Publication Cover
Studies in Art Education
A Journal of Issues and Research
Volume 50, 2008 - Issue 1
297
Views
17
CrossRef citations to date
0
Altmetric
Commentary

Aesthetics Making Meaning

Pages 98-103 | Published online: 25 Nov 2015

References

  • Baker, H. (1988). Afro-American poetics: Revisions of Harlem and the Black aesthetic. Madison, WI: University of Wisconsin Press.
  • Barrett, T. (2003). Interpreting art: Reflecting, wondering, and responding. New York: McGraw Hill.
  • Barrett, T. (2007). Why is that art?: Aesthetics and criticism of contemporary art. New York: Oxford University Press.
  • Barthes, R. (1971/1984). From work to text. In B. Wallis (Ed.), Art after modernism: Rethinking representation (pp. 169–174). New York: The New Museum of Contemporary Art.
  • Bearden, R., & Henderson, H. (1993). A history of African-American artists: From 1792 to the present. New York: Pantheon Books.
  • Breton, A. (1952/1993). Conversations: The autobiography of Surrealism. New York: Editions Gallimard.
  • Bunch, L. G.III, & Crew, S. R. (1993). A historian’s eye: Jacob Lawrence, historical reality, and the Migration series. In E.H. Turner (Ed.), Jacob Lawrence: The Migration Series (pp. 23–31). Washington, DC: The Rappahannock Press.
  • Cahan, S., & Kocur, Z. (1996). Contemporary art and multicultural education. New York: Routledge.
  • Chicago, J. (1975). Through the flower: My struggle as a woman artist. New York: Doubleday and Company.
  • Collingwood, R. G. (1938/1979). The principles of art. New York: Oxford University Press.
  • Daly, M. (1990). Gyn/Ecology: The metaethics of radical feminism. Boston: Beacon Press.
  • Daly, M. (1987). Webster’s first new intergalactic wickedary of the English language. Boston: Beacon Press.
  • Danto, A. C. (2004). Kalliphobia in contemporary art. Art Journal, 63(2), 24–35.
  • Dikovitskaya, M. (2005). Visual culture: The study of the visual after the cultural turn. Cambridge, MA: MIT Press.
  • Dyson, E. D. (1993). Reflecting Black: African-American cultural criticism. Minneapolis: University of Minnesota.
  • Duncum, P. (2007). 9 Reasons for the continuing use of an aesthetic discourse in art education. Art Education, 60(2), 46–51.
  • Eagleton, T. (1990). The ideology of the aesthetic. Malden, MA: Blackwell Publishers.
  • Efland, A. (2004). The entwined nature of the aesthetic: A discourse on visual culture. Studies in Art Education, 45(3), 234–251.
  • Efland, A., Freedman, K., & Stuhr, P. (1996). Postmodern art education: An approach to curriculum. Reston, VA: National Art Education Association.
  • Elkins, J. (2003). Visual studies: A skeptical introduction. New York: Routledge.
  • Flores, L. (2002). Alfredo Arrequín: Patterns of dreams and nature. Seattle: University of Washington Press.
  • Ford, S. (1995). The Realization and suppression of the Situationist International: An annotated bibliography 1972-1992. San Francisco, CA: AK Press.
  • Freedman, K. (2003). Teaching visual culture: curriculum, aesthetics, and the social life of art. New York: Teachers College Press and the National Art Education Association.
  • Gates, H. L. (1984/1990). Criticism in the jungle and the blackness of blackness: A critique of the sign and the signifying monkey. In H. L. Gates (Ed.), Black literature & literary theory (pp.1–24, 285–321). New York: Routledge, Chapman, and Hall.
  • Greenberg, C. (1971/1978). Necessity of formalism. In R. Kostelanetz (Ed.), Esthetics contemporary (pp. 207–211). Buffalo, NY: Prometheus Books.
  • Griffin, S. (1982). The way of all ideology. Signs: Journal of Women in Culture and Society, 7(3), 641–660.
  • Griffin, S. (1978). Woman and nature: The roaring inside her. New York: Harper.
  • Gude, O. (2007) Principles of possibility: Toward an art and culture curriculum. Art Education, 60(1), 6–17.
  • Guerrilla Girls (1998). The Guerrilla Girls’ bedside companion to the history of Western art. New York: Penguin.
  • Habermas, J. (1981/1983). Modernity—an incomplete project. In H. Foster (Ed.), The antiaesthetic: Essays on postmodern culture (pp. 3–15). Port Townsend, WA: Bay Press.
  • Hall, S. (1997). Representation: Cultural representations and signifying practices. London: The Open University.
  • Harrison, C., & Wood, P. (1993). Art in theory 1900-1990: An anthology of changing ideas. Cambridge, MA: Blackwell Publishers.
  • Higgins, H. (2002). Fluxus experience. Berkeley: University of California Press.
  • Hurston, Z. N. (1937/1998). Their eyes were watching God. New York: HarperPerennial
  • Huelsenbeck, R. (1969/1991). Memoirs of a Dada drummer. Berkeley: University of California Press.
  • jagodzinski, j. (2006). Without title. Canadian Art Teacher, 5(2), 6–15.
  • Jameson, F. (1991). Postmodernism, or, the cultural logic of late capitalism. Durham, NC: Duke University Press.
  • Johnson, B. (1984/1990). Metaphor, metonymy and voice in Their Eyes Were Watching God. In H. L. Gates (Ed.), Black literature & literary theory (pp. 205–219). New York: Routledge, Chapman, and Hall.
  • Keifer-Boyd, K., & Maitland-Gholson, J. (2007). Engaging visual culture. Worcester, MA: Davis Publications.
  • Knabb, K. (1981). Situationist international anthology. Berkeley, CA: Bureau of Public Secrets.
  • Minh-ha, T. (1989) Woman, native, other. Bloomington, IN: Indiana University Press.
  • Mitchell, W. J. T. (2005). What do pictures want? Chicago: University of Chicago Press.
  • Morrison, T. (1992). Playing in the dark: Whiteness and the literary imagination. Cambridge, MA: Harvard University Press.
  • Powell, R. J. (2003). Black art: A cultural history. London: Thames & Hudson.
  • Rosenthal, M. (2004). Joseph Beuys: Actions, vitrines, environments. Houston, TX: Menil Foundation.
  • Sen, G. (2002). Feminine fables: Imaging the Indian woman in painting, photography, and cinema. Middletown, NJ: Grantha Corporation.
  • Smethurst, J. E. (2005). The Black arts movement: Literary nationalism in the 1960s and 1970s. Chapel Hill, NC: The University of North Carolina Press.
  • Smith-Shank, D. L. (Ed.). (2004). Semiotics and visual culture: Sights, signs, and significance. Reston, VA: National Art Education Association.
  • Stokvis, W. (2004). Cobra: The last avant-garde movement of the twentieth century. Burlington, VT: Lund Humphries.
  • Tavin, K. (2007). Eyes wide shut: The use and uselessness of the discourse of aesthetics in art education. Art Education, 60(2), 40–45.
  • Tavin, K. (2008). The magical quality of aesthetics: Art education’s objet a (and the new math). Studies in Art Education, 49(3), 268–271.
  • Turcotte, B. R., & Woods, D. (2007). Punk is dead punk is everything. Denial County, CA: Gingko Press.
  • Turney, A., & Margolies, P. (1996). Always remember: The NAMES Project AIDS Memorial Quilt: A selection of panels created by and for international designers. New York: Simon & Schuster.
  • Woolf, V. (1929/1989). A room of one’s own. Orlando, FL: Harcourt.
  • West, C. (1993). Beyond Eurocentrism and multiculturalism: Prophetic thought in postmodern times. Monroe, ME: Common Courage Press.
  • Wrekk, A. (2005). Stolen Sharpie revolution: a DIY zine resource. Portland, OR: Microcosm Publishing.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.