Request for New Course
EASTERN MICHIGAN UNIVERSITY
DIVISION OF ACADEMIC AFFAIRS
REQUEST FOR NEW COURSE
DEPARTMENT/SCHOOL:
ART
COLLEGE:
ARTS & SCIENCES
CONTACT PERSON: Ryan Molloy
CONTACT PHONE: 7.1268
CONTACT EMAIL: MRYAN7@EMICH.EDU
REQUESTED START DATE: TERM
WINTER
YEAR 2015
A. Rationale/Justification for the Course
Currently graduate sections of courses in Time-based Media are offered only as electives (ARTS 592) co-listed with corresponding
undergraduate courses or independent study. The purpose of this proposal is to create graduate course numbers of regularly offered classes in
lieu of electives.
B. Course Information
1. Subject Code and Course Number:
ARTS 556
2. Course Title:
Installation and Performance
3. Credit Hours:
3
4. Repeatable for Credit? Yes
X
No
If “Yes”, how many total credits may be earned?
12
5. Catalog Description (Limit to approximately 50 words.):
This course examines methods and materials for the creation and documentation of site-specific and performative works of art. Students create
work that explores the integration of video, interactivity, and performance within a physical environment. Concepts of corporeality,
duration/endurance, material methodologies, and space are discussed as they pertain to visual art. Intended for graduate students not
concentrating in time-based media.
6. Method of Delivery (Check all that apply.)
a. Standard (lecture/lab) X
On Campus
X
Off Campus
b. Fully Online
c. Hybrid/ Web Enhanced
7. Grading Mode:
Miller, New Course
Sept. 09
Normal (A-E)
X
Credit/No Credit
New Course Form
8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code, Number and Title.)
Basic computer literacy and familiarity with software utilized in the creation of art and design.
9. Concurrent Prerequisites: Courses listed in #5 that MAY also be taken at the same time as a student is taking this course. (List by Subject
Code, Number and Title.)
NA
10. Corequisites: Courses that MUST be taken at the same time as a student in taking this course.
(List by Subject Code, Number and
Title.)
NA
11. Equivalent Courses. A student may not earn credit for both a course and its equivalent. A course will count as a repeat if an equivalent
course has already been taken. (List by Subject Code, Number and Title)
12. Course Restrictions:
a. Restriction by College. Is admission to a specific College Required?
College of Business
Yes
No
College of Education
Yes
No
b. Restriction by Major/Program. Will only students in certain majors/programs be allowed to take this course?
Yes
No
X
If “Yes”, list the majors/programs
c. Restriction by Class Level Check all those who will be allowed to take the course:
Undergraduate
Graduate
All undergraduates_______
All graduate students X
Freshperson
Certificate
Sophomore
Masters
Junior
Specialist
Senior
Doctoral
Second Bachelor________
UG Degree Pending_____
Post-Bac. Tchr. Cert._____
Low GPA Admit_______
Note: If this is a 400-level course to be offered for graduate credit, attach Approval Form for 400-level Course for Graduate
Credit. Only “Approved for Graduate Credit” undergraduate courses may be included on graduate programs of study.
Note: Only 500-level graduate courses can be taken by undergraduate students. Undergraduate students may not register for
600-level courses
Miller, New Course
Sept. ‘09
Page 2 of 5
New Course Form
d. Restriction by Permission. Will Departmental Permission be required?
Yes
X
No
(Note: Department permission requires the department to enter authorization for every student registering.)
13. Will the course be offered as part of the General Education Program?
Yes
No
X
If “Yes”, attach Request for Inclusion of a Course in the General Education Program: Education for Participation in the Global Community
form. Note: All new courses proposed for inclusion in this program will be reviewed by the General Education Advisory Committee. If this
course is NOT approved for inclusion in the General Education program, will it still be offered? Yes
No
C. Relationship to Existing Courses
Within the Department:
14. Will this course will be a requirement or restricted elective in any existing program(s)? Yes
No
X
If “Yes”, list the programs and attach a copy of the programs that clearly shows the place the new course will have in the curriculum.
Program
Required
Restricted Elective
Program
Required
Restricted Elective
15. Will this course replace an existing course? Yes
No
X
16. (Complete only if the answer to #15 is “Yes.”)
a. Subject Code, Number and Title of course to be replaced:
NA
b. Will the course to be replaced be deleted?
Yes
No
17. (Complete only if the answer #16b is “Yes.”) If the replaced course is to be deleted, it is not necessary to submit a Request for
Graduate and Undergraduate Course Deletion.
a. When is the last time it will be offered?
Term
Year
b. Is the course to be deleted required by programs in other departments?
Contact the Course and Program Development Office if necessary.
Yes
No
c. If “Yes”, do the affected departments support this change?
Yes
No
If “Yes”, attach letters of support. If “No”, attach letters from the affected department explaining the lack of support, if available.
Outside the Department: The following information must be provided. Contact the Course and Program Development office for
assistance if necessary.
18. Are there similar courses offered in other University Departments?
If “Yes”, list courses by Subject Code, Number and Title
Yes
No
X
19. If similar courses exist, do the departments in which they are offered support the proposed course?
Yes
No
If “Yes”, attach letters of support from the affected departments. If “No”, attach letters from the affected department explaining the lack of
support, if available.
Miller, New Course
Sept. ‘09
Page 3 of 5
New Course Form
D. Course Requirements
20. Attach a detailed Sample Course Syllabus including:
a.
b.
c.
d.
e.
f.
g.
h.
Course goals, objectives and/or student learning outcomes
Outline of the content to be covered
Student assignments including presentations, research papers, exams, etc.
Method of evaluation
Grading scale (if a graduate course, include graduate grading scale)
Special requirements
Bibliography, supplemental reading list
Other pertinent information.
NOTE: COURSES BEING PROPOSED FOR INCLUSION IN THE EDUCATION FOR PARTICIPATION IN THE GLOBAL
COMMUNITY PROGRAM MUST USE THE SYLLABUS TEMPLATE PROVIDED BY THE GENERAL EDUCATION
ADVISORY COMMITTEE. THE TEMPLATE IS ATTACHED TO THE REQUEST FOR INCLUSION OF A COURSE IN THE
GENERAL EDUCATION PROGRAM: EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY FORM.
E. Cost Analysis (Complete only if the course will require additional University resources.
Fill in Estimated Resources for the
sponsoring department(s). Attach separate estimates for other affected departments.)
There is no expected change in cost of the course. Course is currently offered as ARTS 592.
Estimated Resources:
Year One
Year Two
Year Three
Faculty / Staff
$_________
$_________
$_________
SS&M
$_________
$_________
$_________
Equipment
$_________
$_________
$_________
Total
$_________
$_________
$_________
F. Action of the Department/School and College
1. Department/School
Vote of faculty:
For
23
Against
0
Abstentions
2
(Enter the number of votes cast in each category.)
Department Head/School Director Signature
Date
2. College/Graduate School
A. College
College Dean Signature
Date
B. Graduate School (if Graduate Course)
Graduate Dean Signature
Miller, New Course
Sept. ‘09
Date
Page 4 of 5
New Course Form
G. Approval
Associate Vice-President for Academic Programming Signature
Miller, New Course
Sept. ‘09
Date
Page 5 of 5
ARTS 556 INSTALLATION AND PERFORMANCE
Sample syllabus
COURSE DESCRIPTION
This course examines methods and materials for the creation and documentation of site-specific and
performative works of art. Students create work that explores the integration of video, interactivity, and
performance within a physical environment. Concepts of corporeality, duration/endurance, material
methodologies, and space are discussed as they pertain to visual art. Intended for graduate students not
concentrating in time-based media.
COURSE OBJECTIVES/OUTCOMES
This course will:
 Explore working within site-specific contexts.
 Foster the development of a personal aesthetic.
 Further enable students to explore and articulate the connection between traditional art practices
and the practices of emerging genres.
 Further introduce students to historic and contemporary discourses and practitioners of time-based
media.
COURSE STRUCTURE
This course is a studio-based course supplemented by occasional demonstrations, lectures, and readings.
This course will require a great amount of commitment on your part. You will be required to spend at least
as much time working outside of class as we spend in class, if not considerably more. Class meetings will
be devoted to:
 Group critique, demonstrations, reading discussions, and lectures
 Studio time for developing projects
 Individual meetings with instructor to discuss work in progress
ASSIGNMENTS
Approximately 4-5 assignments will be assigned in this course. Assignments are thematic in content and
may vary, a list of suggested themes are below. Assignments are a direct application of the techniques and
ideas discussed in lectures and demonstrations.
 Shelter
Students explore the concept of shelter and home. Students create site-specific
works of art that explore and examine this theme.
 Material/methodological limitations
Students create site-specific works of art that are limited by restrictions in either
chosen materials, budgetary constraints, and/or method of making/installation.
 Body
Students explore the conceptual territory of the body, one of the major themes of
performance art throughout history. Assignments explore the relationship of the
body in space, the body to the audience, etc.
 Duration
Time has been a critical component of performance-based work, students
explore performative genre of duration.
 Document
Students create works of art that question the documentation of performances.
The relationship of the performance to its exhibition is examined.
 Self-Directed
Students create a self-directed work of art based on a written proposal. Students
are asked to define a conceptual and methodological framework.
EXPECTATIONS OF GRADUATE STUDENTS
As graduate students you are expected to demonstrate a high level of commitment to your coursework and
research. This commitment is demonstrated through in-depth research and the development and
incorporation of a strong conceptual framework with each assignment.
Art majors should form connections of the work produced in this class to their larger body of work. Nonmajors should draw inspiration and form connections to their own disciplines.
For those students who have previously taken the course or who have previous experience, you may opt to
complete two large projects directly related to your artistic development in lieu of the exercises and
assignments. If you choose to do so please notify the instructor in writing with a proposal of the work you
plan on accomplishing.
GRADING PROCEDURES
The course will be divided into several assignments. All assignments must be finished and ready to be
viewed at the beginning of class on their scheduled due date. Any assignment submitted after that date will
be considered late and will be graded down a full letter grade. A breakdown of how each project will affect
your final grade is below:
Exercises
40%
Assignments
40%
Class Participation and Critiques 10%
Being prepared for assignments and critiques is a crucial part of a studio course. Emphasis will be placed
on a sense of investigation and curiosity, dedication to the understanding of your own artistic and personal
pursuits, and a willingness to participate in the class community. Knowledge is gained from individual
investigations as well as collaborative exercises.
For each assignment you will be assigned an alphabetic grade, these translate to the following on a 100 pt.
scale:
A = 95
A- = 92.5
A-/B+ = 90
B+ = 87.5
B = 85
B- = 82.5
B-/C+ = 80
C+ = 77.5
C = 75
C- = 72.5
C-/D+ = 70
D+ = 68.5
D = 65
D- = 62.5
F =< 60
Grading of assignments is typically based on the following criteria:
 Process: did you do enough work, did you meet intermediate deadlines, did you revise the work,
did you do the proper amount of research and preparation?
 Execution: is the work formally resolved, does it have good craft, does it meet the requirements
and guidelines of the assignment?
 Idea/Concept/Method: the creativity of the approach/solution to the project, the appropriateness of
the solution, the depth of questioning, does it push boundaries?
Late Work
There will be a reduction in the final project grade, equivalent to dropping a whole letter grade, for each
week assignments are received late. It is the responsibility of the student to make arrangements in advance
to hand in work for excused absences. If you are absent when homework is assigned, or it is not received
on the due date because of an absence, it will still be recorded as a late assignment. Work that is more than
two weeks late will be recorded as a zero.
ATTENDANCE POLICY
Attendance is required, I do not like mandating attendance, however, the logic holds as follows: if you are
not in class you are not able to participate or show progress. Anything, for any reason, beyond 3 absences
will significantly reduce your final grade (1/2 letter grade each offense). It is understood that at times a
student is faced with extreme circumstances that may prevent a student from attending class, in the event of
this and only at the discretion of the instructor an absence may be waived.
THE ISSUE OF TALENT
Art making is a learned activity. The more effort and commitment one puts into it, the more evident and
rewarding the learned experience will be. It is important for you to acknowledge and accept your own pace
of development as well as what your strengths and weaknesses are.
MATERIALS
Materials will vary and be specified with each project. The cost of materials can be effected somewhat by
decisions you make. If you are looking to reduce personal costs discuss alternative methods such as
resource pooling or bulk ordering with your peers. Be prepared to spend what is required to effectively
execute your work.
At minimum you will need basic art supplies (pencil, sketchbook/paper, pen, xacto knife, etc.). In addition
to basic art making materials you will need a digital storage device; my recommendation is purchase a
device with at minimum 16GB of memory.
EQUIPMENT/CLASSROOM/LAB
The art department computer labs will accommodate most of your software needs. Log-in using your emich username and password, log-off when finished. Any computer mistreatment, vandalism, or theft may
result in disciplinary actions from the Art Department. Students are not to perform repairs; please report
any malfunctions to a faculty member or the lab monitor. Lab rules are posted in the lab.
Camera equipment, digital video and digital still, is available for overnight student use. You may check out
camera equipment at the Visual Resource Library in Ford Hall. You may also use the copy stand to
document your work.
ACADEMICS
Academic policies can be found in the University Catalogues available through the Office of the Registrar
and online at: http://catalog.emich.edu/. Be sure to review the University’s policy on academic dishonesty
if you have not already. Academic dishonesty may result in an ‘E’ in the course and referral to Student
Judicial Services. The policy can be found at the Student Judicial Services web site at:
http://www.emich.edu/sjs/. In addition to plagiarism as defined by University guidelines, work used or
created for other classes will not be counted towards your grade.
BIBLIOGRAPHY
Bishop, Claire, ed. Participation. London: Whitechapel , 2006.
Blais, Joline, and Jon Ippolito. At the Edge of Art. London: Thames & Hudson, 2006.
Campany, David, ed. The Cinematic. London: Whitechapel, 2007.
Dixon, Steve. Digital Performance: a History of New Media In Theater, Dance, Performance Art, And
Installation. Cambridge, Mass.: MIT Press, 2007.
Doherty, Claire, ed. Situation. London: Whitechapel, 2009.
Evans, David, ed. Appropriation. London: Whitechapel, 2009.s
Graham, Beryl, and Sarah Cook. Rethinking Curating: Art After New Media. Cambridge, Mass.: MIT
Press, 2010.
Holborn, Mark. Shape of Things to Come: New Sculpture. London: Jonathan Cape, 2009.
Kaye, Nick. Site-specific Art: Performance, Place And Documentation. London: Routledge, 2000.
Kwon, Miwon. One Place After Another: Site-specific Art And Locational Identity. Cambridge, Mass.: MIT
Press, 2002.
Shanken, Edward A.. Art And Electronic Media. London: Phaidon Press, 2009.
Wands, Bruce. Art of the Digital Age. London: Thames & Hudson, 2006.
Vitamin 3-D: New Perspectives In Sculpture And Installation. London: Phaidon, 2009.