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EXPLORING ART

A Global, Thematic Approach

FOURTH EDITION

Margaret Lazzari

Gayle Garner Roski School of Fine Arts, University of Southern California

Dona Schlesier

Emerita, Divine Word College

Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States

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43780_00_fm_i-xii.indd iii 12/15/10 10:20 AM

This is an electronic version of the print textbook. Due to electronic rights restrictions,

some third party content may be suppressed. Editorial review has deemed that any suppressed

content does not materially affect the overall learning experience. The publisher reserves the right

to remove content from this title at any time if subsequent rights restrictions require it. For

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. 2012, 2008, 2005 Wadsworth, Cengage Learning

ALL RIGHTS RESERVED. No part of this work covered by the copyright herein

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Section 107 or 108 of the 1976 United States Copyright Act, without the prior

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Library of Congress Control Number: 2010941936

ISBN-13: 978-1-111-34378-1

ISBN-10: 1-111-34378-0

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Exploring Art: A Global, Thematic Approach,

Fourth Edition

Margaret Lazzari, Dona Schlesier

Publisher: Clark Baxter

Senior Development Editor: Sharon Adams

Poore

Assistant Editor: Ashley Bargende

Editorial Assistant: Elizabeth Newell

Media Editor: Kimberly Apfelbaum

Executive Marketing Manager: Diane

Wenckebach

Marketing Coordinator: Loreen Pelletier

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Heather Baxley

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Senior Art Director: Cate Barr

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Production Service: Lachina Publisher Services

Text Designer: Frances Baca

Cover Designer: Cabbage Design Company

Cover Image: Kente Rhapsody by El Anatsui

Ghana 2001, © Peter Horree/Alamy

Compositor: Lachina Publisher Services

For product information and technology assistance, contact us at

Cengage Learning Customer & Sales Support, 1-800-354-9706

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Further permissions questions can be emailed to

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Printed in the United States of America

1 2 3 4 5 6 7 15 14 13 12 11

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To Michael and Julia Rose, with heartfelt thanks

for all the love, fun, and creativity in our lives.

MARGARET LAZZARI

For Douglas, Kimberly, Robert, Jackson Calder (Jake),

and Luca Peter Douglas, with gratitude and love

for the ongoing joy you give me.

DONA SCHLESIER

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iv BRIEF CONTENTS

Part I

INTRODUCTION TO ART 1

Chapter 1 A Human Phenomenon3

Chapter 2 The Language of Art and Architecture23

Chapter 3 Media55

Chapter 4 Deriving Meaning87

Chapter 5 Making Art, Using Art, and Preserving Art103

Part II

WHY DO WE MAKE ART? 125

SECTION 1 :: Survival and Beyond 126

Chapter 6 Food and Shelter127

Chapter 7 Reproduction and Sexuality157

SECTION 2 :: Religion 186

Chapter 8 Deities and Places of Worship187

Chapter 9 Mortality and Immortality233

SECTION 3 :: The State 264

Chapter 10 Power, Politics, and Glory265

Chapter 11 Social Protest/Affi rmation299

SECTION 4 :: Self and Society 328

Chapter 12 Mind and Body329

Chapter 13 Race, Gender, Clan, and Class361

Chapter 14 Nature, Knowledge, and Technology397

Chapter 15 Entertainment and Visual Culture429

BRIEF CONTENTS

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CONTENTS v

Media in Two-Dimensional Art56

Drawing56

Printmaking60

Painting64

Fabrics, Needlework, and Weaving70

Methods and Media in Three-Dimensional Art71

Carving73

Modeling74

Assembling76

New Technologies79

Installation79

Performance82

Technology-Based Media83

Photography83

The Moving Image84

Chapter 4 Deriving Meaning 87

Formal Analysis88

Content Analysis88

Subject Matter88

Iconography90

The Infl uence of Historical Context, Physical

Surroundings, and Method of Encounter90

Context for the Creation of the Artwork90

Physical Surroundings93

Method of Encounter94

Writings about Art96

Modernist Criticisms97

Postmodern Philosophical Positions99

Personal Interpretation102

Chapter 5 Making Art, Using Art,

and Preserving Art 103

Artists104

Training Artists104

Making the Art Object106

The Role of the Artist in Various Cultures108

Support for Art Making110

Private Patronage110

The Market110

Tax-Supported Art111

Using Art112

Keeping Art112

National Pride and Glory112

Museums and Private Collections115

Preservation and Restoration117

When Art Is Not Saved122

Art Destroyed in Confl icts122

Art Used Dynamically in Rituals122

CONTENTS

Prefaceviii

Part I

INTRODUCTION TO ART 1

Chapter 1 A Human Phenomenon 3

Toward a Defi nition of Art4

Function4

Visual Form4

Content6

Aesthetics8

Creating Art8

Perception, Response, and Expression8

Artistic Creativity10

Categories of Visual Arts11

Fine Art12

Popular Culture13

Craft16

Stylistic Categories17

Style Vocabulary17

Cultural Styles19

Artists’ Styles20

Other Categories22

Chapter 2 The Language of Art and Architecture 23

Formal Elements24

Line24

Light and Value27

Color29

Texture and Pattern32

Shape and Volume36

Space36

Time and Motion40

Chance/Improvisation/Spontaneity42

Engaging All the Senses42

Principles of Composition42

Balance43

Rhythm44

Proportion and Scale44

Emphasis45

Unity and Variety45

Structural Systems in Architecture46

Traditional Building Methods46

Recent Methods and Materials51

Chapter 3 Media 55

The Importance of Materials56

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vi CONTENTS

Part II

WHY DO WE MAKE ART? 125

SECTION 1 :: Survival and Beyond 126

Chapter 6 Food and Shelter 127

History Focus128

Expanding the View130

Timeline for Food and Shelter 132

Food134

Securing the Food Supply134

Storing and Serving Food136

Art That Glorifi es Food140

Art and the Act of Eating142

Shelter147

Domestic Architecture147

Group Living147

Individual Homes150

Commercial Architecture152

Late-Twentieth-Century

Public Structures154

Chapter 7 Reproduction and Sexuality 157

History Focus158

Expanding the View160

Timeline for Reproduction and Sexuality162

The Promise of Fertility164

Fertility Goddesses and Gods164

Fertility and Rituals166

Art Depicting Primordial and Human Couples170

Primordial Couples170

Human Couples171

Art about Lovemaking174

Art about Sexuality in Western Culture177

The Feminine Body and the Gaze177

Sexuality, Politics, and Consumerism179

Abstracted Sexual Imagery181

Images of Pregnancy, Childbirth, and Progeny183

SECTION 2 :: Religion 186

Chapter 8 Deities and Places of Worship 187

History Focus188

Expanding the View190

Timeline for Deities and Places of Worship 192

Religions and Their Imagery of Deities

and Holy Beings194

Animism194

Polytheism194

Pantheism197

Monotheism201

Humans Respond to God204

Ceremonies204

Off erings204

Sacrifi ces206

Prayers207

The Cosmos208

Places of Worship and Their General Characteristics211

Housing Sacred Objects211

Incorporating Elements of Nature212

Using Geometry Symbolically213

Providing Sites for Sacred Ceremonies and

Pilgrimages215

Temple Complexes and Large-Scale Sacred

Architecture217

The Greek Temple218

The Egyptian Temple221

The Hindu Temple223

The Buddhist Temple225

The Hebrew Temple226

The Gothic Cathedral226

The Islamic Mosque228

The Mesoamerican Temple230

Chapter 9 Mortality and Immortality 233

History Focus234

Expanding the View236

Timeline for Mortality and Immortality238

Early Tombs: Mounds and Mountains240

Ancient Burials240

Furnished Tombs242

Egyptian Tombs and Mortuary Temples242

Etruscan Tombs245

Funeral Complex of Shi Huangdi246

Royal Tombs of the Moche Civilization248

Viking Ship Burial249

Development of Cemeteries and Grave Monuments250

Burial in Places of Worship252

Christian Burials252

Islamic Mausoleums254

Reliquaries256

Modern Commemorative Art258

Modern Cemeteries258

Contemporary Memorial Art and Practices259

SECTION 3 :: The State 264

Chapter 10 Power, Politics, and Glory 265

History Focus266

Expanding the View268

Timeline for Power, Politics, and Glory270

The Glory of the Ruler272

Divine Rulers, Royalty, and Secular/Religious

Leaders272

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CONTENTS vii

Objects of Royalty and Prestige275

Contemporary Political Leaders276

The Power of the State277

Palaces277

Seats of Government282

Monuments284

War285

Warriors, Weapons, and Fortifi cations285

War Scenes289

War Memorials293

Peace295

Art about Peace295

Peace Monuments and Peace Off erings295

Chapter 11 Social Protest/Affi rmation 299

History Focus300

Expanding the View302

Timeline for Social Protest/Affi rmation304

Protests Against Military Action306

Fighting for the Oppressed311

Strategies for Protesting Oppression311

Affi rming the Values of the Oppressed318

Questioning the Status Quo322

The Social Environment322

Art Versus Politics325

SECTION 4 :: Self and Society 328

Chapter 12 Mind and Body 329

History Focus330

Expanding the View332

Timeline for Mind and Body334

Depicting the Body336

Portraits336

Self-Portraits340

The Physical Body342

The Body as the Subject

of Scientifi c Study349

The Limits of the Self350

Sickness and Death352

The Psychological Dimension in Art353

The Body an Art and as Art356

The Body as Art Material356

The Body as an Art Tool359

Chapter 13 Race, Gender, Clan, and Class 361

History Focus362

Expanding the View364

Timeline for Race, Gender, Clan, and Class366

Race and Art368

Art That Promotes Ethnic History and Values368

Art That Criticizes Racism369

Who Is Looking at Whom?371

Gender Issues373

Art and Ritual Perpetuating Gender Roles373

Gender Refl ected in Art and Architecture373

Critiquing Gender Roles377

Clan378

The Extended Family378

The Nuclear Family383

Class385

Class Status and Body Styles385

Class Activities and Lifestyles386

Art Objects That Indicate Class Status394

Chapter 14 Nature, Knowledge, and Technology 397

History Focus398

Expanding the View400

Timeline for Nature, Knowledge, and Technology402

Nature404

Animals404

The Land410

Knowledge418

Informative Images419

Art and Intuited Knowledge421

The Critique of Learning422

Technology424

Technological Advances424

Evaluating the Constructed World426

Chapter 15 Entertainment and Visual Culture 429

History Focus430

Expanding the View432

Timeline for Entertainment and Visual Culture 434

Architecture for Entertainment436

“Houses” for the Arts436

Other Visual and Performing Art Environments438

Sports Arenas440

Art that Illustrates Leisure Activities442

Images of Athletes442

Music and Dance Imagery444

Art in Entertainment446

Art and Dramatic Productions446

Musical Instruments and Dance449

Art and Visual Culture450

Film, Television, and Cartoons452

Video Games and Electronic Toys455

Postscript457

Glossary460

Bibliography473

Credits478

Index483

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viii PREFACE

PREFACE

Fifteen years ago, we took a risk in writing the fi rst edition of Exploring Art: A

Global, Thematic Approach. All other competing art texts covered almost only

Western art, and in chronological order. There had never been a book that

covered art from around the world, and presented it thematically. Would our

approach be meaningful to our readers?

Today, a global approach to art seems critically important, equivalent to a

global perspective in relation to culture, communication, politics, economics,

and so on. With this fourth edition, more and more people are turning these

pages and taking a world art tour. We are grateful to you for letting us be your

guides to a wide range of art that embodies human dreams, visions, desires,

fears, and speculations.

Our book examines essential art ideas and makes them concrete using

examples from around the world. Western and non-Western art is represented

from ancient through contemporary times. There is a high percentage of

artwork by women. In our thematic approach, we discuss art in context with

human survival, religion, politics, social protest, family structure, sexuality,

technology, and entertainment. Rather than dry chronologies, our chapters

present topics of deep interest to students, all made visible in art. In addition

to the thematic content, there are introductory chapters that help defi ne art,

present the basic elements of art and architecture, examine the full range of

media, and lay out the fundamental concepts in art criticism.

We have exciting new features for this edition, which enrich the thematic

and global approach that has been the foundation of all four editions of

Exploring Art.

NEW CONTENT

Part I, which contains the Foundation Chapters 1–5, has been extensively

revised. Specifi cally, there is expanded coverage of Media in Chapter 3, with

25 percent more images than in the third Edition. This increases students’

understanding of the qualities inherent in various art materials. Indeed, all

fi ve Foundation chapters have new images and many diagrams have been

improved. Chapter 4 has been revised especially in sections on writings about

art. Chapter 5 is a condensed version of information formerly covered in two

separate chapters. This provides better fl ow for the entire Part I, and allows

the instructor more time to cover the Theme Chapters in Part II.

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PREFACE ix

The fourth edition’s theme chapters (Chapters 6–15) have been extensively

revised as well. Each chapter has an enticing and engaging new beginning,

starting with a “Preview” that summarizes what will be covered in the

following pages. Next is a cluster of features that improve the students’

historical and geographic understanding of the art in this book. The “History

Focus” briefl y covers world history within a designated time period, and

artwork from the chapter is tied to the events discussed in the History Focus.

A detail map and a two-page “World Art Map” containing all of the chapter art

examples locate the works in geographical context. The fi nal component of

these historical and geographic features is a two-page “Timeline,” which places

each artwork from the chapter in chronological order and in context with

major world events and cultural achievements of the time. This new format

will pique the students’ curiosity, and provide them with greater background

for each artwork.

In addition to the new beginning to each theme chapter, there are other

important revisions to Chapters 6–15. In our coverage of artwork, we have

used a new comparative approach with an emphasis on focus fi gures that open

each topic discussion, followed with several related art examples for contrast.

Focus fi gures are usually Western based, followed by an array of examples

of world art that deal with a similar theme. In Chapter 12, we have added a

discussion of the mind interconnected with the body, for a new overall focus of

“Mind and Body.” Finally, the fourth edition is now 15 rather than 16 chapters,

which will allow for more time in the semester for instructors and more

fl exibility in their class plans. Instructors can add or subtract material to suit

their own areas of expertise.

The entire approach of this book is to off er alternative learning formats

that can be combined into existing teaching formats. The themes and topics

are of great interest to even the newest students of art, so it is easier for

instructors to engage them and to show that studying art is relevant in their

lives today.

NEW ILLUSTRATIONS

The images in the fourth edition have strong representation of non-Western,

Western, and contemporary art, as well as art by women. Included are

stunning images of African artwork, such as the Beadwork by Masai women

and a Double Mask from Cameroon. From the Islamic world are examples of

remarkable Persian miniatures, three mosque examples, a Moslem prayer rug,

and more. Contemporary art is experiencing phenomenal growth in China

now, and we include works by notable artists such as Cai Guo-Qiang and

Huang Yong Ping. New works from South America include the Incan Silver

Representation of a Maize Plant and the contemporary Carnival at Olinda.

From Asia is a new image of a Hindu relief carving and an ancient Vietnamese

Drum.

The fourth edition also features artwork by artists not seen in previous

editions. This includes Pipilotti Rist, Arata Isozaki, Damien Hirst, El Anatsui,

Judith Baca, Kiki Smith, Tony Oursler, Robert Gober, Yoshitomo Nara,

Wangechi Mutu, Olafur Eliasson, Gerhard Richter, Roberto Matta-Echaurren,

Juan O’Gorman, Ann Page, Joseph Beuys, and Rirkrit Tiravanija.

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x PREFACE

Along with historical artists, contemporary artists continue to be well

represented in this book, with works by:

Kutlug Ataman Maya Lin Martin Puryear

Dale Chihuly Takashi Murakami Faith Ringgold

Christo/Jeanne-Claude Bruce Nauman Jaune Quick-to-See Smith

Richard Serra Shirin Neshat Frank Stella

Andy Goldsworthy Louise Nevelson Andy Warhol

David Hockney Frank Gehry Barbara Kruger

Catherine Opie Leon Golub Cindy Sherman

Lucien Freud Bill Viola Yoko Ono

Kara Walker Yinka Shonibare Chris Ofi li

Jenny Holzer William Kentridge Mariko Mori

Tim Hawkinson Claes Oldenburg

GLOBAL COVERAGE

AND THEMATIC APPROACH

The key ideas in Exploring Art: A Global, Thematic Approach are

(1) understanding and appreciating the world’s art and (2) examining art in

the context of human needs within world cultures. Students are enriched and

challenged when studying art in the context of themes and ideas, and they

see that these themes appear in every culture, across the ages. The themes

(Survival and Beyond, Religion, The State, and Self and Society) show art to be

a meaningful endeavor that deals with basic human concerns. By studying

integrated global art traditions, the students can see the similarities that

connect cultures as well as their diff erences.

HISTORICAL MATERIAL

With this fourth edition, students can learn about artwork chronologically

and geographically as well as thematically. The theme chapters (6–15) open

with three integrated historical and geographical features that contains

chronological summaries of world history and important developments in

religion, culture, and technology. World art maps, detail maps, timelines, and

cross-references make further historical or geographic connections. Students

are made aware of the larger social, political, and cultural context that serves

as a background to the art they are studying.

We hope you enjoy the wealth of world art that is presented in this book.

ANCILLARY PACKAGE FOR INSTRUCTORS:

Online Digital Image Library

This presentation tool makes it easy to assemble, edit, and present customized

lectures for your course using Microsoft PowerPoint. The online library

provides high-resolution images (maps, diagrams and the fi ne art images

from the text) for lecture presentations, either in an easy-to-use PowerPoint

presentation format, or in individual fi le formats compatible with other image￾viewing software. A new zoom feature allows you to magnify selected portions

of an image for more detailed display in class. You can easily customize your

classroom presentation by adding your own images to those from the text.

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PREFACE xi

Instructor Website

Here you can fi nd an Instructor’s Manual with a unique integrated transition

guide for teaching art appreciation with a global thematic approach. This site

also contains the Test Bank with multiple-choice, matching, short-answer, and

essay questions in ExamView- computerized format, as well as text-specifi c

Microsoft PowerPoint slides created for use with JoinIn- on Turning Point￾software for classroom personal response systems. (“clickers”).

FOR INSTRUCTORS AND STUDENTS

CourseMate

Cengage Learning’s Art CourseMate includes interactive learning, study

tools, and exam preparation tools that support the printed textbook. Use

Engagement Tracker to monitor student engagement in the course and watch

student comprehension as your class works with the printed textbook and

the textbook-specifi c website. An interactive eBook allows students to take

notes, highlight, search and interact with text-specifi c embedded media (such

as quizzes, fl ashcards, and videos). Resources include interactive foundations

modules that demonstrate the most essential visual elements, principles of

design, style, form, and content; image fl ashcards of fi ne art featured in the

text, maps, and illustrations; video footage of art classes, such as drawing,

painting, lithography, wheel working, sculpture, plaster casting, architecture,

glassblowing; interactive timelines that allow students to look at themes

chronologically; Video Study Tools narrating the iconography and themes of

key works of art and comparisons; podcasts comparing works of art through

dialogue; glossary term fl ashcards, critical thinking essay questions, internet

exercises, chapter quizzes, and more.

Slide Guide

The SlideGuide privides a place to take notes alongside representations of the

art images shown in class. It features reproductions of the images from the

book, with full captions, page numbers, and space for note-taking.

ACKNOWLEDGMENTS

We wish to thank once again the entire team at Wadsworth Cengage whose

eff orts and creativity help shape Exploring Art. They encouraged us to make

some big leaps in our handling of historical material in this fourth edition.

Our acquisitions editor, Clark Baxter, is always supportive and always helping

us to think innovatively about the book. We continue to be incredibly lucky

to work with the ever-effi cient, ever-thoughtful Sharon Adams Poore, our

development editor. She has seen us through three editions now, and we hope

the partnership continues! Thank you Kimberly Apfelbaum, media editor,

and Ashley Bargende, assistant editor, for your work on the many student and

instructor resources and Elizabeth Newell, editorial assistant, for helping us

all. We also express our gratitude to Diane Wenckebach, marketing manager.

Of course, a book is nothing without its production staff , and we have

been very fortunate to work with some outstanding people. We are grateful

to Lianne Ames, project manager, Cate Barr, Art Director, Megan Lessard at

PreMediaGlobal, and Annie Beck at Lachina Publishing Services for pulling all

the details together. We would also like to thank Anna Meliksetian, California

State University, Northridge, for creation of the Testbank and Tutorial

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