The skills of art history – namely, the analysis and interpretation of images – should place us at the vanguard of the new visual pedagogy.  But while scientists and historians are demonstrating a passion for presenting their materials visually, at CAA, when art historians presented their own work, they showed surprisingly minimal concern for the visual presentation of their objects and monuments.

The rooms at such conferences are generally deeper than they are wide, with most attendees at a fair distance from a small screen adjacent to the podium, yet speakers seldom made an effort to maximize the visibility of their images.  I saw too many slides with jarring white backgrounds or distracting cloudy blue backgrounds.  Text competed with image to the clear disadvantage of the object or monument represented.  And the temptation to overload slides with multiple images was not quashed by the necessary diminution of each individual image.  Even if a speaker sensibly limited a slide to one image, he or she would neglect to expand the image to fill the slide, leaving useless blank space, or would neglect to crop the photo so that a grey sky or some other empty space crowded out the work of art.   Speakers spoke of details that attendees had no chance of seeing, and their images became elevator music for the eyes.

So it is with sadness that I read the enthusiastic words of professors from a variety of other disciplines about the importance of training students to look.  In the article linked to above, professor of History, Laurel Thatcher Ulrich argues

“We have a very visually oriented group out there.  But they are not necessarily savvy at analyzing visual images.  They absorb it, they’re used to it, they expect it, but it sometimes fades into the background like wallpaper.  I’m trying to make them more aware of the things they constantly consume.  You have to teach people to look.“

In the next paragraph, I find echoes of my teaching philosophy:

“Indeed, if images and soundtracks are the future of pedagogy, then teaching the young to look must become a high priority. This is yet another area in which technology has outpaced the human capacity to cope with it. People believe—complacently—that they know how to read, but can they really see? Engaging with images in a sophisticated and critical manner is an uncommon skill, even among the younger generation that has grown up with them. Educational institutions have evolved an advanced verbal culture, but sounds and images occupy a far more primitive academic habitat. Librarians deploy powerful tools, for example, for cataloging books and words, but the intellectual technology for classifying images lags far behind. Professors of the future will need not only to expose their classes to pictures, but to teach students how to question them.”

How can there possibly be no mention of art history?  Sadly, I think that we have only ourselves to blame.  Art historians should provide models for the incorporation of visual sources into teaching.  We should be among the most sophisticated in our use of technologies that make our monuments and objects more visible.  We should lead in this task of educating students to prolong their looking and to articulate what they see.  And yet other fields pass us by and put us to shame.  We lose our chance to make art history relevant and essential to the future of liberal arts education, as others take up the task that should most naturally fall to us.

• the precise description of the content and form of a work of art (for pedagogical purposes, I label these skills Iconography and Formal Analysis)
• the identification of traditional and innovative elements in a work of art
• the establishment of the historical context of a work of art through the meaningful relating of image to text
• the discernment of a program encompassing the various elements of a single monument.

I have ordered these skills from lower level to higher.  I will elaborate on each in due course.

Text-based disciplines develop close reading skills, but only a student who ventures into an art history class chances upon an opportunity to develop his or her close looking skills.  These close looking skills include: the careful observation of detail; the precise recall of images no longer before the eye; the awareness of the scale of objects and monuments and their relation to the beholder through space; and the recognition of patterns and of differences.  These skills form the foundation for art historical study and should therefore inform the teaching of the traditional art history survey. 

One develops attention to detail simply by slowing down the looking of the students and developing their patience with visual material. Practice in visual recall may be incorporated into a class by naming a previously-studied image and asking the students what they remember about it before showing it for comparison purposes.  A tape measure provides the best tool for the development of the appreciation of scale.  The careful selection of images – for example, showing corners, floor-to-ceiling views, and people standing within a space - and the presentation of an image in a church with the image’s location highlighted on a plan of the church or a detail alongside an image of the whole with its location highlighted cultivate spatial awareness. 

Slide: Image and Location and Spatial Awareness

Slide: Relation of Detail to Whole and Spatial Awareness

Finally, the traditional slide comparison enables the recognition of pattern and difference.  Power Point reduces the scale of two projected images; details therefore become essential.