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California University of Pennsylvania
Guidelines for New Course Proposals
University Course Syllabus
Approved: 4/16/13
Department of Art and Design
A. Protocol
Course Name: Contemporary Art
Course Number: ART 326
Credits: 3
Prerequisites: none
Maximum Class Size (face to face): 40 students
Maximum Class Size (online): N/A
B. Objectives of the Course:
1.
Students will synthesize information and concepts gained from course readings.
2.
Students will evaluate written material and reach conclusions.
3.
Students will conduct careful, thoughtful observations of objects related to art and
society.
4.
Students will describe observations using appropriate visual art terminology.
5.
Students will apply course theories to problem solving exercises.
6.
Students will interpret, analyze, and evaluate visual images.
7.
Students will compare, contrast, and classify stylistic characteristics in the arts.
8.
Students will analyze visual art in relationship to contemporaneous social, political,
religious and cultural issues.
9.
Students will demonstrate essential basic art historical methods of inquiry
emphasizing clear observation, critical thinking, informed judgments, abstract
reasoning, and problem-solving skills.
10. Students will present art historical content using clear written and oral exposition.
11. The students will explore requirements under the guidelines for “Knowing the
Content” established by the Pennsylvania Department of Education for Art
Education Certification.
12. Students will be required to attend an art exhibition, or exhibit their work in the
Student Gallery.
C. Catalog Description:
This course will consider developments in art objects and theory from the 1950s to the
present with an emphasis on understanding examples of contemporary art within their
specific social-historical contexts. The period is marked by dramatic changes in art and
society that necessitate a consideration of art beyond the western world to a global context.
Artists including Robert Mapplethorpe, Jeff Koons, Cindy Sherman, Chris Ofili, and Ai
Weiwei among many others will be discussed.
D. Outline of the Course:
1. Modernism in the 1960s
a. Art as Cold War Propaganda
b. Modernist Art Canon in the 1960s i.e. Clement Greenberg
2. Contesting Modernism: Art Beyond Painting and Sculpture
a. Situationist International
b. Fluxus
c. Dematerialization of the Art Object/Conceptualism
d. Feminist Interventions i.e. Betye Sayr and Judy Chicago
e. Performance Art i.e. Carolee Schneeman
3. Postmodernism: Return to Painting and the Object
a. Return to Painting : i.e. Neo-Expressionism
b. Return to the Object: i.e. Jeff Koons
c. Critique of Originality and Authenticity i.e. Sherrie Levine
4. Art and the Public Sphere
a. Culture Wars i.e. Robert Mapplethorpe
b. Public Art i.e. Richard Serra
c. Art and the Museum i.e. Fred Wilson
5. Identity
a. Race and Identity i.e. Kerry James Marshall
b. Sexuality and Identity i.e. Catherine Opie
c. Memory and Identity i.e. Robert Gober
6. Art and the Global World
a. Russian and Eastern Europe i.e. IRWIN
b. South and Central America including the Carribean i.e. Fernando Botero
c. China and East Asia i.e. Ai Weiwei
d. India, South and Southeast Asia i.e. Subodh Gupta
e. Oceania i.e. Aboriginal Art
f. Africa i.e. Tracey Rose
g. Near East/West Asia i.e. Shirin Neshat
7. Contemporary Concerns
a. Making Art Politically
b. Climate Change: Art and Ecology
c. Social Media: Affects of Time
E. Teaching Methodology:
1.
Traditional Classroom Methodology
The class will be taught in a lecture-discussion format. Participation in class discussions is
required so that students may enhance both critical thinking and communication skills. The
instructor will present material for discussion from a variety of media sources, and when
possible, the class will make visits to museums to see works of art produced during the
periods considered in the course. The textbook is intended as a source of background
information, and the instructor extends its scope, often with primary source material. The
instructor draws connections among the historical events of the period, the aesthetic ideas
current in the period, the technologies of the time period, specific cultural milieux, and the
development of individual artists. The course is designed to present the study of art history
as an examination of the contributions of artists within the context of broader historical and
cultural developments.
2. Online Methodology – this course will not be offered online.
F. Text
A textbook such as one of the following will be required:
Foster, Hal, et al. Art Since 1900: Modernism, Antimodernism, Postmodernism. Vol. 2.
2nd ed. New York: Thames and Hudson, 2011.
Smith, Terry. Contemporary Art: World Currents. Upper Saddle River, NJ: Prentice Hall,
2011.
Additional readings drawn from primary sources will include texts like those in:
Harrison, Charles, and Paul J. Wood, ed. Art in Theory, 1900-2000: An Anthology of
Changing Ideas. Malden, MA: Blackwell, 2003
Stiles, Kristine and Peter Selz, ed. Theories and Documents of Contemporary Art: A
Sourcebook of Artists’ Writings. 2nd ed. Berkley, CA: U of California P, 2012
G. Assessment Activities:
1. Traditional Classroom Assessment - Exams, Quizzes, Short Writing Assignments, as well
as in-class and online individual and group activities
2. Online Assessment – This class will not be offered online.
H. Accommodations for Students with Disabilities:
Accommodations for Students with Disabilities
Students with disabilities:
Reserve the right to decide when to self-identify and when to request accommodations.
Will register with the Office for Students with Disabilities (OSD) each semester to receive
accommodations.
Might be required to communicate with faculty for accommodations which specifically involve
the faculty.
Will present the OSD Accommodation Approval Notice to faculty when requesting
accommodations that involve the faculty.
Requests for approval for reasonable accommodations should be directed to the Office for
Students with Disabilities (OSD). Approved accommodations will be recorded on the OSD
Accommodation Approval notice and provided to the student. Students are expected to adhere to
OSD procedures for self-identifying, providing documentation and requesting accommodations
in a timely manner.
Contact Information:
Location:
Azorsky Hall – Room 105
Phone:
(724) 938-5781
Fax:
(724) 938-4599
Email:
osdmail@calu.edu
Web Site:
http://www.calu.edu/current-students/studentservices/disability/index.htm
I. Supportive Instructional Materials, e.g. library materials, web sites, etc.
1.
The library owns a number of books and provides access to journals and databases
that will support the teaching of this class, including, but not limited to:
Carrier, David. Museum Skepticism: A History of the Display of Art in Public Galleries.
Durham, NC: Duke UP, 2006.
Costello, Diarmuid and Jonathan Vickery, ed. Art: Key Contemporary Thinkers. Oxford
and New York: Berg, 2007.
Gibbons, Joan. Contemporary Art and Memory: Images of Recollection and
Remembrance. London: I. B. Tauris, 2007.
Harris, Jonathan, ed. Globalization and Contemporary Art. Malden, MA: WileyBlackwell, 2011.
Heartney, Eleanor et al. After the Revolution: Women Who Transformed Contemporary
Art. Munich and London: Prestel, 2007.
Njami, Simon, ed. Afrika Remix: Contemporary Art of a Continent. Ostifldern-Ruit: Hatje
Cantz, 2005.
Silbergeld, Jerome. Outside In: Chinese x American x Contemporary x Art. New Haven,
CT: Yale UP, 2009.
Smith, Terry. What is Contemporary Art? Chicago: Chicago UP, 2009.
ARTstor
Art Abstracts
BHA and RILA
JStor
Project MUSE
2.
Various websites will also support the teaching of this course. These include, but are
not limited to:
http://www.moma.org/
http://www.googleartproject.com/
http://www.lacma.org/art/collection/contemporary-art
http://smarthistory.khanacademy.org/
Additional Information for Course Proposals
J.
Proposed Instructors: Qualified art history instructors/professors
K.
Rationale for the Course: This upper level art history course will serve as an upper
division elective in the new BA in Art focus in art history.
L.
Specialized Equipment or Supplies Needed: None beyond digital projectors provided
in Smart classrooms.
M.
Answer the following questions using complete sentences:
1. Does the course require additional human resources? (Please explain)
No additional human resources are required.
2. Does the course require additional physical resources? (Please explain) No
additional physical resources are required.
3. Does the course change the requirements in any particular major? (Please explain)
No, the course does not change the requirements in any particular major, although it is an
elective major course for the BA in Art focus in art history.
4. Does the course replace an existing course? (If so, list the course) No, the course is a
new course.
5. How often will the course be taught? The course will be taught at least once every
three years.
6. Does the course duplicate an existing course in another Department or College? (If
the possibility exists, indicate course discipline, number, and name) No, the course
does not duplicate an existing course in another Department
N. If the proposed course includes substantial material that is traditionally taught in another
discipline, you must request a statement of support from the department chair that houses
that discipline.
The course does not include substantial material that is traditionally taught in another
discipline.
O. Please identify if you are proposing to have this course considered as a menu course for
General Education. If yes, justify and demonstrate the reasons based on the categories
for General Education. The General Education Committee must consider and approve the
course proposal before consideration by the UCC.
Yes, we would like to have the course considered as a Fine Arts menu course for
General Education.
“Students will have an ‘appreciation of and experience with ... the arts’ (PASSHE BOG
Policy 1993-01). Fine arts courses are those that present organized values, beliefs, or
emotions using the senses and physical expression as the creative vehicle, and include
courses in art, dance, music, and theatre.”
Provide Approval Form (electronically).
Additional Guidelines
The following are additional guidelines that you must follow which will expedite your
course proposal. Failure to follow these guidelines will result in the return of the proposal to the
department.
1.
Be sure that your proposal is in the correct format (Guidelines for New Course
Proposals) and that all questions have been completely answered.
2.
Be sure that you have completed and attached the Application to Establish a New
Course form and/or the Advisement Sheet Revision form and that the appropriate
signatures have been affixed. Please send through the process electronically (the
preferred method) or by paper. No items will be placed on the agenda until the
Chair of the UCC is in possession of these forms.
3.
Be sure that you include an updated advisement sheet for any course that is being
required by the department or is classified as a restricted elective. In addition, you
must include an electronic copy (MS Word or PDF) of the current advisement
sheet(s) with your proposal. Be certain that all advisement sheets affected by the
proposed course change be included with your proposal.
4.
When submitting materials for consideration by the Curriculum Committee, you
must provide an electronic copy of each item to be reviewed to the Chairperson.
5.
All completed items must be in the hands of the Chairperson of the Curriculum
Committee a minimum of one week prior to the next regularly scheduled meeting.
6.
Any department requesting a course name change, number change, prefix changes,
credit changes, etc. must submit this request on the Application to Establish a New
Course Form and submit electronically.
7.
New advisement sheets, major proposals, minors, or changes to advisement sheets
will become effective the fall semester following committee approval. The
advisement sheets must also include the committee approval date and the
effective date on the advisement page. Submit this request on the Advisement and
/or Program Changes form.
8.
New courses will become effective the semester following committee approval.
9. Any references listed must be in the appropriate bibliographic format for the
discipline.
10.
Online courses must follow the Quality MattersÔ rubric and is posted on the
UCC website. Be sure that you include the online teaching methodology statement
(refer E.2 above) that refers to the Quality MattersÔ rubric.
11. All course objectives must follow Bloom’s Taxonomy learning domains located on
the UCC website.
Guidelines for New Course Proposals
University Course Syllabus
Approved: 4/16/13
Department of Art and Design
A. Protocol
Course Name: Contemporary Art
Course Number: ART 326
Credits: 3
Prerequisites: none
Maximum Class Size (face to face): 40 students
Maximum Class Size (online): N/A
B. Objectives of the Course:
1.
Students will synthesize information and concepts gained from course readings.
2.
Students will evaluate written material and reach conclusions.
3.
Students will conduct careful, thoughtful observations of objects related to art and
society.
4.
Students will describe observations using appropriate visual art terminology.
5.
Students will apply course theories to problem solving exercises.
6.
Students will interpret, analyze, and evaluate visual images.
7.
Students will compare, contrast, and classify stylistic characteristics in the arts.
8.
Students will analyze visual art in relationship to contemporaneous social, political,
religious and cultural issues.
9.
Students will demonstrate essential basic art historical methods of inquiry
emphasizing clear observation, critical thinking, informed judgments, abstract
reasoning, and problem-solving skills.
10. Students will present art historical content using clear written and oral exposition.
11. The students will explore requirements under the guidelines for “Knowing the
Content” established by the Pennsylvania Department of Education for Art
Education Certification.
12. Students will be required to attend an art exhibition, or exhibit their work in the
Student Gallery.
C. Catalog Description:
This course will consider developments in art objects and theory from the 1950s to the
present with an emphasis on understanding examples of contemporary art within their
specific social-historical contexts. The period is marked by dramatic changes in art and
society that necessitate a consideration of art beyond the western world to a global context.
Artists including Robert Mapplethorpe, Jeff Koons, Cindy Sherman, Chris Ofili, and Ai
Weiwei among many others will be discussed.
D. Outline of the Course:
1. Modernism in the 1960s
a. Art as Cold War Propaganda
b. Modernist Art Canon in the 1960s i.e. Clement Greenberg
2. Contesting Modernism: Art Beyond Painting and Sculpture
a. Situationist International
b. Fluxus
c. Dematerialization of the Art Object/Conceptualism
d. Feminist Interventions i.e. Betye Sayr and Judy Chicago
e. Performance Art i.e. Carolee Schneeman
3. Postmodernism: Return to Painting and the Object
a. Return to Painting : i.e. Neo-Expressionism
b. Return to the Object: i.e. Jeff Koons
c. Critique of Originality and Authenticity i.e. Sherrie Levine
4. Art and the Public Sphere
a. Culture Wars i.e. Robert Mapplethorpe
b. Public Art i.e. Richard Serra
c. Art and the Museum i.e. Fred Wilson
5. Identity
a. Race and Identity i.e. Kerry James Marshall
b. Sexuality and Identity i.e. Catherine Opie
c. Memory and Identity i.e. Robert Gober
6. Art and the Global World
a. Russian and Eastern Europe i.e. IRWIN
b. South and Central America including the Carribean i.e. Fernando Botero
c. China and East Asia i.e. Ai Weiwei
d. India, South and Southeast Asia i.e. Subodh Gupta
e. Oceania i.e. Aboriginal Art
f. Africa i.e. Tracey Rose
g. Near East/West Asia i.e. Shirin Neshat
7. Contemporary Concerns
a. Making Art Politically
b. Climate Change: Art and Ecology
c. Social Media: Affects of Time
E. Teaching Methodology:
1.
Traditional Classroom Methodology
The class will be taught in a lecture-discussion format. Participation in class discussions is
required so that students may enhance both critical thinking and communication skills. The
instructor will present material for discussion from a variety of media sources, and when
possible, the class will make visits to museums to see works of art produced during the
periods considered in the course. The textbook is intended as a source of background
information, and the instructor extends its scope, often with primary source material. The
instructor draws connections among the historical events of the period, the aesthetic ideas
current in the period, the technologies of the time period, specific cultural milieux, and the
development of individual artists. The course is designed to present the study of art history
as an examination of the contributions of artists within the context of broader historical and
cultural developments.
2. Online Methodology – this course will not be offered online.
F. Text
A textbook such as one of the following will be required:
Foster, Hal, et al. Art Since 1900: Modernism, Antimodernism, Postmodernism. Vol. 2.
2nd ed. New York: Thames and Hudson, 2011.
Smith, Terry. Contemporary Art: World Currents. Upper Saddle River, NJ: Prentice Hall,
2011.
Additional readings drawn from primary sources will include texts like those in:
Harrison, Charles, and Paul J. Wood, ed. Art in Theory, 1900-2000: An Anthology of
Changing Ideas. Malden, MA: Blackwell, 2003
Stiles, Kristine and Peter Selz, ed. Theories and Documents of Contemporary Art: A
Sourcebook of Artists’ Writings. 2nd ed. Berkley, CA: U of California P, 2012
G. Assessment Activities:
1. Traditional Classroom Assessment - Exams, Quizzes, Short Writing Assignments, as well
as in-class and online individual and group activities
2. Online Assessment – This class will not be offered online.
H. Accommodations for Students with Disabilities:
Accommodations for Students with Disabilities
Students with disabilities:
Reserve the right to decide when to self-identify and when to request accommodations.
Will register with the Office for Students with Disabilities (OSD) each semester to receive
accommodations.
Might be required to communicate with faculty for accommodations which specifically involve
the faculty.
Will present the OSD Accommodation Approval Notice to faculty when requesting
accommodations that involve the faculty.
Requests for approval for reasonable accommodations should be directed to the Office for
Students with Disabilities (OSD). Approved accommodations will be recorded on the OSD
Accommodation Approval notice and provided to the student. Students are expected to adhere to
OSD procedures for self-identifying, providing documentation and requesting accommodations
in a timely manner.
Contact Information:
Location:
Azorsky Hall – Room 105
Phone:
(724) 938-5781
Fax:
(724) 938-4599
Email:
osdmail@calu.edu
Web Site:
http://www.calu.edu/current-students/studentservices/disability/index.htm
I. Supportive Instructional Materials, e.g. library materials, web sites, etc.
1.
The library owns a number of books and provides access to journals and databases
that will support the teaching of this class, including, but not limited to:
Carrier, David. Museum Skepticism: A History of the Display of Art in Public Galleries.
Durham, NC: Duke UP, 2006.
Costello, Diarmuid and Jonathan Vickery, ed. Art: Key Contemporary Thinkers. Oxford
and New York: Berg, 2007.
Gibbons, Joan. Contemporary Art and Memory: Images of Recollection and
Remembrance. London: I. B. Tauris, 2007.
Harris, Jonathan, ed. Globalization and Contemporary Art. Malden, MA: WileyBlackwell, 2011.
Heartney, Eleanor et al. After the Revolution: Women Who Transformed Contemporary
Art. Munich and London: Prestel, 2007.
Njami, Simon, ed. Afrika Remix: Contemporary Art of a Continent. Ostifldern-Ruit: Hatje
Cantz, 2005.
Silbergeld, Jerome. Outside In: Chinese x American x Contemporary x Art. New Haven,
CT: Yale UP, 2009.
Smith, Terry. What is Contemporary Art? Chicago: Chicago UP, 2009.
ARTstor
Art Abstracts
BHA and RILA
JStor
Project MUSE
2.
Various websites will also support the teaching of this course. These include, but are
not limited to:
http://www.moma.org/
http://www.googleartproject.com/
http://www.lacma.org/art/collection/contemporary-art
http://smarthistory.khanacademy.org/
Additional Information for Course Proposals
J.
Proposed Instructors: Qualified art history instructors/professors
K.
Rationale for the Course: This upper level art history course will serve as an upper
division elective in the new BA in Art focus in art history.
L.
Specialized Equipment or Supplies Needed: None beyond digital projectors provided
in Smart classrooms.
M.
Answer the following questions using complete sentences:
1. Does the course require additional human resources? (Please explain)
No additional human resources are required.
2. Does the course require additional physical resources? (Please explain) No
additional physical resources are required.
3. Does the course change the requirements in any particular major? (Please explain)
No, the course does not change the requirements in any particular major, although it is an
elective major course for the BA in Art focus in art history.
4. Does the course replace an existing course? (If so, list the course) No, the course is a
new course.
5. How often will the course be taught? The course will be taught at least once every
three years.
6. Does the course duplicate an existing course in another Department or College? (If
the possibility exists, indicate course discipline, number, and name) No, the course
does not duplicate an existing course in another Department
N. If the proposed course includes substantial material that is traditionally taught in another
discipline, you must request a statement of support from the department chair that houses
that discipline.
The course does not include substantial material that is traditionally taught in another
discipline.
O. Please identify if you are proposing to have this course considered as a menu course for
General Education. If yes, justify and demonstrate the reasons based on the categories
for General Education. The General Education Committee must consider and approve the
course proposal before consideration by the UCC.
Yes, we would like to have the course considered as a Fine Arts menu course for
General Education.
“Students will have an ‘appreciation of and experience with ... the arts’ (PASSHE BOG
Policy 1993-01). Fine arts courses are those that present organized values, beliefs, or
emotions using the senses and physical expression as the creative vehicle, and include
courses in art, dance, music, and theatre.”
Provide Approval Form (electronically).
Additional Guidelines
The following are additional guidelines that you must follow which will expedite your
course proposal. Failure to follow these guidelines will result in the return of the proposal to the
department.
1.
Be sure that your proposal is in the correct format (Guidelines for New Course
Proposals) and that all questions have been completely answered.
2.
Be sure that you have completed and attached the Application to Establish a New
Course form and/or the Advisement Sheet Revision form and that the appropriate
signatures have been affixed. Please send through the process electronically (the
preferred method) or by paper. No items will be placed on the agenda until the
Chair of the UCC is in possession of these forms.
3.
Be sure that you include an updated advisement sheet for any course that is being
required by the department or is classified as a restricted elective. In addition, you
must include an electronic copy (MS Word or PDF) of the current advisement
sheet(s) with your proposal. Be certain that all advisement sheets affected by the
proposed course change be included with your proposal.
4.
When submitting materials for consideration by the Curriculum Committee, you
must provide an electronic copy of each item to be reviewed to the Chairperson.
5.
All completed items must be in the hands of the Chairperson of the Curriculum
Committee a minimum of one week prior to the next regularly scheduled meeting.
6.
Any department requesting a course name change, number change, prefix changes,
credit changes, etc. must submit this request on the Application to Establish a New
Course Form and submit electronically.
7.
New advisement sheets, major proposals, minors, or changes to advisement sheets
will become effective the fall semester following committee approval. The
advisement sheets must also include the committee approval date and the
effective date on the advisement page. Submit this request on the Advisement and
/or Program Changes form.
8.
New courses will become effective the semester following committee approval.
9. Any references listed must be in the appropriate bibliographic format for the
discipline.
10.
Online courses must follow the Quality MattersÔ rubric and is posted on the
UCC website. Be sure that you include the online teaching methodology statement
(refer E.2 above) that refers to the Quality MattersÔ rubric.
11. All course objectives must follow Bloom’s Taxonomy learning domains located on
the UCC website.
Media of