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1.2: Information for Instructors

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  • Page ID
    140583

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    We have worked hard to write and curate a text that will work for you, whether straight off the shelf or customized as much as you would like. In many cases, we have provided more articles in a given chapter than instructors might normally assign. We did so in order to give you more quality content to choose from, but it is yours to customize as you see fit; please use what makes sense for you.

    Chapter Notes

    In chapters such as Chapter 4: Art of the Ancient Americas, we have included information that might not typically be covered in this survey, but that is important to our students and our state’s history—and does appear in some Course Outlines of Record, or CORs. In Chapter 5: Art of the Stone Age, we purposely expanded the regions covered to discuss the importance of some of the earliest Stone Age discoveries in Africa and Indonesia. Chapters focusing on a particularly extensive history, such as 7: Ancient Egypt, or 11: The Roman Empire, are quite long, and we encourage you to pick and choose the articles that make sense to you, your teaching, and your students.

    Finally, in chapters such as the three Medieval chapters (13-15), we have taken a less traditional, and more nuanced approach to address not just northern and western Europe, but also concurrent developments and exchanges to the south and east. Traditional art history surveys often separate out the art of Byzantium and Islam, but we have included them with their European neighbors in chronological chapters.

    The table below demonstrates the C-ID equivalencies for all of our chapters, and a smaller, more detailed table in Chapter 13 outlines the specific content covered in the Medieval chapters.

    Aligning with the C-ID

    There are multiple ways to align with the C-ID and individual CORs, and instructors do not have to teach or assign everything in this textbook in order to meet those criteria. The following table shows our chapter titles and order of the book, which we have attempted to structure as effectively as possible to address the assigned content and expand worldviews.

    Chapter equivalencies and alignment to the C-ID

    Our Chapters

    C-ID Alignment
    1. Textbook Introduction

    N/A
    1. Intro to Art History & Art Historical Analysis

    Objectives 1 and 2
    1. Visual Elements & Principles of Composition

    Objectives 1 and 2
    1. Art of Ancient Americas

    Objectives 1-3
    1. Art of the Stone Age

    1. Prehistoric
    1. The Ancient Near East

    2. Mesopotamian
    1. Ancient Egypt

    3. Egyptian
    1. The Ancient Aegean

    4. Aegean
    1. Ancient Greece

    5. Greek through Hellenistic
    1. The Etruscans

    6. Etruscan
    1. The Roman Empire

    7. Roman
    1. Late Antiquity and the “Barbarian” West

    8. Early Christian
    1. Medieval I: Reorganization of the Roman World and the Birth of Islam (Early Byzantium, Migration Period, Arts of the Early Islamic World, Carolingian Art)

    9. Byzantine; 10. Islamic; and 11. Early Medieval, including Carolingian and Ottonian
    1. Medieval II: Contested Empires (Medieval Islam Before the Mongols, The Latin West, Byzantium from the End of Iconoclasm to the Latin Conquest)

    9. Byzantine; 10. Islamic; 11. Early Medieval, including Carolingian and Ottonian; and 12. Romanesque
    1. Medieval III: Reorganization of the East (Ilkhanid, Timurid, Mamluk, Late Byzantine, Christian East Africa)

    9. Byzantine and 10. Islamic
    1. Gothic and Conclusion

    13. Gothic

    About the Editors & Contact Information

    Thank you sincerely for your interest in and adoption of this textbook. Please feel free to reach out, engage, ask content questions, or provide feedback. In particular, we would love to hear about the experiences of instructors and students using this textbook. Thank you again!

    • Cerise Myers, Textbook Project Lead, Principle Writer and Editor
      • PhD in Contemporary Art History
      • Assistant Professor of Art History at Imperial Valley College, which resides on the traditional and unceded land of the Kumeyaay, Cocopah, and Quechan people
      • cerise.myers@imperial.edu
    • Ellen C. Caldwell, Assistant Project Lead, Principle Writer and Editor
      • MA in Art History: Contemporary West African Art and Visual Culture
      • Professor of Art History at Mt. San Antonio College, which resides on the traditional and unceded land of the Tongva people
      • ellen.caldwell@mtsac.edu
    • Alice J. Taylor, Principle Writer and Editor
      • PhD in Late Antique and Byzantine Art History
      • Professor Emerita of Humanities at West Los Angeles College, which resides on the traditional and unceded land of the Tongva, Chumash (Gabrieleno), and Kizh (Gabrieleno) people
      • tayloraj@wlac.edu
    • Margaret Phelps, Consulting Editor
      • MA in the History of Photography
      • Adjunct Faculty of Art History at Ventura College, which resides on the traditional and unceded land of the Chumash people
      • mphelps@vcccd.edu
    • Lisa Soccio, Consulting Editor
      • PhD in Visual and Cultural Studies
      • Professor of Art History at College of the Desert, which resides on the traditional and unceded land of the Cahuilla people
      • lsoccio@collegeofthedesert.edu

    This page titled 1.2: Information for Instructors is shared under a CC BY-NC-SA 4.0 license and was authored, remixed, and/or curated by Cerise Myers, Ellen C. Caldwell, Alice J. Taylor, Margaret Phelps & Lisa Soccio (ASCCC Open Educational Resources Initiative (OERI)) .