St. Cloud State University
General Education Goal Area 6
Humanities & Fine Arts
Academic Affairs Use Only:
Response Date:
Effective Date:
1.
Prepared by: David Sebberson
Phone: 8-4283
Proposal Number:
Email: sebberson@stcloudstate.edu
2.
Requesting Unit: Art
3.
Department, Course Number, Title: Art 231 Art History Survey II
4.
New Course
5.
Will this course be flagged as a diversity course?
Already Designated as Diversity
6.
Will this course also satisfy another General Education Goal Area?
If “Yes” specify which goal area.
Goal 5
Existing Course
No
Diversity Proposal Accompanying This Form
No
Yes
7.
Course bulletin description, including credits and semesters to be offered:
Painting, sculpture and architecture from the Italian Renaissance to the Contemporary Period. Stylistic
classification of major works of art. Course designed for majors. 3 Cr. F.
8.
Indicate the clientele for whom this course is designed. Is the course for general education only, or
does it fulfill general education and other program needs for this or another department? Obtain
signatures from any affected departments.
This is a required course for the following majors: BA Art, BA Art History, BS Art Education, BFA
Studio Art (all emphases) and the art minor. This major course is being designated as a general education course
to meet the 120-credit limit mandated by the state legislature and the 40-credit general education minimum
mandated by MnSCU. This is consistent with the general education guideline that states "Courses used in the
major may be designated as General Education." Because the Minnesota Transfer Curriculum is about the
"seamless" transfer of credit between two-year and four-year institutions, it is important to keep in mind fhe
NASAD distinction between curricular offerings as an "element of liberal education without the training for art or
design occupations" and those that lead "toward either liberal arts or professional baccalaureate degrees in art or
design." Hence the phrase "Course designed for majors" in the bulletin description.
9.
Indicate any changes that must be made in offerings or resources in your department or other
departments by offering this course.
None. The course is currently offered.
12/11/2009
10.
For new courses or courses not yet approved for General Education, indicate any other SCSU departments
or units offering instruction that relates to the content of the proposed course.
No other department offers courses whose content is art history and that meet both major requirements
and general education requirements.
11.
Courses designated as General Education are included in the assessment plan for the Goal Area(s)
for which they are approved. Courses for which assessment is not included in the annual GE
assessment report for two years will be removed from the General Education Program.
The Requesting Unit understands and recognizes the above conditions.
12/11/2009
12.
Provide a concise explanation of how the following goal is a “significant focus” of the proposed course.
Goal Area 6: Humanities & Fine Arts
Expand appreciation and critical understanding of changing modes of human expression and systems of
thought in the arts and humanities, and develop abilities in the creation and performance of meaning.
According to its original curriculm documents, Art History Survey II has the following goals, which
clearly focus on "changing modes of human expression" and "systems of thought in the arts":
1.
To develop the student’s appreciation of the creative spirit and of the variety of human cultures.
2.
To develop an understanding of the cultural and ideological context out of which artistic styles and
movements have developed.
3.
To show the impact the art of the past has had and continues to have on the art of the present.
4.
To serve as a source of images, ideas and standards for those involved in creative production and
evaluation.
5.
To enable students to recognize, analyze and place in their historic context major works of the art
production of the past.
13. In order for a course to be designated as fulfilling Goal Area 6, it must address at least 5 of the 7 student learning
outcomes (SLOs) below. Check the SLOs below that are focused on in the proposed general education course.
1. Demonstrate awareness of the scope and variety of works in the arts and humanities.
2. Describe and appreciate works in the arts and humanities as expressions of individual and collective values
within an intellectual, cultural, historical and social context.
3. Interpret and respond critically to works from various cultures in the arts and humanities.
4. Explore intellectually the ideas expressed in works in the arts and humanities.
5. Engage in creative processes or interpretive performance.
6. Articulate an informed personal response to works in the arts and humanities.
7. Analyze the diverse means of communication in the arts and humanities.
14.
Discuss how each Student Learning Outcome checked above is achieved in this course. (Note: Although
descriptions of typical assignments or types of assignments may be part of this discussion, it is not
appropriate to submit copies of actual assignments.)
1. As indicated in the bulletin description, students study a variety of works, e.g., painting, sculpture, and
architecture. Variety and scope is amplified as students study art from a variety of historical periods (See course
outline).
2. When Michaelangelo includes his self-portrait as a flayed human skin held by the martyred Bartholomew in
The Last Judgment or when Jackson Pollock declares that he is the nature his abstractions express, students are
encountering not only individual expression, but individual expression as a collective value whose western
12/11/2009
development begins in the Renaissance. As students work through the different historical periods listed in the
course outline, they study the intellectual, cultural, historical, and social contexts that both shape art and
architecture and that are given material form and expression in art and architecture. How do the Renaissance
inventions of one-point perspective and the grid-tools used to represent depth relate to a Cartesian construction of
reality conceived and known abstractly as points in a field and defined as a grid formed by X and Y axes? What
cultural values about observation, knowledge, and rationality do they embody? How are those values reshaped
by Einstein and Freud, concentrated in art movements suchs as cubism and surrealism, and expressed in works by
Picasso and Miro? How does periodization framed as Neo-Classicism, Romanticism, Modernism, or
Postmodernism formulate the visual construction of identity from perspectives of culture, ethnicity, gender, or
sexuality? How are technological change, economic regimes, and political and social revolutions embodied in
art and are dialectically engaged with art? These sorts of questions are typical in examining work from the
periods studied in Art History Survey II.
3. Students learn to interpret and respond critically to works of art, not only from the contexts indicated under
SLO 2 but also as they meet course goals regarding standards, analysis, and impact on art of the present. Through
tests, papers, reports, or presentations, students demonstrate their ability to interpret and respond critically to
works of art, analyzing formal, aesthetic, or cultural and other content elements that enable them to identify and
situate work in historical contexts.
4. Through slide lectures and readings students engage ideas and issues that surround art and are realized in art.
What differing ideas of human subjectivity, for example, or ideas about the social practice of art making are
present in David's Neo-Classicisim, Friedrich's Romanticism, Monet's Impressionism, Braque's Cubism,
Duchamp's Dadaism, Malevich's Suprematism, Lissitzky's Constructivism, Sheeler's Precisionism, Pollock's
Abstract Expressionism, Judd's Minimalism, Chicago's feminism, or Ofili's pluralism? An element of art history
is iconology, which explains both visible event and intelligible significance, "ascertaining those underlying
principles which reveal the basic attitude of a nation, a period, a class, a religious or philosophical persuasion-qualified by one personality and condensed into one work" (Erwin Panofsky, cited in David C. Miller, American
Iconology, Yale UP, 1993, the source for these summary descirptions). More recently, according to Miller, WJT
Mitchell has argued that 1) the visual and the verbal distill themselves only in relation to one another, that 2)
"values and interests … inform any representation of reality" and, given 1) and 2), that 3) iconology is the study
of both "what images say" and "what to say about images." And all of this is to say that basic disciplinary
practices of art history require students to "explore intellectually the ideas expressed in works of art."
6. By accomplishing SLOs 1,2,3,4 students develop a knowledge of a variety of works, the contexts that inform
those works, and the critical abilities to interpret them. Consequently, students are taught to move beyond a
visceral response of personal taste --"I like that; I don't like that; that's boring" -- to an informed personal response
based on analysis and demonstrated through tests, papers, responses, or presentations.
15.
List or attach the Course Outline (adequately described and including percentage of time to be allocated
to each topic). Curriculum Committees may request additional information. Topics larger than 20% need
to be broken down further. Indicate in your course outline where the Student Learning Outcomes
checked above are being met.
The original outline for this course as it was approved through the curriculum process consists of 10
topics, listed below with their percentages. The course outline is not being changed. The SLOs are based on
12/11/2009
practices that will be undertaken through the study of the 10 topics in the course outline. SLO 1 requires that
students demonstrate awareness of scope and variety. Students demonstrate that understanding of scope and
variety through tests, papers, responses, or presentations that cover all of the topics listed below.
SLO 2 requires that students describe and appreciate individual expression and collective values within contexts.
Students must do this, through tests, papers, responses or presentations, for all of the topics listed below. SLO 3
requires that students interpret and respond critically to works of art. Students do this through tests, papers,
responses, or presentations that cover all of the topics listed below. SLO 4 requires that students explore
intellectual the ideas of art. Students do this by attending lectures and reading about all of the topics listed below.
SLO 6 requires that students articulate informed personal responses to art. They demonstrate this through tests,
papers, responses, and presentations that cover all of the following topics.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
The Late Gothic Style and early Renaissance in Italy (10%)
The High Renaissance in Italy (10%)
The Northern Renaissance (10%)
The Baroque and Rococo (10%)
Neoclassicism (10%)
Romanticism (10%)
Realism (10%)
Impressionism and Post-Impressionism (10%)
Twentieth Century Painting (10%)
Twentieth Century Sculpture and Architecture (10%)
12/11/2009
St. Cloud State University
General Education Transmittal Form
Academic Affairs Use Only:
Response Date:
Effective Date:
Proposal Number
Department: Art
Course or Course(s): Art 231 Art History Survey II
David Sebberson
Department or Unit Chair Signature
1/29/10
Date
Department forward to Academic Affairs for publication and electronically to Chair of General Education Committee, Chair
of College Curriculum Committee, College Dean
Recommendation of General Education Committee:
Approve
Remarks:
Disapprove
Chairperson
Committee
Signature
Date
Recommendation of University Curriculum Committee:
Approve
Remarks:
Disapprove
Chairperson
Committee
Signature
Date
Recommendation of Faculty Association:
Approve
Remarks:
Disapprove
FA Senate
Signature
Date
Action of Academic Vice President:
Approve
Disapprove
Signature
Entered in Curriculum Data File
12/11/2009
Remarks:
Date