WINONA STATE UNIVERSITY
PROPOSAL FOR UNIVERSITY STUDIES COURSES
Department _ART_______________________________________
452__________
Course No.
___Advanced Survey of Women in Art
Course Name
This proposal is for a(n)
___X___ Undergraduate Course
Applies to:
____X__ Major
_____ Required
___X__ Elective
Date January 26, 2010______
______
3.00
Credits
___X___ Minor
_____ Required
____X_ Elective
University Studies (A course may be approved to satisfy only one set of outcomes.):
Course Requirements:
Basic Skills:
Arts & Science Core:
Unity and Diversity:
_____ 1. College Reading and Writing
_____ 1. Humanities
_____
1. Critical Analysis
_____ 2. Oral Communication
_____ 2. Natural Science
_____
2. Science and Social Policy
_____ 3. Mathematics
_____ 3. Social Science
_____ 3. a. Global
Perspectives
_____ 4. Physical Development & Wellness _____ 4. Fine & Performing Arts
_____
_____ 4. a.
Contemporary Citizenship
_____ b. Democratic
Institutions
Flagged Courses:
___X__ 1. Writing
_____ 2. Oral Communication
_____ 3. a. Mathematics/Statistics
_____ b. Critical Analysis
Prerequisites ____ART 221 and ART 222_or permission of instructor________________________
Provide the following information (attach materials to this proposal):
Please see “Directions for the Department” on previous page for material to be submitted.
Attach a University Studies Approval Form.
Department Contact Person for this Proposal:
Vittorio Colaizzi
457 5529
vcolaizzi@winona.edu
______________________________________________
________________
Name (please print)
Phone
e-mail address
[Revised 9-05]
b. Mult
Rationale for ART 452 (Advanced Study of Women in Art) as a Writing Flag
A. Writing Flag (6 S.H.)
The purpose of the Writing Flag requirement is to reinforce the outcomes specified for the basic
skills area of writing. These courses are intended to provide contexts, opportunities, and
feedback for students writing with discipline-specific texts, tools, and strategies. These courses
should emphasize writing as essential to academic learning and intellectual development.
Courses can merit the Writing Flag by demonstrating that section enrollment will allow for clear
guidance, criteria, and feedback for the writing assignments; that the course will require a
significant amount of writing to be distributed throughout the semester; that writing will
comprise a significant portion of the students’ final course grade; and that students will have
opportunities to incorporate readers’ critiques of their writing.
1.section enrollment will allow for clear guidance, criteria, and feedback for the writing
assignments:
The enrollment is capped at 15 for this class, which allows for individual attention to each
student’s writing assignments, as well as the opportunity to ask questions in or out of class.
Class time is devoted to instruction and guidance in research, critical reading, analysis of a crosssection of literature, identification of a thesis, assembly of supporting evidence, and the
mechanics of style and format in art historical writing.
Written and oral criteria are given to the students that pertain both to usage, style, and format as
well as standards of evidence in art historical writing.
Students will receive feedback on their writing assignments from the professor and, in more
limited instances, from peers.
2. the course will require a significant amount of writing to be distributed throughout the
semester:
A term paper is due a the end of the semester that results from numerous incremental
assignments, such as statements of areas of interest, summaries of sources, descriptions of works
of art, and exhibition reviews. A first draft of the term paper is also due, that is revised before
the final version is turned in.
3. that writing will comprise a significant portion of the students’ final course grade:
Two short essay-style take home exams are each worth 20% of the final grade.
Ongoing homework assignments, mostly consisting of one-to-two page writing tasks, are
together worth 20% of the final grade.
The final paper is worth 25% of the final grade.
(A presentation accounts for the final 10%.)
4. and that students will have opportunities to incorporate readers’ critiques of their writing:
The instructor proofreads and corrects each assignment and sometimes requires resubmission.
Some assignments will be redistributed for peer review.
A first draft of the research paper is due, which will be extensively critiqued. Often this critique
calls for additional research and significant revisions, as well as corrections to mechanics and
style.
These courses must include requirements and learning activities that promote students’ abilities
to...
a. practice the processes and procedures for creating and completing successful writing in their
fields;
The procedures of art historical writing include identifying a topic through visual and textual
surveying, conducting focused research through further looking and reading, articulating how
works of art display similarities, differences, and manifestations of ideas encountered in texts,
surveying the text and artwork relevant to a topic in order to discern a general trend, consensus,
sequence or debate about a work or group of works, construction of a thesis concerning the topic,
and organization and presentation of an argument that makes reference to written and visual
evidence.
Students receive practice in these tasks through preliminary research assignments, “exhibition
review” assignments, field trips to museums and galleries as budgets permit, class discussions,
and incremental assignments leading to a final paper.
b. understand the main features and uses of writing in their fields;
Through class readings, discussions, and assignments, students will gain an understanding of
how, in generalized terms, art criticism and art history work hand in hand to propose and defend
positions, praise or criticize art, analyze strategies and repercussions of other writers, artists, and
ideas, and chronicle and articulate arguments and developments in the field of visual art.
Art criticism does these things by describing and evaluating current or recent exhibitions, and
can appear in newspapers, magazines, or blogs.
Art history makes an argument about art in relation to the recent or distant past, forming an
ongoing record of cultural production, by making reference to evidence gathered and analyzed
by the writer. It appears in books, academic journals, and sometimes magazines.
Other types of writing the students will encounter but not necessarily practice include exhibition
wall texts, artist’s statements, and gallery press releases.
c. adapt their writing to the general expectations of readers in their fields;
The style and content of art writing is itself a highly contested issue, with many expressing
frustration with jargon-laden writing that seems to lose touch with its object of study. Students
will encounter a wide variety of types and styles of writing, and will not be able to succeed if
they ignore or discount any.
While there is no single set of expectations across the field, the class will receive instruction and
exercise in both short-form description and evaluation (art criticism – which allows for
exploration’s of the writer’s own experiences and values), as well as long-form scholarly writing
(the art historical term paper – for which the student must adopt an objective standpoint,
enumerate observations and defend conclusions about an artist or artists’ work).
Minimal expectations include proper grammar and mechanics, clarity of organization and
description, and a clearly ascertainable thesis. These will be practiced through assignments and
criticism.
d. make use of the technologies commonly used for research and writing in their fields;
Online research methods will be demonstrated and practiced. Despite the richness of online data,
not everything is available electronically, and students are required, depending on their topics, to
use older technologies such as books, bound reference indexes, photocopiers, and occasionally
microfilm. Inadequate research is identified early on through a bibliography assignment, and the
student is redirected.
e. learn the conventions of evidence, format, usage, and documentation in their fields.
Art History used Chicago Style citation, which the instructor demonstrates and the students
practice.
Critical reading is encouraged through summary assignments and individual criticism. Students’
task is to survey and discern the nature of a topic, and especially to recognize debates. The
words of a critic or art historian are not taken as fact, but as evidence of that particular author’s
position, which may or may not reflect a wider consensus. Nor are artists’ statements ever
definitive, because meaning is more an effect than an intention.
As to usage, students will have already acquired important terminology related to the formal
description of art. They will call on this terminology in their descriptive writing, and combine it
with newly learned concepts from modernist and postmodernist critical texts.
WINONA STATE UNIVERSITY UNIVERSITY STUDIES APPROVAL FORM
Routing form for University Studies Course approval.
Department Recommendation _____ Approved
Course______________________
_____ Disapproved
_________________________________
________________
____________________________________________
Department Chair
Date
Dean’s Recommendation
_____ Approved
_________________________________
Dean of College
e-mail address
_____ Disapproved*
________________
Date
*In the case of a dean’s recommendation to disapprove a proposal, a written rationale for the recommendation to
disapprove shall be provided to the University Studies Subcommittee.
USS Recommendation _____ Approved
recommendation
_____ Disapproved
_________________________________
University Studies Director
A2C2 Recommendation
________________
Date
_____ Approved
_________________________________
Chair of A2C2
Faculty Senate Recommendation
_____ No
_____ Disapproved
________________
Date
_____ Approved
_________________________________
President of Faculty Senate
________________
Date
Academic Vice President Recommendation
_____ Approved
_________________________________
Academic Vice President
________________
Date
_____ Disapproved
_____ Disapproved
Decision of President _____ Approved
_________________________________
President
_____ Disapproved
________________
Date
Please forward to Registrar.
Registrar
recorded.
_________________
Please notify department chair via e-mail that curricular change has been
Date entered
[Revised 9-05]
WINONA STATE UNIVERSITY
FINANCIAL AND STAFFING DATA SHEET
Course or Program_ART 452 Advanced Survey of Women in Art__
Include a Financial and Staffing Data Sheet with any proposal for a new course, new program, or revised
program.
Please answer the following questions completely. Provide supporting data.
1. Would this course or program be taught with existing staff or with new or additional staff? If this
course would be taught by adjunct faculty, include a rationale.
Existing staff: to be taught by Vittorio Colaizzi, Assistant Professor of Art History
2. What impact would approval of this course/program have on current course offerings? Please discuss
number of sections of current offerings, dropping of courses, etc.
This course would be placed in a rotation of other 400-level art history courses that include ART 437 19th
Century Art and ART 438 Early 20th Century Art. Studio Art Majors are required to take one 400-level
Art History course in addition to ART 439 Art Since 1945. This course would also be an option for Art
History Minors as one of several electives (after appropriate curriculum revision forms are submitted for
the Art History Minor).
3. What effect would approval of this course/program have on the department supplies? Include data to
support expenditures for staffing, equipment, supplies, instructional resources, etc.
This course would have little to no impact on department supplies because it requires the same office
supplies as ART 439, 437, and 438. A paper syllabus will not be provided because it is also posted on
D2L, and the exams will be take-home and delivered via e-mail.
Some printing of the class readings will be necessary for professor’s preparation, because there is no text
and they are taken from numerous sources and supplied electronically.
[Revised 9-05]
Sample Syllabus for Writing Flag requirement
ART 452 Advanced Survey of Women in Art
Fall 2009 ART 452 Advanced Survey of Women in Art
MWF 11:00-11:50 Somsen 330; Dr. Vic Colaizzi Watkins 204 G; office hours MW 1:00-2:00, Th 11:0012:00. OR BY APPOINTMENT. xt 5529; vcolaizzi@winona.edu (e-mail is preferred and more reliable)
Welcome to this Survey of Women in Art. This syllabus serves as official notice of the policies and
procedures of this class. A copy will be posted on D2L.
For the first half of this course we will focus on a series of readings chosen by me. Class will consist of
discussions of the texts, supplemented by images of the artwork. In course of comprehending the texts
we will also exercise our skill at formal and contextual analysis of works of art.
The second half will be determined by your choices of artists. Each student will choose one artist and
provide me with two suggested readings, from which I will assemble the reading list for the second half
of the course.
When we get to your artist, you will be expected to briefly and informally introduce the class to the artist
and to contribute your own expertise to the discussion.
Readings will be provided in electronic format. You must bring the readings to class, either on your
laptop or printed out. I recommend printing them so you can underline passages and make notes.
Grading Criteria for the course: (please don’t ask me to calculate your grade during the course.)
-Two non-cumulative open-note, take-home exams. 20% each
-Homework and participation, to include incremental paper assignments and other brief assignments to be
determined. 25%
-Paper: 25%
-Presentation: 10%
-- extra credit: maybe, but don’t count on it.
Two in-class tests (one at mid-term and one non-cumulative final exam) will consist of multiple choice,
short answer and short essay questions that cover the activities, styles, and critical issues raised by the
artists we will encounter. A study guide will be provided shortly before each test, which will be in
question format and will not substitute for attentive attendance.
Part of your homework grade: You must attend two art department events (exhibitions, lectures, etc.) and write a
summary/reaction that adheres to the form of an exhibition review. A list these events are forthcoming, and we will
read exhibition reviews from Artforum, The New York Times, etc. in order to become acquainted with this format.
WRITING FLAG:
[PENDING APPROVAL] This course carries the Writing Flag designation. The following
sections describe the requirements and purposes of the Writing Flag as instituted by the WSU
University Studies program, and describes how this course fulfills those requirements.
The purpose of the Writing Flag requirement is to reinforce the outcomes specified for the basic
skills area of writing. These courses are intended to provide contexts, opportunities, and
feedback for students writing with discipline-specific texts, tools, and strategies. These courses
should emphasize writing as essential to academic learning and intellectual development.
Courses can merit the Writing Flag by demonstrating that section enrollment will allow for clear
guidance, criteria, and feedback for the writing assignments; that the course will require a
significant amount of writing to be distributed throughout the semester; that writing will
comprise a significant portion of the students’ final course grade; and that students will have
opportunities to incorporate readers’ critiques of their writing.
These courses must include requirements and learning activities that promote students’ abilities
to...
a. practice the processes and procedures for creating and completing successful writing in their
fields;
The procedures of art historical writing include identifying a topic through visual and textual
surveying, conducting focused research through further looking and reading, articulating how
works of art display similarities, differences, and manifestations of ideas encountered in texts,
surveying the texts and artwork relevant to a topic in order to discern a general trend, consensus,
or debate about a work or group of works, construction of a thesis concerning the topic, and
organization and presentation of an argument that makes reference to written and visual
evidence.
Students receive practice in these tasks through preliminary research assignments, “exhibition
review” assignments, field trips to museums and galleries as budgets permit, class discussions,
and incremental assignments leading to a final paper.
b. understand the main features and uses of writing in their fields;
Through class readings, discussions, and assignments, students will gain an understanding of
how, in generalized terms, art criticism and art history work hand in hand to propose and defend
positions, praise or criticize art, analyze strategies and repercussions of other writers, artists, and
ideas, and chronicle and articulate arguments and developments in the field of visual art.
Art criticism does these things by describing and evaluating current or recent exhibitions, and
can appear in newspapers, magazines, or blogs.
Art history makes an argument about art in relation to the recent or distant past, forming an
ongoing record of cultural production, by making reference to evidence gathered and analyzed
by the writer. It appears in books, academic journals, and sometimes magazines.
Other types of writing the students will encounter but not necessarily practice includes exhibition
wall texts, artist’s statements, and gallery press releases.
c. adapt their writing to the general expectations of readers in their fields;
The style and content of art writing is itself a highly contested issue, with many expressing
frustration with jargon-laden writing that seems to lose touch with its object of study. Students
will encounter a wide variety of types and styles of writing, and will not be able to succeed if
they ignore or discount any of them.
While there is no single set of expectations across the field, the class will receive instruction and
exercise in both short-form description and evaluation (art criticism – which allows for
exploration’s of the writer’s own experiences and values), as well as long-form scholarly writing
(the art historical term paper – for which the student must adopt an objective standpoint,
enumerate observations and defend conclusions about an artist or artists’ work).
Minimal expectations include proper grammar and mechanics, clarity of organization and
description, and a clearly ascertainable thesis. These will be practiced through assignments and
criticism.
d. make use of the technologies commonly used for research and writing in their fields;
Online research methods will be demonstrated and practiced. Despite the richness of online data,
not everything is available electronically, and students are required, depending on their topics, to
use older technologies such as books, bound reference indexes, photocopiers, and occasionally
microfilm. Inadequate research is identified early on through a bibliography assignment, and the
student is redirected.
e. learn the conventions of evidence, format, usage, and documentation in their fields.
Art History uses Chicago Style citation, which is demonstrated and practiced in class.
Coursework will encourage critical reading through discussions, summary assignments and
individual criticism. Students’ task is to survey and discern the nature of a topic, and especially
to recognize debates. The words of a critic or art historian are not taken as fact, but as evidence
of that particular author’s position, which may or may not reflect a wider consensus. Nor are
artists’ statements ever definitive, because meaning is more an effect than an intention.
As to usage, students will have already acquired important terminology related to the formal
description of art. They will call on this terminology in their descriptive writing, and combine it
with newly learned concepts from modernist and postmodernist critical texts.
SPECIFIC TO THIS CLASS: Students will write a research paper (8-12 pages) and give a formal
presentation at the end of the semester.
Research is part of the writing process, which is why you will be expected to provide suggested readings
to the rest of the class. I will give detailed instructions on scholarly research in class.
I have included on the syllabus many different kinds of readings, including scholarly articles, masscirculation magazines, exhibition reviews from newspapers and magazines, book reviews, blog entries
and comment threads, and even one or two podcasts.
As you conduct your own research, you are also encouraged to cast a wide net. However, be aware that
certain websites lack a certain critical legitimacy. For example, a museum website or an artist’s own site,
while interesting, is essentially promotional material. We will address this in greater detail as we go
forward.
Choose a topic that is sufficiently focused so as to be manageable, and sufficiently broad so as to yield
enough material for a substantial paper.
Your topic can be a particular artist, one aspect of her work, a debate or controversy about it etc., or it can
be about any other single figure (critic, scholar, curator, etc) or about a group of artists, a phenomenon, or
an issue. Examples of issues would be sudden changes in an artist’s style, a particular trend in art that
occurred, lesser-known practitioners of a particular style, critical reactions to a particular exhibition,
disagreements about a particular artist or issue, etc.
You will conduct research on this topic utilizing guidelines supplied in class, and analyze the information
in order to yield a thesis. A thesis is an idea, a point, an argument that you want to make with your paper.
Examples of theses are:
“Philip Guston radically changed his style because. . . .”
or “Anne Truitt was the only ‘Minimalist’ who won the approval of Clement Greenberg because. . . .”
or “The popularity of Neo-Expressionistic painting in the 1980s was due to. . . .”
Your thesis comes after your research, and furthermore is often refined during the writing process. You
cannot decide exactly what you want to say before you look at the material.
The paper must include a clear thesis statement in the first paragraph, followed by details and examples
that contribute to your thesis, followed by a conclusion that restates the thesis in a different way.
Read your research materials critically. For example, if one source on Jackson Pollock pays particular
attention to his interest in Jungian psychoanalysis, and another focuses exclusively on formal analysis of
his paintings, and a third dwells on his interest in jazz, you know that Pollock’s work is the subject of a
great variety of approaches. In other words, instead of looking for the “truth” about your topic, report on
its changing shape.
You will develop your paper throughout the semester with a series of short assignments, noted in the
syllabus. These assignments will not be graded for content, but must be completed on-time and according
to instructions. If you do not understand the assignment, the time to ask is before the due date.
Your paper must also bear conscientious observation of instructions given in class “handouts” [not
actually handed out, but posted on D2L]: Writing Tips, Research Reminders, and Citation Format.
A first draft is due on the date below, to be followed by a final paper that integrates the criticism given on
the draft.
Students who desire extra help with their writing are encouraged to consult the Writing Center. This is a
good idea for everyone.
During the last weeks of class, you will present a condensed version of your paper. This will be a fiveminute, formal presentation on par with professional standards in art history (details and instructions
forthcoming).
The long instructions given above are an attempt to clarify the writing assignment and to comply with
university policies for a writing-flag course.
Far from an onerous task, I hope you see this paper is an opportunity for you to further explore women’s
art according to your own interests, in keeping with art-historical format. The presentation is intended to
enrich our intellectual community with a forum for sharing your research with your classmates. I expect
lively discussion in class after each presentation.
Everything you turn in must be typed, double-spaced, and stapled.
CLASS SCHEDULE WITH REQUIRED READINGS and HOMEWORK DUE DATES
Mon Aug 24 Introduction, Survey Powerpoint
HOMEWORK: Download and look at the Survey Powerpoint on your own, and begin to think about
which artist you would like to research.
Wed Aug 26
Joanne Mattera Art Blog post and comments on The Female Gaze at Cheim & Read.
http://joannemattera.blogspot.com/2009/08/women-part-2-female-gaze-women-look-at.html
Fri Aug 28
Lucy R. Lippard, “Fragments.” From the Center: Feminist Essay’s on Women’s Art. New York: Dutton,
1976.
Jerry Saltz, art critic, and Anne Tempkin, curator at MoMA, discussion on inclusion of women artists at
MoMA, NY, from Saltz’s Facebook page.
Mon Aug 31
Anna Chave, “Outlaws: Women, Abstraction and Painting in New York, 1967-1975.” High Times Hard
Times: New York Painting 1967-1975. New York: Independent Curators International, 2006.
Dave Hickey, “Mary Mary: Surfing on Acid.” Mary Heilmann. Newport Beach: Orange County
Museum of Art, 2007.
HOMEWORK DUE: Preliminary artist choices: one typed sheet in which you list five possible topics for
your paper.
Wed Sept 2 catch up discussions
Fri Sept 4 Visit and discussions with artist in the current exhibition Placing Color!!!: Brett Baker, Kayla
Mohammadi, Carrie Patterson
Mon Sept 7 Labor Day holiday (no classes/offices closed)
Wed Sept 9 Linda Nochlin, “Why Have there Been no Great Women Artists?” Art News January 1971.
HOMEWORK DUE: FINAL ARTIST CHOICE. Verbally, in class. Just tell me and your classmates
your choice, so we all know what everyone is doing.
Fri Sept 11 Anna Chave, “O’Keeffe and the Masculine Gaze.” Art in America, January, 1990.
Mon Sept 14 Ingrid D. Rowland, book reviews of several books on Artemisia Gentileschi, The New
Republic.
HOMEWORK DUE: PRELIMINARY BIBLIOGRAPHY: list at least five sources for your topic. At
least two must be periodical sources. TWO MUST BE SOURCES THAT ARE NOT AVAILABLE
FULL-TEXT ONLINE.
RESEARCH INSTRUCTION WILL BE GIVEN IN CLASS WELL IN ADVANCE OF THIS DUE
DATE
Wed Sept 16 Maud Lavin, “Androgyny, Spectatorship, and the Weimar Photomontages of Hannah
Höch.” New German Critique, No. 51, Special Issue on Weimar Mass Culture (Autumn, 1990), pp. 6286
Fri Sept 18 catch up discussions
Mon Sept 21 Jenifer P Borum. "Jaune Quick-to-See Smith." Artforum vol 31.n5 (Jan 1993).
Gerrit Henry, "Jaune Quick-to-See Smith." Art in America.
Cate McQuaid, "Jaune Quick-to-See Smith." The Boston Globe. December 21, 2003.
HOMEWORK DUE: A SUMMARY OF ONE SOURCE ON YOUR TOPIC This can be a book or
exhibition review, a scholarly essay, an interview, etc., on your topic. Your task here is to summarize a
piece of writing. So if you are summarizing an essay on Jackson Pollock by Rosalind Krauss, make
Krauss the subject of your summary. Do not write, “Pollock did this or that,” but rather “Krauss claims
that. . .” or “According to Krauss. . .” etc
Wed Sept 23 Adrian Piper, “Passing for White, Passing for Black.” Transition, No. 58 (1992), pp. 4-32
-- Lucy Lippard, “The Pains and Pleasures of Rebirth: European and American Women’s Body Art.”
From the Center: Feminist Essay’s on Women’s Art. New York: Dutton, 1976. 121-138.
Fri Sept 25 catch up discussions
Mon Sept 28 Linda Nochlin, “Floating in Gender Nirvana” [on Jenny Saville] Art in America, March
2000.
Nochlin, “Frayed Fraud” [on Lucian Freud] Artforum March 1994.
Wed Sept 30 catch up discussions
HOMEWORK DUE: A formal description of one work of art connected to your topic. Remember, a
formal description is limited to form: it describes, as thoroughly as possible, the verifiable, physical
properties of a work of art. For example: scale (relative and absolute) use of color, use of value, shapes,
implied movement or direction, apparent weight, texture, etc.
Fri Oct 2 Nadia Tscherny, “Elizabeth Peyton: Beautiful People.” Art in America February 2009.
Mario Naves, “Live Forever: Elizabeth Peyton.” New Criterion January 2009.
Letter to the editor on Peyton, Art in America, May 2009.
Mon Oct 5 Dina Deitsch, “Maya Lin’s Perpetual Landscapes and Storm King Wavefield.” Woman’s Art
Journal vol 30, no 1, Spring/Summer 2009. 3-10.
HOMEWORK DUE: A SECOND SUMMARY OF ONE SOURCE ON YOUR TOPIC This can be a
book or exhibition review, a scholarly essay, an interview, etc., on your topic. Your task here is to
summarize a piece of writing. So if you are summarizing an essay on Jackson Pollock by Rosalind
Krauss, make Krauss the subject of your summary. Do not write, “Pollock did this or that,” but rather
“Krauss claims that. . .” or “According to Krauss. . .” etc
Wed Oct 7 Kristen Raizada, “An Interview with the Guerrilla Girls, Dyke Action
Machine (DAM!), and the Toxic Titties,” NWSA Journal, Vol. 19 No. 1 (Spring 2007).
Fri Oct 9
Rober Storr and Amy Sillman, “Beyond the Frame,” [on Elizabeth Murray ] Artforum vol 46, no 3,
November 2007.
And LISTEN TO the review panel’s discussion of Elizabeth Murray on Artcritical.com.
http://artcritical.com/REVIEWPANEL/RP7/RP7.htm
Scroll down and click on her name to listen. I find I can save it to my desktop with Firefox but not Safari.
HOMEWORK DUE: TWO READINGS FROM YOUR OWN RESEARCH PROVIDED TO ME IN
ELECTRONIC OR PHOTOCOPIED FORMAT, THAT YOU THINK THE CLASS SHOULD READ.
Mon Oct 12
"Global Feminisms". Carol Armstrong. Artforum vol 45 no 9 (May 2007): p360(3).
Wed Oct 14 catch up and review
HOMEWORK DUE: MOCK DEBATE Write the script of an imaginary debate between your artist or
someone closely affiliated with your topic and anyone else, living or dead, that establishes the positions
and opinions of your subject. You may use a few direct quotes, but not more than three. The rest should
be your own imaginary phrasing of that which you have learned about your subject. Let it be as long as it
takes: 1-4 pages.
Fri Oct 16 catch up and review
Mon Oct 19 Midterm EXAM
Wed Oct 21 Readings TBA assembled from class recommendations
HOMEWORK DUE: PRELIMINARY THESIS STATEMENT Write one sentence that sums up in one
sentence what you are trying to say in your paper in one sentence. Make it not more than one sentence.
A sentence has a subject, a verb, and often a direct or indirect object. Sometimes a sentence has
subordinate clauses, but show some restraint. Be concise.
Fri Oct 23 Readings TBA assembled from class recommendations FROM THIS POINT FORWARD
Mon Oct 26
Wed Oct 28
Fri Oct 30
Mon Nov 2 DUE: FIRST DRAFT!!!
Wed Nov 4
Fri Nov 6
Mon Nov 9
Wed Nov 11 Veterans' Day Holiday (no classes/offices closed)
Last day to withdraw from Fall 2009 courses ............................................. Thursday, November 12, 2009
Fri Nov 13
Mon Nov 16
Wed Nov 18
Fri Nov 20
Mon Nov 23
Thanksgiving break (no classes W-F/offices closed Th-F) .....................Wed-Sun, November 25-29, 2009
Mon Nov 30
Wed Dec 2 PRESENTATIONS
Fri Dec 4 PRESENTATIONS
DUE: FINAL PAPER
Thursday, December 10 8:00-10:00 a.m.
Final Exam for classes scheduled for---11:00-11:50 a.m. MWF
NOTE THAT THIS MAY BE A DIFFERENT DAY AND/OR TIME FROM NORMAL CLASS
MEETINGS.