you might choose to focus on a company that recently underwent a significant restructure.

3. Conduct a thorough literature review

Performing a literature review involves a careful examination of relevant scholarly articles, books, and other sources related to your research question or problem. In the process, you identify gaps in the current knowledge and determine how your case study can address them. By critically examining existing research, you will not only gain a comprehensive understanding of your chosen topic but also be able to refine your research question or hypothesis, if necessary.

4. Choose a methodological approach

The methodological approach used in your case study will depend on your research objectives and the nature of the case. Methodologies that can be employed in case studies include qualitative, quantitative, and mixed methods .

Qualitative methods are often used when the goal is to explore, understand, or interpret certain phenomena. These involve approaches like interviews, focus groups, or ethnography. Quantitative methods, on the other hand, are used when the goal is to test hypotheses or examine relationships between variables. Quantitative approaches often include experiments. Also, surveys may be either qualitative or quantitative depending on the question design.

You may choose to use a combination of qualitative and quantitative methods (mixed methods) if it suits your research objectives.

5. Collect and organize your data

Data collection should be systematic and organized to maintain the integrity and reliability of your research. You need to plan how you will record and store your data to ensure that it's accessible and usable.

If you're conducting interviews or observations, consider using recording devices (with participant consent) to capture the data accurately. In addition, you may want to transcribe the recorded material for easier analysis. If you're using documents or archival records, develop a system for coding and categorizing the data.

6. Analyze the data

Analysis involves interpreting your data to draw out meaningful insights; it is in this stage that your findings start to take shape. Depending on the nature of your data and your research question, you might use any of a variety of analysis methods. For qualitative data, you might employ thematic analysis to identify key themes or grounded theory to generate a new theoretical framework. For quantitative data, you might use statistical analysis to identify patterns or correlations.

Always be open to unexpected findings. Your initial hypotheses might not be supported, or you might uncover new insights that you hadn't initially considered. Remember that all data, whether they fit neatly into your analysis or not, provide valuable insights and contribute to the holistic understanding of your case.

7. Write the case study report

After analyzing the data, it's finally time to compose your case study. In terms of structure, a typical case study might consist of an introduction, background information, the collected data (results), analysis of that data, and the conclusion. Here's a brief breakdown of each section:

Introduction: The introduction should be brief but engaging, providing a clear statement of the research question or problem, explaining why the case was chosen, and outlining what the case study will cover.
Background: The background provides the context for your case. Describe the case, its history, and any relevant information that will help readers understand the situation.
Results: This section should provide a comprehensive account of what you found, without interpretation or opinion. Present your findings in a clear, organized manner. Use visuals such as charts or graphs if they aid comprehension.
Analysis: This section should provide your interpretations and arguments. Discuss the patterns, themes, or relationships you've identified in your data. Explain what these findings mean in relation to your research question.
Conclusion: Finally, summarize the key insights from your case study along with their implications. Discuss the limitations of your study and propose avenues for future research.

8. Review and revise

The process of writing a case study doesn't actually end when the report is written; you also need to review your writing for coherence, clarity, and correctness. Don't underestimate the importance of this step! Make sure the information flows logically and that your arguments are well-supported. Check for any grammar or spelling errors. Having a peer or mentor review your work can be incredibly helpful as they provide a fresh perspective and can catch mistakes you might have missed.

9. Get approval if required

If your case study involves human subjects, you may need to obtain approval from an ethical review board. You'll also need to obtain informed consent from your subjects and ensure you respect their privacy and confidentiality throughout the research process. Always follow your institution's ethical guidelines and any other relevant legislation .

Practical tips for writing a compelling case study

Getting through all those steps can feel like a formidable challenge, but here are some practical tips to make the process more manageable:

Be systematic and organized

Given the importance of detail in case studies, it's vital to be systematic and organized from the get-go. This means keeping meticulous records of your data, your sources, and any changes to your research design. A good practice is to maintain a research journal or log where you can record your process, thoughts, and reflections.

In addition, use technology to your advantage. Digital tools like citation managers can help you keep track of your sources and make formatting references a breeze, while spreadsheet or database software can assist in managing and organizing your data. Developing a consistent system for labeling and storing information at the outset will save you time and effort later when you need to retrieve data for analysis.

Stay focused

One common pitfall in research and writing is loss of focus: getting sidetracked by interesting but ultimately irrelevant digressions, which can be very easy, especially when you're dealing with a rich and complex case. Always remember your research question and objectives, and let these guide your study at every step. It's perfectly acceptable – and in fact advisable – to delineate what your study will not cover. Setting clear boundaries can help you stay focused and manage the scope of your study effectively.

Use visual aids

Visual aids such as charts, diagrams, or photographs can greatly enhance your case study. They provide readers with a break from the monotony of text and can communicate complex data or relationships more easily. For instance, if you're presenting a lot of numerical data, consider using a chart or graph. If you're describing a process or sequence of events, portraying it in a flowchart or timeline might be useful. Remember, the goal is to aid comprehension, so make sure your visual aids are clear, well-labeled, and integrated into the text.

Include direct quotes

If your case study involves interviews, including direct quotes can add depth and a sense of the personal to your findings. They provide readers with a firsthand perspective and make your case study more engaging.

When using quotes, be sure to integrate them smoothly into your text. Provide enough context so readers understand the quote's relevance. Also, remember to adhere to ethical guidelines– always respect confidentiality and anonymity agreements.

Maintain ethical standards

Ethics is a fundamental consideration in all research, including case studies. Ensure you have proper consent from participants, respect their privacy, and accurately present your findings without manipulation.

Misrepresenting data or failing to respect participants' rights can lead to serious ethical violations. Always follow your institution's ethical guidelines and any other relevant legislation. If in doubt, seek advice from a supervisor or your institution's ethics committee.

Acknowledge limitations

Every research study has limitations, which could relate to the research design, data collection methods, or other aspects of the study. Being transparent about the limitations of your study can enhance its credibility; moreover, not only does identifying limitations demonstrate your critical thinking and honesty, but it also helps readers accurately interpret your findings.

Finally, acknowledging the limitations of your work helps to set the stage for further research. By identifying aspects that your study couldn't address, you provide other researchers with avenues for building on your findings.

Learn from examples

Before you start writing your case study, it can be helpful to review some published case studies in your field. Different fields may have different conventions, and familiarizing yourself with case studies in your own field can help guide your writing. Look at the structure, tone, and style. Pay attention to how the authors present and analyze data, and how they link their findings back to the research question. You can also learn a lot from the strengths and weaknesses of previously published works. However, remember to develop your own unique voice and perspective – don't just mimic what others have done.

Design for triangulation

Triangulation involves using multiple data sources or methods to gain a more comprehensive and balanced understanding of your research topic. By coming at your research question from multiple directions, such as by examining different datasets or using different methods, you can increase the validity of your results and gain more nuanced insights.

For example, if you're studying the impact of a new teaching method in a school, you might observe classes, interview teachers, and also survey students. Each method will provide a slightly different perspective, and together, they allow you to develop a more complete picture of the teaching method's impact.

Practice reflexivity

Reflexivity involves reflecting on how your assumptions, values, or experiences might influence your research process and interpretations. As a researcher, it's essential to be aware of your potential biases and how they might shape your study.

Consider keeping a reflexivity journal where you can note your thoughts, feelings, and reflections throughout the research process. This practice can help you stay aware of your biases and ensure your research is as objective and balanced as possible.

Write for your audience

Always make sure that your writing is on target for your intended audience. If you're writing for an academic audience, for example, you'll likely use a more formal tone and include more detailed methodological information. If you're writing for practitioners or a general audience, you might use a more accessible language and focus more on practical implications.

Remember to define any technical terms or jargon, and provide sufficient context so your readers can understand your research. The goal is to communicate your findings effectively, regardless of who your readers are.

Seek feedback

Feedback is valuable for improving your case study. Consider sharing drafts with your peers, mentors, or supervisors and asking for their input. Fresh eyes can provide different perspectives, catch errors, or suggest ways to strengthen your arguments.

Remember, feedback is not personal; it's about improving your work. Be open to critique and willing to revise your work based on the feedback you receive.

Writing a case study is a meticulous process that requires clear purpose, careful planning, systematic data collection, and thoughtful analysis. Although it can be time-consuming, the rich, detailed insights a well-executed case study can provide make this study design an invaluable tool in research.

By following this guide and adopting its practical tips, you will be well on your way to crafting a compelling case study that contributes meaningful insights to your chosen field. Good luck with your research journey!

Header image by Kateryna Hliznitsova .

The Ultimate Guide to Qualitative Research - Part 1: The Basics

Introduction and overview
What is qualitative research?
What is qualitative data?
Examples of qualitative data
Qualitative vs. quantitative research
Mixed methods
Qualitative research preparation
Theoretical perspective
Theoretical framework
Literature reviews

Research question

Conceptual framework
Conceptual vs. theoretical framework

Data collection

Qualitative research methods
Focus groups
Observational research

What is a case study?

Applications for case study research, what is a good case study, process of case study design, benefits and limitations of case studies.

Ethnographical research
Ethical considerations
Confidentiality and privacy
Power dynamics
Reflexivity

Case studies

Case studies are essential to qualitative research , offering a lens through which researchers can investigate complex phenomena within their real-life contexts. This chapter explores the concept, purpose, applications, examples, and types of case studies and provides guidance on how to conduct case study research effectively.

Whereas quantitative methods look at phenomena at scale, case study research looks at a concept or phenomenon in considerable detail. While analyzing a single case can help understand one perspective regarding the object of research inquiry, analyzing multiple cases can help obtain a more holistic sense of the topic or issue. Let's provide a basic definition of a case study, then explore its characteristics and role in the qualitative research process.

Definition of a case study

A case study in qualitative research is a strategy of inquiry that involves an in-depth investigation of a phenomenon within its real-world context. It provides researchers with the opportunity to acquire an in-depth understanding of intricate details that might not be as apparent or accessible through other methods of research. The specific case or cases being studied can be a single person, group, or organization – demarcating what constitutes a relevant case worth studying depends on the researcher and their research question .

Among qualitative research methods , a case study relies on multiple sources of evidence, such as documents, artifacts, interviews , or observations , to present a complete and nuanced understanding of the phenomenon under investigation. The objective is to illuminate the readers' understanding of the phenomenon beyond its abstract statistical or theoretical explanations.

Characteristics of case studies

Case studies typically possess a number of distinct characteristics that set them apart from other research methods. These characteristics include a focus on holistic description and explanation, flexibility in the design and data collection methods, reliance on multiple sources of evidence, and emphasis on the context in which the phenomenon occurs.

Furthermore, case studies can often involve a longitudinal examination of the case, meaning they study the case over a period of time. These characteristics allow case studies to yield comprehensive, in-depth, and richly contextualized insights about the phenomenon of interest.

The role of case studies in research

Case studies hold a unique position in the broader landscape of research methods aimed at theory development. They are instrumental when the primary research interest is to gain an intensive, detailed understanding of a phenomenon in its real-life context.

In addition, case studies can serve different purposes within research - they can be used for exploratory, descriptive, or explanatory purposes, depending on the research question and objectives. This flexibility and depth make case studies a valuable tool in the toolkit of qualitative researchers.

Remember, a well-conducted case study can offer a rich, insightful contribution to both academic and practical knowledge through theory development or theory verification, thus enhancing our understanding of complex phenomena in their real-world contexts.

What is the purpose of a case study?

Case study research aims for a more comprehensive understanding of phenomena, requiring various research methods to gather information for qualitative analysis . Ultimately, a case study can allow the researcher to gain insight into a particular object of inquiry and develop a theoretical framework relevant to the research inquiry.

Why use case studies in qualitative research?

Using case studies as a research strategy depends mainly on the nature of the research question and the researcher's access to the data.

Conducting case study research provides a level of detail and contextual richness that other research methods might not offer. They are beneficial when there's a need to understand complex social phenomena within their natural contexts.

The explanatory, exploratory, and descriptive roles of case studies

Case studies can take on various roles depending on the research objectives. They can be exploratory when the research aims to discover new phenomena or define new research questions; they are descriptive when the objective is to depict a phenomenon within its context in a detailed manner; and they can be explanatory if the goal is to understand specific relationships within the studied context. Thus, the versatility of case studies allows researchers to approach their topic from different angles, offering multiple ways to uncover and interpret the data .

The impact of case studies on knowledge development

Case studies play a significant role in knowledge development across various disciplines. Analysis of cases provides an avenue for researchers to explore phenomena within their context based on the collected data.

This can result in the production of rich, practical insights that can be instrumental in both theory-building and practice. Case studies allow researchers to delve into the intricacies and complexities of real-life situations, uncovering insights that might otherwise remain hidden.

Types of case studies

In qualitative research , a case study is not a one-size-fits-all approach. Depending on the nature of the research question and the specific objectives of the study, researchers might choose to use different types of case studies. These types differ in their focus, methodology, and the level of detail they provide about the phenomenon under investigation.

Understanding these types is crucial for selecting the most appropriate approach for your research project and effectively achieving your research goals. Let's briefly look at the main types of case studies.

Exploratory case studies

Exploratory case studies are typically conducted to develop a theory or framework around an understudied phenomenon. They can also serve as a precursor to a larger-scale research project. Exploratory case studies are useful when a researcher wants to identify the key issues or questions which can spur more extensive study or be used to develop propositions for further research. These case studies are characterized by flexibility, allowing researchers to explore various aspects of a phenomenon as they emerge, which can also form the foundation for subsequent studies.

Descriptive case studies

Descriptive case studies aim to provide a complete and accurate representation of a phenomenon or event within its context. These case studies are often based on an established theoretical framework, which guides how data is collected and analyzed. The researcher is concerned with describing the phenomenon in detail, as it occurs naturally, without trying to influence or manipulate it.

Explanatory case studies

Explanatory case studies are focused on explanation - they seek to clarify how or why certain phenomena occur. Often used in complex, real-life situations, they can be particularly valuable in clarifying causal relationships among concepts and understanding the interplay between different factors within a specific context.

Intrinsic, instrumental, and collective case studies

These three categories of case studies focus on the nature and purpose of the study. An intrinsic case study is conducted when a researcher has an inherent interest in the case itself. Instrumental case studies are employed when the case is used to provide insight into a particular issue or phenomenon. A collective case study, on the other hand, involves studying multiple cases simultaneously to investigate some general phenomena.

Each type of case study serves a different purpose and has its own strengths and challenges. The selection of the type should be guided by the research question and objectives, as well as the context and constraints of the research.

The flexibility, depth, and contextual richness offered by case studies make this approach an excellent research method for various fields of study. They enable researchers to investigate real-world phenomena within their specific contexts, capturing nuances that other research methods might miss. Across numerous fields, case studies provide valuable insights into complex issues.

Critical information systems research

Case studies provide a detailed understanding of the role and impact of information systems in different contexts. They offer a platform to explore how information systems are designed, implemented, and used and how they interact with various social, economic, and political factors. Case studies in this field often focus on examining the intricate relationship between technology, organizational processes, and user behavior, helping to uncover insights that can inform better system design and implementation.

Health research

Health research is another field where case studies are highly valuable. They offer a way to explore patient experiences, healthcare delivery processes, and the impact of various interventions in a real-world context.

Case studies can provide a deep understanding of a patient's journey, giving insights into the intricacies of disease progression, treatment effects, and the psychosocial aspects of health and illness.

Asthma research studies

Specifically within medical research, studies on asthma often employ case studies to explore the individual and environmental factors that influence asthma development, management, and outcomes. A case study can provide rich, detailed data about individual patients' experiences, from the triggers and symptoms they experience to the effectiveness of various management strategies. This can be crucial for developing patient-centered asthma care approaches.

Other fields

Apart from the fields mentioned, case studies are also extensively used in business and management research, education research, and political sciences, among many others. They provide an opportunity to delve into the intricacies of real-world situations, allowing for a comprehensive understanding of various phenomena.

Case studies, with their depth and contextual focus, offer unique insights across these varied fields. They allow researchers to illuminate the complexities of real-life situations, contributing to both theory and practice.

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Understanding the key elements of case study design is crucial for conducting rigorous and impactful case study research. A well-structured design guides the researcher through the process, ensuring that the study is methodologically sound and its findings are reliable and valid. The main elements of case study design include the research question , propositions, units of analysis, and the logic linking the data to the propositions.

The research question is the foundation of any research study. A good research question guides the direction of the study and informs the selection of the case, the methods of collecting data, and the analysis techniques. A well-formulated research question in case study research is typically clear, focused, and complex enough to merit further detailed examination of the relevant case(s).

Propositions

Propositions, though not necessary in every case study, provide a direction by stating what we might expect to find in the data collected. They guide how data is collected and analyzed by helping researchers focus on specific aspects of the case. They are particularly important in explanatory case studies, which seek to understand the relationships among concepts within the studied phenomenon.

Units of analysis

The unit of analysis refers to the case, or the main entity or entities that are being analyzed in the study. In case study research, the unit of analysis can be an individual, a group, an organization, a decision, an event, or even a time period. It's crucial to clearly define the unit of analysis, as it shapes the qualitative data analysis process by allowing the researcher to analyze a particular case and synthesize analysis across multiple case studies to draw conclusions.

Argumentation

This refers to the inferential model that allows researchers to draw conclusions from the data. The researcher needs to ensure that there is a clear link between the data, the propositions (if any), and the conclusions drawn. This argumentation is what enables the researcher to make valid and credible inferences about the phenomenon under study.

Understanding and carefully considering these elements in the design phase of a case study can significantly enhance the quality of the research. It can help ensure that the study is methodologically sound and its findings contribute meaningful insights about the case.

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Conducting a case study involves several steps, from defining the research question and selecting the case to collecting and analyzing data . This section outlines these key stages, providing a practical guide on how to conduct case study research.

Defining the research question

The first step in case study research is defining a clear, focused research question. This question should guide the entire research process, from case selection to analysis. It's crucial to ensure that the research question is suitable for a case study approach. Typically, such questions are exploratory or descriptive in nature and focus on understanding a phenomenon within its real-life context.

Selecting and defining the case

The selection of the case should be based on the research question and the objectives of the study. It involves choosing a unique example or a set of examples that provide rich, in-depth data about the phenomenon under investigation. After selecting the case, it's crucial to define it clearly, setting the boundaries of the case, including the time period and the specific context.

Previous research can help guide the case study design. When considering a case study, an example of a case could be taken from previous case study research and used to define cases in a new research inquiry. Considering recently published examples can help understand how to select and define cases effectively.

Developing a detailed case study protocol

A case study protocol outlines the procedures and general rules to be followed during the case study. This includes the data collection methods to be used, the sources of data, and the procedures for analysis. Having a detailed case study protocol ensures consistency and reliability in the study.

The protocol should also consider how to work with the people involved in the research context to grant the research team access to collecting data. As mentioned in previous sections of this guide, establishing rapport is an essential component of qualitative research as it shapes the overall potential for collecting and analyzing data.

Collecting data

Gathering data in case study research often involves multiple sources of evidence, including documents, archival records, interviews, observations, and physical artifacts. This allows for a comprehensive understanding of the case. The process for gathering data should be systematic and carefully documented to ensure the reliability and validity of the study.

Analyzing and interpreting data

The next step is analyzing the data. This involves organizing the data , categorizing it into themes or patterns , and interpreting these patterns to answer the research question. The analysis might also involve comparing the findings with prior research or theoretical propositions.

Writing the case study report

The final step is writing the case study report . This should provide a detailed description of the case, the data, the analysis process, and the findings. The report should be clear, organized, and carefully written to ensure that the reader can understand the case and the conclusions drawn from it.

Each of these steps is crucial in ensuring that the case study research is rigorous, reliable, and provides valuable insights about the case.

The type, depth, and quality of data in your study can significantly influence the validity and utility of the study. In case study research, data is usually collected from multiple sources to provide a comprehensive and nuanced understanding of the case. This section will outline the various methods of collecting data used in case study research and discuss considerations for ensuring the quality of the data.

Interviews are a common method of gathering data in case study research. They can provide rich, in-depth data about the perspectives, experiences, and interpretations of the individuals involved in the case. Interviews can be structured , semi-structured , or unstructured , depending on the research question and the degree of flexibility needed.

Observations

Observations involve the researcher observing the case in its natural setting, providing first-hand information about the case and its context. Observations can provide data that might not be revealed in interviews or documents, such as non-verbal cues or contextual information.

Documents and artifacts

Documents and archival records provide a valuable source of data in case study research. They can include reports, letters, memos, meeting minutes, email correspondence, and various public and private documents related to the case.

These records can provide historical context, corroborate evidence from other sources, and offer insights into the case that might not be apparent from interviews or observations.

Physical artifacts refer to any physical evidence related to the case, such as tools, products, or physical environments. These artifacts can provide tangible insights into the case, complementing the data gathered from other sources.

Ensuring the quality of data collection

Determining the quality of data in case study research requires careful planning and execution. It's crucial to ensure that the data is reliable, accurate, and relevant to the research question. This involves selecting appropriate methods of collecting data, properly training interviewers or observers, and systematically recording and storing the data. It also includes considering ethical issues related to collecting and handling data, such as obtaining informed consent and ensuring the privacy and confidentiality of the participants.

Data analysis

Analyzing case study research involves making sense of the rich, detailed data to answer the research question. This process can be challenging due to the volume and complexity of case study data. However, a systematic and rigorous approach to analysis can ensure that the findings are credible and meaningful. This section outlines the main steps and considerations in analyzing data in case study research.

Organizing the data

The first step in the analysis is organizing the data. This involves sorting the data into manageable sections, often according to the data source or the theme. This step can also involve transcribing interviews, digitizing physical artifacts, or organizing observational data.

Categorizing and coding the data

Once the data is organized, the next step is to categorize or code the data. This involves identifying common themes, patterns, or concepts in the data and assigning codes to relevant data segments. Coding can be done manually or with the help of software tools, and in either case, qualitative analysis software can greatly facilitate the entire coding process. Coding helps to reduce the data to a set of themes or categories that can be more easily analyzed.

Identifying patterns and themes

After coding the data, the researcher looks for patterns or themes in the coded data. This involves comparing and contrasting the codes and looking for relationships or patterns among them. The identified patterns and themes should help answer the research question.

Interpreting the data

Once patterns and themes have been identified, the next step is to interpret these findings. This involves explaining what the patterns or themes mean in the context of the research question and the case. This interpretation should be grounded in the data, but it can also involve drawing on theoretical concepts or prior research.

Verification of the data

The last step in the analysis is verification. This involves checking the accuracy and consistency of the analysis process and confirming that the findings are supported by the data. This can involve re-checking the original data, checking the consistency of codes, or seeking feedback from research participants or peers.

Like any research method , case study research has its strengths and limitations. Researchers must be aware of these, as they can influence the design, conduct, and interpretation of the study.

Understanding the strengths and limitations of case study research can also guide researchers in deciding whether this approach is suitable for their research question . This section outlines some of the key strengths and limitations of case study research.

Benefits include the following:

Rich, detailed data: One of the main strengths of case study research is that it can generate rich, detailed data about the case. This can provide a deep understanding of the case and its context, which can be valuable in exploring complex phenomena.
Flexibility: Case study research is flexible in terms of design , data collection , and analysis . A sufficient degree of flexibility allows the researcher to adapt the study according to the case and the emerging findings.
Real-world context: Case study research involves studying the case in its real-world context, which can provide valuable insights into the interplay between the case and its context.
Multiple sources of evidence: Case study research often involves collecting data from multiple sources , which can enhance the robustness and validity of the findings.

On the other hand, researchers should consider the following limitations:

Generalizability: A common criticism of case study research is that its findings might not be generalizable to other cases due to the specificity and uniqueness of each case.
Time and resource intensive: Case study research can be time and resource intensive due to the depth of the investigation and the amount of collected data.
Complexity of analysis: The rich, detailed data generated in case study research can make analyzing the data challenging.
Subjectivity: Given the nature of case study research, there may be a higher degree of subjectivity in interpreting the data , so researchers need to reflect on this and transparently convey to audiences how the research was conducted.

Being aware of these strengths and limitations can help researchers design and conduct case study research effectively and interpret and report the findings appropriately.

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The therapeutic effectiveness of using visual art modalities with the bereaved: a systematic review

Rachel e weiskittle.

Department of Clinical Psychology, Virginia Commonwealth University, Richmond, VA, USA

Sandra E Gramling

Bereaved individuals are increasingly considered at risk for negative psychological and physiological outcomes. Visual art modalities are often incorporated into grief therapy interventions, and clinical application of art therapy techniques with the bereaved has been widely documented. Although clinicians and recipients of these interventions advocate for their helpfulness in adapting to bereavement, research investigating the efficacy of visual art modalities has produced equivocal results and has not yet been synthesized to establish empirical support across settings. Accordingly, this review critically evaluates the existent literature on the effectiveness of visual art modalities with the bereaved and offers suggestions for future avenues of research. A total of 27 studies were included in the current review. Meta-analysis was not possible because of clinical heterogeneity and insufficient comparable data on outcome measures across studies. A narrative synthesis reports that therapeutic application of visual art modalities was associated with positive changes such as continuing bonds with the deceased and meaning making. Modest and conflicting preliminary evidence was found to support treatment effectiveness in alleviating negative grief symptoms such as general distress, functional impairment, and symptoms of depression and anxiety.

Introduction

Bereavement is a ubiquitous human experience that often recurs throughout a lifetime. 1 Coping with the death of a loved one is often challenging and can affect bereaved individuals across multifaceted domains. Along with heightened emotions and longing for the deceased, bereaved individuals may experience symptoms of depression, anxiety, and cognitive disorganization. 2 Those bereaved may also endorse physical manifestations of their distress, such as increased fatigue, greater propensity for developing illness, and overall poorer physical health outcomes than their non-bereaved counterparts. 3 , 4 These symptoms are collectively identified as the negative symptoms of grief and can catalyze a myriad of functional complications, including decreased academic performance, 5 job productivity, and quality of life. 6

Early grief theories, such as those pioneered by Freud 7 and Kubler-Ross, 8 paralleled the universalistic aspect of bereavement by conceptualizing grief as a predictable process of identifiable stages. 9 However, research has increasingly informed a paradigm shift toward a more nuanced understanding of loss. A large body of empirical evidence indicates multiple trajectories of grief rather than one standardized process, and leaders in the field suggest that reactions to loss can be as varied as the bereaved individuals themselves. 10 , 11 Some people demonstrate considerable resilience when faced with loss, 10 others experience significant but temporary impairment, and approximately 10–15% find themselves “stuck” in a persistent state of intense, complicated grief. 12 Characteristics of the bereaved or of their loss can impact these grief trajectories. For example, relationship to the deceased and expectedness of the loss have been found to be particularly salient in influence on the intensity of grief reactions. 12 – 14 As such, contemporary models of grief emphasize that the ways people adapt to loss vary as a function of individual differences.

Theorists and researchers currently embrace a range of empirically validated frameworks that account for the variegated trajectories of bereavement experiences, but two theories have emerged as the most demonstrable in empirical promise. First, the dual-process model of bereavement posits that grieving a loved one entails oscillating between orientation to the loss (i.e., continuing bonds with the deceased by expressing emotion related to the death and reconnecting with the memory of the loved one) and restoration of contact with a changed world (i.e., reengaging relationships and experimenting with new life roles). 15 Second, the meaning reconstruction model of grief views grieving as a process of reaffirming or reforming a world of meaning that has been challenged by loss. 16 In this constructivist-rooted perspective, people create and maintain a system of beliefs that permit them to anticipate and respond to their surroundings. Events’ ascribed meaning must be either assimilated into the existing belief system or the system must be accommodated to make congruent meaning of the event. 17 The death of a loved one is often a challenging event to make meaning of; as such, this model in summary characterizes grief as the process of reconstructing one’s belief system and making meaning of one’s loss. 18 These two predominant bereavement theories are complementary. Both the dual-process model and the meaning reconstruction model view grief as a life-long process of renegotiating continuing bonds with the deceased and formulating meaning into life after the loss. 19 The meaning reconstruction model proposes that the search for meaning is the bereaved individual’s quest following loss, and the dual-process model’s cognitive oscillation of grief helps explain how the meaning is created. 20

Research investigating the applicability of these models demonstrates signs of efficacy, particularly in regard to the ways in which continuing bonds with the deceased and meaning making are important mechanisms of successful adaptation to bereavement. Continuing bonds with the deceased facilitates grief resolution by helping the bereaved to preserve a sense of identity and meaningful connection with the past. 21 , 22 When the bereaved are successful in finding meaning, evidence indicates that they fare better than their counterparts who struggle to make sense of the experience. Specifically, studies have reported that finding meaning is related to higher subjective well-being and more positive immune system functioning. 23 , 24 Research provides empirical support for the processes proposed by the field’s leading bereavement theories and suggests that bereaved people struggling to adjust to their loss could benefit from interventions driven around these two domains. As such, most empirically informed grief therapies aim to provide avenues for patients to explore continued bonds with the deceased, the personalized meaning behind their loss, and a reconstruction of purpose in life without their loved one. 11

As bereavement theory evolved away from ubiquitous stage models toward more contextualized processing of varied individual loss, grief therapy similarly evolved in scope to include a range of treatment modalities. 25 Many practices have made alterations to traditional grief psychotherapy to avoid a “one-size-fits-all” approach to treatment. 26 – 28 An alteration frequently endorsed is the incorporation of expressive art modalities. Expressive art modalities are defined as the use of dance, drama, drawing, music, painting, photography, sculpture, and writing within the context of psychotherapy, counseling, rehabilitation, or medicine. 29 Expressive art therapies are sometimes referred to as integrative or creative art therapies when purposively used in combination with treatment. 30 Many manualized grief interventions incorporate expressive art techniques, such as Shear et al’s 31 , 32 treatment for complicated grief. Thompson and Neimeyer 33 recently published a clinical manual with more than 50 suggested expressive art interventions to use with bereaved clients. The authors encouraged practicing grief therapists to use expressive art modalities to augment their existing clinical bereavement practice and incorporating expressive arts into grief therapy has been hailed as a way for clinicians to take their “game” to the next level. 33 , 34

Not only has the incorporation of expressive arts with traditional grief therapy become increasingly documented but it is also common for those seeking grief therapy to receive care from a certified art therapist. More than 80% of trained art therapists report working with bereaved individuals. Further, bereavement/grief is self-reported as one of the top 10 specialties of practicing art therapists. 35 In fact, peer-reviewed art therapy journals frequently publish educational editorial materials on grief theory in an effort to empirically inform art therapists’ existing practice. 19 Thus, bereaved individuals seeking therapeutic assistance for adjusting to their losses are likely to encounter exposure to expressive art modalities within a therapeutic context.

Theoretical support for the frequent combination of expressive arts and bereavement within a therapeutic setting can be found in the fields’ overlapping treatment goals. Art therapists’ orientation toward externalizing processes and facilitating insight meld naturally with meaning-focused therapeutic practice. 25 The spontaneous creation of art, poetry, and performance offers a way to memorialize the relationship with the deceased and facilitate continuing bonds. 36 Echoing the dual-process model’s oscillating conceptualization of grief, theoretical models of art therapy posit that creativity is both a restorative and assertive act. 37 , 38 Malchiodi 40 noted that therapeutic art making served four purposes, which notably echo the assimilation and accommodation processes of the dual-process model: confronting mortality, meaning making, crisis resolution, and authentic emotional expression. Finally, both the leading theories of grief (i.e., the dual-process model and meaning reconstruction model) and of expressive arts (i.e., the expressive therapies continuum 39 ) argue that creating meaning is the leading mechanism of change.

Although the expressive arts in general have been suggested by many clinicians as useful tools to facilitate adaptation to loss, use of the visual arts has particularly burgeoned within the field in recent years. Visual arts such as drawing, painting, photography, and multimodal forms have been commonplace in grief therapy. 33 Specifically, the creation of mandalas, scrapbooks, and thematic collages are among the most frequently implemented expressive art techniques with the bereaved. For example, photography, ie, the creation of a photographic narrative of the deceased loved one, is one of the core techniques in Shear et al’s 32 manual for complicated grief. Visual arts’ frequent use in the field is congruent with available historical context. Mourning and grief in funeral rituals often employ visual art to express loss, love, and remembrance across cultures. 40 , 41 In addition, visual memorials are often created for remembrance, documentation, and healing for family and community of the decedent. 42 Remarkably, despite the prevalence of implementing expressive art techniques with the bereaved, only recently studies have begun to investigate its efficacy or effectiveness. Given the frequent clinical application of visual art modalities for those bereaved, it is imperative that more investigative work be performed to evaluate this method of treatment, and a thorough review of the literature is warranted.

Materials and methods

Objectives of the empirical review.

This paper reviews and integrates the literature on the therapeutic application of visual art modalities with a bereaved population. Specifically, this review 1) evaluates empirical studies that report findings regarding the clinical effectiveness of visual art modalities as applied to the bereaved population; 2) identifies key mechanisms that may influence outcomes; 3) synthesizes the mechanisms identified across different functional outcomes; and 4) discusses weakness of the current state of the literature as well as promising avenues for future investigation. In addition, the paper discusses methodological considerations for future work examining whether visual arts are effective in promoting adaptation to bereavement when used in a therapeutic context.

Definitions of terms

This review utilizes the dual-process model of bereavement and the meaning reconstruction model to inform its evaluation of treatment effectiveness. This section provides and briefly describes the following terms used to categorize the review’s scope and findings: 1) continuing bonds; 2) meaning making; 3) negative grief symptomatology; and 4) visual art modality.

Continuing bonds

“Continuing bonds” is a term that reflects the “ongoing attachment to the deceased.” 48 Continuing bonds with the deceased can be experienced emotionally, through missing, yearning, and feeling strongly connected to the loved one, 49 and cognitively, by thinking of and remembering the deceased person. 50 Continuing bonds can behaviorally entail talking to the loved one, maintaining his or her belongings post loss, feeling the presence of the loved one, and passing on the deceased’s habits or virtues to others. 51 Importantly, accepting the reality of the death and communicating the narrative of the loved one’s life arc are also manifestations of adaptive continuing bonds with the decedent. 48 “Continuing bonds” is most often measured in quantitative bereavement research with the Continuing Bonds Scale (CBS). 52 In qualitative research, “continuing bonds” is commonly measured by the presence and frequency of the endorsements of the aforementioned characteristics.

Meaning making

Meaning making, according to Thompson and Janigian, 53 is the “ability to develop new goals and purpose, or to construct a sense of self that incorporates the significance of an experience.” Drawing from this definition, researchers propose that meaning making following loss is a cyclical course in which the pain of bereavement (i.e., negative grief symptoms) prompts efforts to find meaning in the challenging event of the loss, with new meanings forming and integrating into a system of beliefs. 18 , 54 , 55 In summary, meaning making during bereavement refers specifically to the reconciliation or reconfiguration of preexisting meanings with the death of a loved one. Meaning making can be manifested in the following documentable ways: sharing views that relate to the philosophical aspects of death and dying such as fairness; 55 questioning, examining, and changing global meaning; 56 discussing topics of religious connotations; 55 expression of lessons learned, new insights gained, or changes in self or family since the death; 55 and expression of strengthened familiar relations following the loss. 57 Qualitative investigation of meaning making during bereavement often prompts participants to describe their loss experience in their own words and codes responses on the presence of the aforementioned documentable manifestations. For example, Lichtenthal et al 58 assessed meaning-making processes in parents who had lost a child with open-ended written prompts (e.g., Have there been any ways in which you have been able to make sense of the loss of your child?). Similarly, Wheeler 59 observed a “crisis in meaning” among bereaved parents in a qualitative study that revealed themes of parents’ struggle to make sense of why the loss occurred, wondering what could have been performed to prevent the loss, preserving the significance of their child’s life, and positive gains related to the loss. Quantitative measurement of meaning making during bereavement is most often assessed by directly asking participants to estimate how much they have been able to “make sense of” a loss on a Likert scale. 60

Negative grief symptoms

Traditional grief theory suggested that bereavement was a one-dimensional experience of suffering, and research has historically focused on the negative outcomes following loss. However, our improved understanding reformulates bereavement as a complex system of experiences that can include positive changes, such as the aforementioned reconstruction of identity, meaning, and purpose. 61 Thus, the negative aspects of bereavement are no longer considered to be the only formulation of grief, but are still viewed as integral and commonly endorsed components of bereavement. 62 These negative grief reactions generally cause distress or impairment to the bereaved. The reactions may be exhibited affectively, emotionally, behaviorally, physiologically, cognitively, or socially. 63 Negative grief symptoms are measured in the literature by endorsement of depressive symptoms, anxiety, poor social/relational functioning, cognitive disorganization, and physical health attributes. 64 Quantitative measures of normative levels of negative grief symptoms are numerous, such as the Core Bereavement Items (CBI) and the Hogan Grief Reaction Checklist (HGRC). 65 , 66 Quantitative measures of complicated grief symptoms include the Inventory of Complicated Grief (ICG) and the Texas Revised Inventory of Grief (TRIG). 67 , 68 The aforementioned measures of negative grief symptoms have the strongest presence in bereavement literature, because they demonstrate strong psychometric properties across a number of bereaved populations.

Visual art modality

The scope of the review focuses on the effectiveness of visual art modalities within the context of bereavement therapy. Treatment parameters within the expressive arts are notoriously opaque. 59 The American Art Therapy Association defines visual art as “drawing, painting, sculpture, and other art forms.” 69 For the purpose of this review, “other art forms” will echo previously published definition of visual art found in cross-disciplinary literature by including the following: printmaking, crafts (e.g., collage and scrapbooking), graffiti, photography, and ceramics. 70 In an effort to replicate existing reviews of the expressive arts as treatment modalities, 43 – 45 this review included studies that utilized visual art as both primary and adjunctive therapies.

Search procedure and review parameters

Pertinent peer-reviewed studies were identified through keyword searches in scientific databases that target the majority of published literature in the social and medical fields (e.g., PsycINFO, PubMed, Wiley Online Library, Web of Knowledge, and Google Scholar). Search terms (or word stems) consisted of (“art therap*” OR “arts psychotherap*” OR “expressive art*” OR “creative arts psychotherap*” OR “creative psycholog*” OR “visual art*”) AND (“bereave*” OR “grief” OR “death”); where * denoted any wild card. After the initial search, specific examples of therapeutic visual art modalities (e.g., mandala and scrapbooking) were searched based on the previous findings to ensure comprehensiveness. Manual searches of prominent relevant journals (e.g., Death Studies, OMEGA, Art Therapy, and Arts in Psychotherapy) were also conducted. The reference sections of identified manuscripts were screened for additional studies. Finally, a separate search was conducted in thesis/dissertation data bases using the same terms.

Studies in the current review satisfied the following inclusion criteria: 1) the study reported original research investigating psychosocial outcomes of therapeutic visual art modalities; 2) the intervention was specific to the modality of visual art (as opposed to music therapy, dance/movement therapy, play therapy, or drama therapy); 3) study participants had experienced bereavement-related loss; and 4) the study was in print or published in English.

The first author screened the abstracts of all identified articles for relevance to the current review, and full-text articles of pertinent studies were obtained. A total of 168 full-text articles were obtained and screened by the first author, of which 141 were excluded for the following reasons: did not examine effectiveness of therapeutic visual art modalities (n = 131); participants had not experienced bereavement-related losses (n = 4) and were not in the context of interventions (n = 6).

A total of 27 studies met all of the inclusion criteria. Table 1 provides details on the research design, sample composition and demographics, outcomes, and key findings of these studies. The subsequent sections first reviews the studies’ research design characteristics. The following design components will be evaluated: study design, intervention characteristics (e.g., group vs. individual intervention, qualifications of individual administering intervention, and length of intervention), and outcome measurement. Subsequently, study results are summarized by the factors central to grief processing, as identified by Stroebe and Schut 15 in the dual-process model of bereavement and by Neimeyer 16 in the meaning reconstruction model: 1) continuing bonds, 2) meaning making, and 3) negative grief symptomatology. The empirical support for each domain is discussed.

Studies examining visual art treatment modalities with bereaved participants

Study	Study design	Control group	Sample characteristics	Intervention	Outcomes	Main findings
Bates	Cross-sectional, qualitative	N/A	Nine bereaved adults (four female)	One 90-minute individual session	Meaning making	Improved acceptance of the loss and meaning made from the death
Brodie	Longitudinal, case study, qualitative	N/A	One maternally bereaved adolescent female	Individual art therapy sessions	Continuing bonds, meaning making, general distress	Internalizing the reality of the death and meaning making were expressed with and facilitated by the participant’s paintings in tx
Carew	Case study, quantitative	N/A	Two bereaved children	Individual art therapy sessions	PTSD (IES), social functioning (CBC), continuing bonds, family functioning (KFD)	Significant reductions in PTSD and improvement in family functioning, “ns” cognitive functioning and social functioning
Chilcote	Longitudinal, mixed methods	N/A	113 children (ages 5–13 years) who had experienced death from a recent tsunami	Four 60-minute weekly group sessions	PTSD, general distress, family functioning	Through semi-structured drawing prompts, participants shared trauma and pain not previously verbalized
Coar	Longitudinal, qualitative	N/A	14 bereaved adolescent females	Eight 60-minute weekly group therapy sessions	Continuing bonds, meaning making, general distress	Participants acknowledged their loss more readily following creation of ceramic mandalas and memory wall, “ns” general distress
Ferszt et al	Longitudinal, qualitative	N/A	Eight incarcerated bereaved women	Eight 60-minute weekly individual art therapy sessions	Meaning making, general distress, self-esteem	Participants expressed “bottled-up” grief sx not otherwise verbalized; self-esteem improved
Finn	Longitudinal, qualitative	N/A	Five bereaved children (four boys; ages 11–13 years)	Nine 60-minute weekly group counseling sessions	Social functioning, aggression	Participants improved in adjustment to loss, decreased aggression
Hernandez	Longitudinal, mixed methods	N/A	11 bereaved children/adolescents (ages 6–14 years)	Six 50-minute weekly group therapy sessions	Anxiety (RCMAS)	Younger participants significantly decreased overall anxiety sx (n = 4); older participants significantly increased anxiety sx (n = 5)
Herring	Longitudinal, quantitative	N/A	77 children/adolescents (59 female; ages 5–18 years)	Twelve group sessions over a 3–4-month time	Grief (CARED, TRIG), PTSD (CPSS), complicated grief (IGTS)	Significant reductions in grief, “ns” difference in PTSD and IGTS
Hornbeck	Case study, qualitative	N/A	Three bereaved adult women	Ten 120-minute weekly group sessions	General distress, stress	Participants improved in adjustment to loss
Hubnik	Longitudinal, mixed methods	N/A	25 paternally bereaved children (ages 7–12 years)	Six 60-minute weekly group therapy sessions	General distress, cognitive functioning	Drawings facilitated grief expression and indicated appropriate cognitive functioning
Isis	Cross-sectional, qualitative	N/A	Three bereaved adult women (ages 35–50 years)	Individual therapy sessions	Continuing bonds	Improved acceptance of significant other’s death
Kerewsky	Longitudinal, qualitative	N/A	One bereaved adult male	Individual and group sessions	Continuing bonds, meaning making, general distress	The AIDS memorial quilt fostered meaning making, connectivity with the deceased, and exploration of mortality
Kohut	Longitudinal, mixed methods	N/A	15 bereaved individuals (adults and children)	Four 120-minute group therapy sessions	Continuing bonds, meaning making, general distress	Memorial scrapbooking helped participants accept the reality of the death and validate life without the loved one
Kwan	Longitudinal, qualitative	N/A	Six bereaved older adults (ages 78–94 years)	Six 90-minute weekly group (n = 3) and individual (n = 3) sessions	Continuing bonds, meaning making	Participants’ acceptance of the death and meaning made from the loss sig. increased
Lang	Case study, qualitative	N/A	Two maternally bereaved female adolescents (age 16 years)	90-minute weekly group therapy sessions	General distress	Improvement in mood and social functioning
Lu	Case study, qualitative	N/A	One paternally bereaved child refugee (male; age 5 years)	Forty-two 60-minute weekly individual therapy sessions	Continuing bonds, PTSD, general distress	Improvement in acceptance of loss and exploration of trauma event
Maier	Longitudinal, qualitative	N/A	10 bereaved adults	Six 120-minute weekly group therapy sessions	Continuing bonds, relational functioning	Connection to the deceased and emotional coping increased in communication about the deceased
Mango	Case study, qualitative	N/A	One bereaved older adult female	Weekly group therapy sessions	Meaning making	Increased acceptance of the death
McIntyre	Case study, qualitative	N/A	One paternally bereaved children	Weekly group therapy sessions	General distress	Individuality and connectivity in shared bereavement experiences through art
Peiffer	Longitudinal, qualitative	N/A	Five bereaved adults	Six 60-minute individual therapy sessions over the span of 3 months	General distress, meaning making	Sharing and discussion of drawings most helpful in grief expression
Phillips	Case study, mixed methods	N/A	One bereaved adolescent (male; age 15 years)	Weekly individual and group therapy sessions	Continuing bonds, academic achievement, social functioning	Increase in social functioning, increased expression of continuing bonds
Schut et al	Longitudinal, quantitative	Control group, randomized, concurrent, TAU	52 bereaved adult inpatients	Twenty 120-minute group sessions over 3 months	General health (GHQ)	Tx group had sig. greater health improvement than control
Serazin	Cross-sectional, qualitative	N/A	15 bereaved children (nine female; ages 6–12 years)	Group session	Continuing bonds, meaning making	Improved connectivity to loved one and meaning made from loss
Simon	Longitudinal, qualitative	N/A	Seven spousally bereaved adults	Weekly individual sessions	Continuing bonds, meaning making, general distress	Improved acceptance of significant other’s death
Webb-Ferebee	Cross-sectional, quantitative	Control group, randomized, waitlist, TAU	27 bereaved individuals (adults, ages 26–66 years, children ages 3–15 years)	Attendance of a 3-day overnight camp for bereaved families	Anxiety (BAI), depression (BDI), family relations (FES), social functioning	Sig. increase in family functioning, children’s social functioning, children’s anxiety, and adult depressive sx
Wells	Longitudinal, quantitative	N/A	34 bereaved children	Eight 60-minute weekly group therapy sessions	Self-efficacy (IPFI), positive outlook (T-CRS), academic achievement	Improved grades in the tx group but “ns” difference between the tx and control groups at follow-up

Abbreviations: BAI, Beck Anxiety Inventory; BDI, Beck Depression Inventory; CARED, characteristics, attributions, and responses after exposure to death; CBC, Child Behavior Checklist; CPSS, Child PTSD Symptom Scale; FES, Family Environment Scale; GHQ, General Health Questionnaire; IES, Impact of Event Scale; IGTS, Intrusive Grief Thoughts Scale; IPFI, Individual Protective Factors Index; KFD, Kinetic Family Drawing; N/A, not applicable; ns, not significant; PTSD, posttraumatic stress disorder; RCMAS, Revised Measure of Children’s Manifest Anxiety Scale; sig., significant; sx, symptoms; TAU, treatment as usual; T-CRS, Teacher–Child Rating Scale; TRIG, Texas Revised Inventory of Grief; tx, treatment.

Study design

Study samples were heterogeneous across studies. Fifteen (56%) of the studies had a child/adolescent sample, 10 (37%) had an adult sample, and two (7%) had a combined sample with a focus on family systems. Ages ranged from 18 to 94 years in the adult samples and 5 to 17 years in the child/adolescent samples. Average total number of participants was 26 (SD = 24.3). The majority of studies were correlational with no control group (93%). Of the experimental designs, one study used a waitlist control group 71 and one used a treatment as usual control. 72 Approximately 19% of studies were cross-sectional, while 81% were longitudinal; 33% of studies included a follow-up session. The majority of studies were qualitative in nature (62%), while 19% were mixed methods and 19% were quantitative.

Intervention characteristics

Most of the included studies used a group intervention (63%), although individual (30%) and family (7%) approaches were also represented. The interventions included psychotherapy and counseling with adjunct visual art modalities (33%), art therapy support groups (33%), individual art therapy interventions (26%), and interventions using both individual and group formats (8%). The interventions were conducted by certified art therapists (7%), licensed counselors or psychologists (26%), art therapy doctorate students (26%) clinical psychology doctorate students (30%), and co-facilitators of licensed clinicians and certified art therapists (11%). Interventions spanned an average of 9 weeks for an average number of 83-minute sessions, totaling an average of 6.7 intervention hours per participant. Other characteristics of the samples and the studies are presented in Table 2 . These variables were usually coded on the basis of the mean, but the medians or midpoints of the ranges were used when authors failed to report this information.

Study characteristics

Study characteristics	No of studies	Mean	SD	Range
Year of study report	27	2001	–	1981–2013
Total participants	26	14.3	–	1–113
Length of sessions (minutes)	17	83	27.6	60–120
Weeks of intervention	17	9.1	9.6	1–42

Outcome measurement

Outcome measurement varied widely across studies despite similarities in treatment outcome foci. There was insufficient statistical information to obtain a pooled estimate of treatment effect; thus, creating a meta-analysis of the incorporated studies was beyond the remit for the current investigation. Outcomes were assessed using three different reporting methods: participants’ self-report, reports of significant others, and clinician-rated judgment. Instruments that required the participants to respond to questions about themselves on a conventional rating scale or open-ended were considered self-report. Rating scales that involved the evaluation of outward behaviors by other reporters were grouped as other report. Finally, there were instances in which outcomes were determined by a trained professional’s assessment of the participants’ functioning that was usually based on an accepted standard of distress (e.g., severity of depressive symptoms) or the participants’ artwork created during the intervention (e.g., Kinetic Family Drawing [KFD]). Approximately 56% of studies used participants’ self-report, 11% included reports of significant others, and 89% used various formats of clinician-rated judgment as a form of outcome measurement. Approximately 26% of studies used only clinician-rated judgments as reporting methods. Overall, researchers used the three reporting methods to assess outcomes in eight domains: general distress (48%), continuing bonds (44%), meaning making (41%), relational functioning/social adjustment (11%), trauma symptoms (9%), cognitive functioning (6%), anxiety (6%), and depression (3%). Research outcomes of the continuing bonds and meaning making domains are reviewed in more detail in the following sections. The domains of general distress, trauma symptoms, relational functioning/social adjustment, cognitive functioning, anxiety, and depression are subsequently reviewed within the combined context of negative grief symptoms. Some qualitative studies indicated an outcome focus of “grief” or “healing from the loss” but did not delineate specific characteristics of these treatment aims. Upon further review of these studies, it became evident that investigators were looking for signs of general distress secondary to the participants’ bereavement. Thus, these outcome domains were categorized as general distress and were included in the review of negative grief symptomatology. The following sections present a summary of results categorized by the three outcome domains of: 1) continuing bonds, 2) meaning making, and 3) negative grief symptoms. The empirical support for each domain is discussed.

A total of 12 (44%) studies examined continuing bonds as an outcome measure of treatment effectiveness. The majority of studies investigating continuing bonds were qualitative. The aggregate of these findings suggests that visual art modalities facilitated participants’ adaptive preservation of ties with the deceased, and investigators usually argued this finding as an indicator of the treatment thereby aiding the healing process of grief. One important theme that arose across these qualitative studies was acceptance of the death. Maier 72 found that participants who created a scrapbook memorializing their deceased loved ones in a grief support group reported that the scrapbooks helped them with “radical acceptance” of the loss as the creation process helped them “witness the reality” of the decedent’s life arc. Coar 73 found that participants that completed eight 60-minute weekly group therapy sessions incorporating the creation of ceramic mandalas facilitated participants’ adaptation to their loss and cultivated continued ties with the deceased. One study stood out by its singularity in measuring continuing bonds with projective measurement of participant artwork created during the intervention. Carew evaluated continuing bonds in his sample of parentally bereaved children with the KFD test, 74 in which participants are asked to draw a picture of their families. 75 Carew found that his participants’ family drawings incorporated the deceased caregivers more integrally following their individual art therapy sessions than their pre-intervention KFDs, and interpreted this finding as indication of improved continuing bonds with the decedent. 74 Another theme that arose within the domain of continuing bonds was maintaining adaptive attachment to the decedent while coming to terms with the loss, a hallmark of the dual-process model’s oscillating process of grief. For example, narrative theme evaluations conducted by Bates 76 of her bereaved participants revealed endorsement of fondness and storytelling about the deceased that entailed the full life arc of their life story, demonstrating persevering attachment with healthy acknowledgment of the death.

A total of 11 (41%) studies examined meaning making as an outcome measure of treatment effectiveness. Interestingly, no included study evaluated this marker of bereavement adaptation quantitatively, despite available measures. Instead, studies focused on qualitative self-report, often by participants’ evaluation of treatment at follow-up, and clinician-rated judgment. In a study of eight bereaved incarcerated women who completed 60-minute weekly individual therapy sessions, all participants expressed increased understanding of the events surrounding their loss and the ways in which it impacted their emotional health and self-esteem. 77 Clinician-rated judgment was frequently made from inferences about participants’ visual art output. For example, Brodie 78 reported evidence of her case study’s meaning-making processing through painting modalities by her use of the figure emerging from the ground, a motif originally connected to meaning exploration by Simon. 79 Finn 80 reported that incorporating visual art techniques in her group counseling program for bereaved youth helped her clients adjust to their loss and learn new coping skills based on participants’ written evaluation of the group. Finn 80 gathered quantitative data on participants’ rating of how well they met five distinct therapeutic goals on a 4-point scale where higher scores indicated greater achievement of the objective, and reported that participants rated each item with a 3 or 4 (indicating strong endorsement of the objectives) but failed to provide mean and SD of the scores.

A total of 15 (56%) studies examined grief symptomatology as an outcome measure of treatment effectiveness. In the general bereavement literature, assessment of negative grief symptomatology can encompass a myriad of outcomes such as various functional impairments, physical health symptoms, emotional well-being, and psychological concerns. This review’s included studies used the following specific domains to investigate the overall outcome of negative grief symptomatology: general distress, depression, anxiety, cognitive functioning, relational functioning/social adjustment (i.e., social functioning, family functioning, relational functioning, and self-esteem), trauma symptoms, general physical health, academic achievement, aggression, and complicated grief symptoms. This outcome domain entailed the majority of quantitative measures used by the reviewed literature. The included studies quantitatively evaluated the following components of negative grief outcomes: symptoms of anxiety with the Beck Anxiety Inventory (BAI) 81 and the Revised Measure of Children’s Manifest Anxiety Scale (RCMAS); 82 depressive symptoms with the Beck Depression Inventory II (BDI-II); 83 social/familiar functioning with Family Environment Scale (FES); 84 social functioning with the Child Behavior Checklist (CBC) 85 and the Teacher–Child Rating Scale (T-CRS); 86 resiliency with the Individual Protective Factors Index (IPFI); 87 symptoms of posttraumatic stress disorder (PTSD) with the Child PTSD Symptom Scale (CPSS) 88 and Impact of Event Scale (IES); 89 complicated grief symptoms with the Intrusive Grief Thoughts Scale (IGTS) 90 and the TRIG; 68 and physical health with the General Health Questionnaire (GHQ). 91 In addition, Wells 92 recorded grade marks of pediatric participants as a quantitative measure of academic achievement.

Reviewing these results cumulatively, there is modest but conflicting evidence for visual arts’ effectiveness in addressing these syndromes. Schut et al 71 found that both the treatment group receiving weekly group art therapy sessions and the waitlist control group demonstrated general health improvement over the course of the study, but that the treatment group receiving weekly art therapy sessions improved significantly more than the control group. Wells 92 found that in a sample of bereaved children (n = 34) receiving weekly art therapy sessions found a slight overall improvement in the measured outcomes of academic achievement, self-efficacy, and positive outlook, but there was no statistically significant difference between the treatment and control group at follow-up in these domains. Similarly, after traumatically bereaved children completed 12 therapeutic sessions with adjunct visual art modalities, Herring 93 reported results that evidenced significant reductions in cognitive and affective grief reactions and avoidance symptoms similar to those found in randomized controlled trials of grief-focused interventions, as measured by the CPSS and the IGTS. However, reductions in reexperiencing and arousal symptoms were not found. In fact, arousal symptoms appeared to increase throughout treatment for a subgroup of children who reported high levels of anger and fighting by current caregivers. 93 Webb-Ferebee 94 found that younger participants significantly decreased overall anxiety symptoms, while older participants significantly increased anxiety symptoms, as measured by the RCMAS.

The visual art modalities administered by included studies were heterogeneous. Thirteen (48%) studies evaluated interventions that administered multiple modes of therapeutic visual art techniques. For example, one study evaluated grief outcomes following participants’ completion of photographic essays and process-oriented assemblages about their loved one. 76 Another study asked participants to draw an abstract picture depicting the feelings of their grief, create a memory box, and draw a metaphorical bridge of the progress of their grief, among other activities. 117 Nine (33%) studies implemented therapeutic drawing or painting exercises. Specific examples of drawing or painting examples include a family portrait drawing and drawing the feelings of their grief. 92 Two studies (7%) 72 , 121 examined impact of a scrapbooking bereavement group in which bereaved individuals created a scrapbook about their loved one. One study evaluated participants who created ceramic mandala tiles to create a mosaic reflection. 73 Another study assessed making a memorial quilt. 120 Finally, one study investigated the use of Chinese brush strokes in bereavement-related tasks. 122

The purpose of this review was to evaluate the extant literature regarding visual art therapy techniques with a bereaved clinical population. The number of studies that were relevant to this particular review was limited (n = 27), qualifying the strength of conclusions drawn from key results. Further, the heterogeneity of the reviewed studies offers weak external validity and limits their findings’ generalizability to other settings or populations. The variations in the model and content of visual art modalities also lend complication in determining efficacy and replicability. Nevertheless, a number of interesting trends emerged that provide avenues for future research considerations.

When reviewed cumulatively, the included experimental studies documented modest improvements in the facilitation of continuing bonds and meaning making with participants who experienced visual art treatment modalities compared with participants assigned to a control group or who underwent alternative treatments. Nonexperimental studies also provided support for visual art modalities as an effective tool to facilitate continuing bonds and meaning making, although the majority of these findings were qualitative and based on subjective self-report or clinician-rated judgments. There is weaker support for this treatment modality’s efficacy in alleviating negative grief symptoms, as was exemplified by both qualitative and quantitative investigation. Indeed, some studies reported conflicting results within their own participants, as some improved in negative grief symptoms over the course of treatment while others showed no significant improvement or even worsened. This finding provides support for the distinction between these constructs and the movement for conceptualizing grief as a multidimensional experience. Our findings indicate that therapeutic use of visual art modalities with bereaved populations may aid the methods for acquiring positive skills in adapting to bereavement (i.e., sense making, benefit finding, and preservation of the loved one’s legacy) but there is less evidence to support its effectiveness in alleviating the pain of loss. This result is congruent with the existing literature on the investigated domains of grief. For example, meaning making and post-loss have been found to predict the positive outcomes for bereaved individuals across numerous studies. 95 It is also notable that meaning making is a difficult process for the bereaved and is rarely successful even in those who intentionally search for meaning following a loss, 96 which lends particular significance to the documented facilitation of meaning made in bereaved participants.

The minimal impact on negative grief symptoms may also be congruent with recent literature. The degree to which any intervention significantly alleviates negative symptoms within the range of normative grief reactions (as opposed to complicated grief) has been contended in the literature. 97 , 98 A meta-analysis of bereavement interventions suggested that treatment recipients with indications of complicated grief experience the greatest benefit and alleviation of functional impairment. 11 Further, negative grief symptoms may not be the most reliable marker of “progress” following the death of a loved one. A prospective study conducted by Bonanno et al 99 found strong evidence against the idea that those who do not exhibit grief following a loss are insecurely attached and emotionally distant. Thus, the absence of negative grief symptoms is not necessarily a marker of successful or unsuccessful adaptation to the death, especially considering that courses of grief responses are variegated, with some individuals endorsing delayed or inhibited grief. 10 There is also substantial evidence that negative grief symptoms alleviate over time for the majority of those bereaved, even without the assistance of therapeutic intervention. 99 Thus, much of bereavement therapy aims to facilitate the strength-based approaches to grief, focusing on positive outcomes and cognitive understanding of the impacts of the loss. 96 Thus, grief therapy is sometimes considered a preventative approach to bereavement, to buffer possible manifestations of impaired functioning, rather than the traditional aims of psychotherapy for direct alleviation of targeted symptoms. 11 As such, this review’s finding that visual art modalities demonstrate some evidence of developing positive outcomes but not impacting negative outcomes may indicate congruent trends with existing treatment aims for the bereaved.

Perhaps the most convincing piece of evidence in support of continued research can be found in the self-report measures collected by investigators. Participants overwhelmingly endorsed a positive subjective impact of the treatments incorporating visual art modalities. Across several studies, participants rated their well-being as significantly improved. 100 , 101 Although this finding is ineffectually captured with measurement of objective changes, it warrants further attention and perhaps speaks to the efficacy of visual art techniques witnessed by clinicians across disciplines. The use of positive or growth-oriented measures (e.g., personal growth, posttraumatic growth, benefit-finding, and self-efficacy) could be an avenue of future research that provides insight into participants’ experiences and whether they translate to objective outcomes.

Limitations and considerations for future research

The findings of this review highlight significant problems in number, content, and rigor of the relevant existing literature. Our review uncovered substantial weaknesses in the following domains: 1) operationalized definitions, 2) study design, 3) outcome measurement, 4) underreporting of individual difference variables, and 5) underreporting of intervention characteristics and development. Each domain is examined in more detail in the following sections followed by considerations for addressing each domain.

Operationalized definitions

A reappearing difficulty in compiling the current literature review was the paucity of operational definitions, particularly within the niche of visual art interventions. Where does one differentiate between visual art therapy techniques, art as therapy, expressive art modalities, and creative expressionism within psychotherapy? As previously noted, this review could not rely on an existing operational definition of therapeutic visual art modalities. Rather, the inclusion criteria for types of interventions reviewed were created with reference to multidisciplinary sources. 69 , 70 Expressive art therapy has historical difficulty in forming an accurate, comprehensive, and concise definition of its services (a thorough historical review is given in the study by Kalmanowitz and Potash 102 ). The American Art Therapy Association’s current definition of its treatment parameters has been contradictorily criticized for both its detail and incompleteness: (art therapy is)

art media, the creative process, and the resulting artwork to explore their feelings, reconcile emotional conflicts, foster self-awareness, manage behavior and addictions, develop social skills, improve reality orientation, reduce anxiety, and increase self-esteem. 69

This definition is difficult to truncate, and researchers have recommended for American Art Therapy Association to seek a simpler definition that more clearly conveys the scope of the profession. 104 , 105 Spooner 105 describes the expressive arts’ lack of operational definitions as a marketing problem: because practitioners using these methods are unable to clearly articulate their scope of practice to other disciplines, art therapy is suffering from a lack of brand awareness. The confusion over treatment characteristics and categorization is negatively affecting researcher’s ability to conduct research with reliable terminology. This is especially true when disciplines outside of art therapy attempt to evaluate efficacy of modalities within the scope of their practice, as is the case in the current review. Used consistently, clear and memorable definitions would enhance the empirical study of expressive arts in therapy. Specifically, clarifying treatment terminology and defining brackets of intervention would facilitate cross-disciplinary research methods investigating the expressive arts as therapeutic modalities.

The review of included studies’ methodologies points to the importance of rigorous study design. Only 7% of included studies used a control group. Researchers have highlighted the importance of using control groups in research with bereaved. 106 For intervention efficacy studies, particularly with the bereaved, it is evident that an active control group is essential to help establish causation and strengthen internal validity. Without control groups, it is difficult to examine whether the suggested facilitation of meaning making and continuing bonds could be attributable to the visual art intervention or whether these effects occurred due to other factors. When using control groups, other important aspects of study design with bereaved populations are the use of random or matched assignment, inclusion of enough participants for sufficient power due to high rates of attrition, and preventing poor adherence to the intervention. 99 Bereavement researchers have advocated for evaluation of grief therapies to be conducted in a laboratory setting or in an online format for increased validity and reliability and decreased attrition to reach necessary statistical power. 107 This would improve intervention efficacy, which can later be generalized as appropriate, but is difficult in application for clinicians conducting research alongside their existing clinical practice.

Practicing clinicians who use expressive art modalities with grieving individuals are often confident of the therapeutic benefits, but can rarely explain with precision how the artwork was produced in therapy or what specific factors contributed to client improvement. 108 Furthermore, many clinicians often express doubt in the feasibility of communicating therapeutic benefits of the expressive arts through research. Consequently, quantitative analysis of visual art effectiveness is scant, and qualitative analysis is varied in form and rigor. The findings of this review reveal a heavy reliance of the case study approach in research conducted by both psychologists and art therapists. The case study avenue of research provides helpful qualitative detail on individual treatment levels, but leaves a paucity of generalizable quantitative data or other evidence for larger-scale effectiveness. The frequent implementation of single case design may reflect the regularity of visual arts’ use within the clinical field. Indeed, one significant finding from this review was the prevalence of practicing clinicians’ as the primary research investigators. However, if the majority of the literature on the use of visual arts with grief therapy is conducted by practicing clinicians as this review suggests, the field’s aim of more robust research methodology faces some barriers. For example, the majority of clinicians do not work in settings conditional for experimental research. Community mental health clinics, private practice, and small nonprofit organizations rarely have formal structures or financial support for complex study design, requiring clinicians in these settings to navigate research endeavors on their own. Art therapists may face particular challenges in conducting independently driven, robust methodologies as research is often only peripherally incorporated into art therapy education programs. Art therapists report feeling far more confident about their clinical skills than research skills, and offer skepticism in their ability to provide evidence for their practices’ efficacy. 105 This mindset is demonstrable by art therapists’ reported distaste for the spreading “clinification syndrome” of art therapy, 105 a term used to describe the perception of increased favoritism of empirically driven treatment approaches at the detriment of art therapists’ uniquely layered artistic expertise.

Accordingly, one future avenue of research that is sensitive to the needs of practicing clinicians aiming to evaluate their practice is the implementation of baseline symptom measurement. Pre–post outcomes provide empirical support and can elevate the rigor of clinical evaluation to a single-case experimental study. Using brief quantitative measures in this regard could also benefit the clinician’s therapeutic practice as results offer feedback and potential courses of discussion within the treatment setting. Specific examples of possible quantitative measures are offered in the following section.

The majority of quantitative outcome measures used in the included studies were well validated and reliable measurement tools. Collectively, these measures allowed assessment of a wide scope of negative grief symptoms, but were limited in their ability to quantitatively capture treatment effects on continuing bonds and meaning making. Most studies additionally included an essay evaluation form, which typically used single items to assess the participants’ subjective experiences during and after the intervention. Other measures developed by the researchers were based on several single-item Likert-scale questions and were sometimes used as supplemental measurement tools, but investigators puzzlingly did not report the mean or SD of these outcomes. Nonetheless, the inclusion of a variety of assessments helped provide triangulation of data and is a methodological strength.

A noted trend in the outcome measurement of the included studies of this review is the propensity to rely on participants’ artwork created during grief treatment as an indicator of outcome change. For example, Carew 75 used the KFD style to measure family environment and relational functioning. Many studies that included this form of clinician-rated judgment outcome measurement were not mixed methods, and this pattern compromises their internal validity. Luckily, increased recognition of theory-driven data has yielded a number of empirically validated measures of bereavement adaptation. The CBS is a brief measure that rates 10 dimensions of continuing bonds (e.g., reminiscing, linking objects, and ongoing expressions of love). 52 Meaning-making processes can be reliably assessed with prompts for participants to consider whether they have been able to make sense of their loss and in what ways. 58 For a singular but comprehensive measure of grief symptomatology, the HGRC provides a multidimensional report on both negative and positive aspects of bereavement experiences, such as personal growth, anger, and cognitive disorganization. 66 Since the HGRC’s development, it has been identified as one of the most widely employed instruments for measuring grief reactions and personal growth after a loss. 109 In addition, the HGRC has been found to be compatible with the meaning reconstruction model of grief, allowing for consistency in grief conceptualization, symptom tracking, and treatment aims. 17 This section only listed a limited number of measures and focused on the outcomes investigated for the purpose of this review (i.e., continuing bonds, meaning making, and negative grief symptomatology), where a more comprehensive review of available bereavement measurements is given in the studies by Minton and Barron 110 and Neimeyer. 111

Outcome measurement used in the included studies of this review provides modest preliminary support for visual art treatment modalities’ effectiveness in facilitating continuing bonds and meaning making, largely based on subjective outcome measures of participant self-report and investigators’ clinical judgment. In addition to objective outcome measures of continuing bonds and meaning making, future research may benefit from assessment of other positive changes that can occur during bereavement such as posttraumatic growth and positive identity changes. These outcomes can be reliably assessed through well-established measures such as the Personal Growth subscale of the HGRC and the Grief and Meaning Reconstruction Inventory. 66 , 112 Use of these measures in future research endeavors will address the paucity of objective outcome measurement in the literature while also capturing possible intervention effects that would have otherwise been missed. When used in conjunction with clinician-rated judgment of symptom improvement and projective tests of visual artwork created during the course of the intervention, these tools can facilitate validation and clarification of the mechanisms of change within existing clinical practice.

Underreporting of individual difference variables

Given the complexity of individual difference variables’ influence on adjustment to bereavement, it is especially important to report participant demographics and characteristics of the loss experience when evaluating the effectiveness of grief therapies. However, few of the reviewed studies reported participants’ type of loss (i.e., homicide, suicide, illness, or accident), expectedness of the loss, relationship to the deceased, or other important variables that influence the trajectories of grief expressionism. Future intervention research should not only gather this information for inclusion of publications but also allow it to inform clinician decision-making of intervention characteristics. Current bereavement theory emphasizes the variety within reactions to bereavement, despite its ubiquitous nature, and is beginning to inform the development of applicable interventions based on participant characteristics. This is evidenced by Thompson and Neimeyer’s 33 recently published manual of more than 50 expressive art techniques to incorporate into grief therapy, many of which are introduced by guiding the reader in situational characteristics of the client or the death experience that would yield most efficacious results.

If research further substantiates the benefit of therapeutic visual art modalities with the bereaved, empirical focus should shift to investigation of possible mechanisms of change. This next step would be advanced by identifying treatment components most salient to influencing measurable outcomes. For example, in the included studies of this review, visual art modalities were often an adjunct to other formulation of grief therapy. Parceling psychoeducation about grief, exposure to grief cues, encouragement of emotional expression, cognitive or meaning-oriented interventions, and group format vs. individual disclosure would allow for an elevated understanding of the underlying influencers of objective outcomes in this modality of grief therapy. Investigating these characteristics may enhance bereavement interventions by providing guidance on the ways individual difference variables influence the efficacy of particular treatment methods.

Underreporting of intervention characteristics and development

A rarer but equally problematic limitation of included studies was the exclusion of specific treatment descriptions. Every included study identified the visual art modality used within the treatment setting (e.g., drawing about the loss and making a memorial scrapbook) but few specified treatment detail over time. This is especially problematic to the literature’s treatment reliability as only 9% of included studies reported following a treatment manual. Similarly, few studies explained the theoretical underpinnings and the operational implementation of their interventions. It was rare for studies to describe how the interventions were developed, which empirically informed theories were drawn from, or proposed hypotheses for agents of change. This reference deficit to theoretical frameworks has been similarly implicated in literature reviews of bereavement therapies unrelated to expressive arts. 11 Future research endeavors aiming to investigate treatment efficacy would enhance their methodology and appropriateness if informed by specific treatment aims rooted in existing grief theory. Furthermore, as in most intervention research, investigators in the reviewed studies failed to qualify their findings with clarification over which clients were treated by the same therapist. This absence can pose validity issues, as researchers have noted that such nesting can lead to the overestimation of treatment benefit because of therapist effects or group effects. 113 , 114

This review examined the clinical effectiveness of using visual art modalities in a therapeutic context with bereaved individuals. The applicability of the Stroebe and Schut’s dual-process model of bereavement and Neimeyer’s meaning reconstruction model for understanding treatment outcomes and conceptualizing future avenues of research was also investigated. The heterogeneity of the studies investigated by this review indicates that visual art modalities are a psychotherapeutic approach adaptive to an assortment of clinical situations. Although this review revealed modest but promising preliminary evidence of visual art modalities’ effectiveness with a bereaved population, the existing literature is scant, heterogeneous, and thereby difficult to generalize. Important work in the area of using visual art modalities with grief therapy has been completed, but the designs of the majority of the available studies do not provide sufficient evaluation of this treatment modality and a great deal of work remains. Findings from our review suggest that grief interventions using visual art techniques facilitate continuing bonds and meaning making, but there is little evidence to support a significant impact on negative grief symptomatology. Furthermore, we know very little of the processes by which visual arts facilitate continuing bonds and meaning making. Given the multitude of individual differences and responses to loss, future research into the increasingly varied methods of grief therapies used to address the diversity of the bereavement experience is warranted. In the next stage of research examining expressive art as treatment modalities with the bereaved, an increase in theory-driven interventions, experimental research designs, assessment of individual difference variables, and quantitative analysis should be prioritized. As described earlier, operational definitions, experimental research designs, inclusion of individual difference variables, and empirically validated assessments are promising avenues that can guide future considerations within this area.

The authors report no conflicts of interest in this work.

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Case study definition

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