Course Approval Form
(To be used to propose new courses or make changes to existing courses)
Change of ARTH 210 Course Title
CAS 2003-2004 Item #26
Attach the following:
1.
A brief course description;
2.
A sample syllabus which includes:
a. student learning objectives and how they will be assessed;
b. an outline of topics to be addressed in the course;
c. assignments for readings, papers, oral projects, examinations, etc. and their relationship to 2.a.
3.
Rationale for the course, including how it fits with the existing curriculum; prerequisites (if any)
and rationale; and course level and rational.
4.
List of resources needed for the course: library, laboratory equipment, other special materials or
facilities; and
5.
A brief description of the evaluation procedures that will be used to determine the extent to which
student outcomes (given in 2.a) have been achieved. Indicate ways in which results of the
evaluation will be used not only to grade students but also to modify how the course is taught.
Initiator (Contact Person): Drs. M. DeMichele; J. Dunn; D. Miller-Lanning
Department(s): Art and Music Program, History Department
Suggested Course Number / Prefix: EXISTING COURSE NUMBER AND PREFIX ARE ARTH 210
Course Title (for Catalog): OLD TITLE was Topics on Women in the Visual Arts
NEW TITLE will be Women in the Visual Arts
(NOTE: ONLY THE TITLE IS BEING CHANGED. The writing intensive proposal has already gone to
the CCC where it has received a “W” designation for GE. As an existing course in the 2003-04 catalog, it
already had a “CA” and a “D” designation. D. Germeroth)
Credit Hours: 3
Catalog Copy/Course Description: (50 word limit)
This cross-disciplinary course presents selected topics on women in the visual arts, including varied ways of
thinking and writing about women, art and culture. Topics include a Survey of Women in Art; Being
Female in the Renaissance; Contemporary Women Artists; Female Artists in Latin America; and
Nineteenth Century Women Artists.
Frequency of Offering:
Every Year
Anticipated Initial Offering:
Year
_________
Every Other Year
X
2004
Semester
Spring
Will this course replace an existing course (or courses?) __________ Yes
If so, list course(s) to be replaced: N/A
X
No
Purpose of Course (Check all that apply)
Major Requirement
________
Major Elective
_____________
Cognate
________
Other Elective
X
Other (specify) Art History Minor
General Education
________
(Must be reviewed by Conference Committee on Curriculum)
Please indicate the proposed category(ies):
Writing Intensive
Humanities
_________
Natural Sciences
X
Cultural Diversity
_______ Social/Behavioral Sciences
_______ Theology/Philosophy
Quantitative Reasoning __________
_________
_________
Explain how the proposed course will fulfill the indicated requirements
Writing is integral to the discipline of art history. Normal course writing projects, including
gallery reviews and reflection papers, allow students to demonstrate comprehension of important
concepts and/or data relating to the topic of women in the visual arts. Six combined writing
assignments (20 pages @ 200 words/page) meet the 4,000 word minimum necessary to satisfy
writing intensive requirements.
Is this Course an Interdisciplinary Course?
X
Yes
____________
Colleges Cooperating in Offering Course:
College of Arts and Sciences:
Panuska College of Professional Studies:
Kania School of Management
Graduate School
X
__________
__________
__________
Other, similar courses currently in the University’s course inventory: N/A
Discuss extent of overlap with existing courses: N/A
No
ARTH 210: WOMEN IN THE VISUAL ARTS
HYLAND 407, T/R 2:30-3:45
DARLENE MILLER-LANNING, PH.D
ART AND MUSIC PROGRAM
SPRING 2004
COURSE DESCRIPTION
This cross-disciplinary course presents selected topics on women in the visual arts,including
the history of women’s achievements and struggles in the visual arts, and varied ways of
thinking and writing about women, art and culture. Topics will include but are not limited to:
Survey of Women in Art; Being Female in the Renaissance; Contemporary Women Artists;
The Female Artist in Latin America; Women Artisats in America; 19th Century Women
Artists; et cetera. This course will utilize the Blackboard system for class research links,
email communications, discussions and paper submissions.
GOALS AND OBJECTIVES
Students enrolled in “Women in the Visual Arts” will complete the following goals and
objectives:
Goal I:
In order to gain a broader understanding of intellectual-cultural activities
and products of past and present societies, including diverse cultures and subcultures in the
United States and throughout the world, all students will:
Objective 1:
Objective 2:
Objective 3:
Identify and analyze key artists, movements and ideas in the history
of women’s art.
Discuss ethnicity, race, class and/or gender perspectives related to the
topics covered in the course
Demonstrate through language and art a knowledge of cultures
different from their own.
Goal II:
In order to gain factual knowledge and, in turn, demonstrate the skills and
methodologies of art history, all students will:
Objective 1:
Objective 2:
Objective 3:
Examine primary historical and literary texts integral to the study of
women’s art history.
Participate in themed group discussions considering the form and
content of particular works of art, and apply skills of visual analysis
to discover their structure and meaning.
Evaluate, through oral and written processes of analysis and
interpretation, the social, historical, literary, philosophical and
aesthetic features of works of art.
Goal III:
In order to demonstrate their knowledge of a particular subject matter, as
well as deepen their understanding of both the subject and discipline as a whole, students
will :
Objective 1:
Objective 2:
Write a minimum of 4,000 words in a variety of phased assignments
which reflect the genres, techniques, processes and conventions used
by professionals in the discipline of women’s art history.
Demonstrate through writing comprehension of important concepts
and/or data relating to the discipline of women’s art history.
Objective 3:
Analyze and synthesize through writing important concepts and/or
data relating to the discipline of women’s art history.
TEXT AND READINGS
Class lectures, discussions and exams for “Women in the Visual Arts” will be based on two
primary texts and several assigned readings. The primary texts are Nancy Heller, Women
Artists: An Illustrated History, New York: Abbeville Press, Third Edition, 1997, and The
Guerrilla Girls, The Guerrilla Girls’ Bedside Companion to the History of Western Art, New
York: Penguin, 1998. They are available at the University of Scranton Bookstore. Readings
will be taken from Linda Nochlin, Women, Art and Power and Other Essays, Boulder:
Westview Press, 1988; Norma Broude and Mary Garrard, Feminism and Art History:
Questioning the Litany, New York: Harper and Row, 1982; and Norma Broude and Mary
Garrard, The Expanding Discourse: Feminism and Art History, New York: HarperCollins,
1992. These texts are on reserve at the Weinberg Memorial Library. Internet links for the
Guerrilla Girls, Artemisa Gentileschi, Camille Claudel, Frida Kahlo and the National
Museum for Women in the Arts are also posted through Blackboard. A complete list of
readings and class assignments is attached.
COURSE REQUIREMENTS
Students enrolled in “Women in the Visual Arts” will be graded on attendance and participation (4%); two
examinations (2 at 15% for 30%); three art critiques/projects (3 at 15% for 45%); and three reflection
papers (3 at 7 for 21%). All requirements are interrelated, and all carry substantial weight in the calculation
of the final class grade. No requirement should be neglected! All requirements must be completed during
scheduled times. Late assignments will be dropped a letter grade per day. Requirements are described in
detail below.
ATTENDANCE/PARTICIPATION
Classes conducted as part of this course will follow slide lecture and discussion formats. Given the media
dependent nature of class lectures and the interactive dimension of class discussions, absences are not
encouraged. Failure to attend class will adversely affect your grade.
EXAMINATIONS
Exams for “Women in the visual Arts” include slide identifications and slide comparisons, and are timed.
ART CRITIQUES/PROJECTS
Students enrolled in “Women in the Visual Arts” will complete critiques/projects for the following events:
1.
“Successions: African American Prints from the Steele Collection”
Art Gallery Lecture and Opening Reception:
Sunday,.February 8, 2004
Lecture by David Driskell, University of Maryland, at 1 p.m. in Brennan 508
Reception from 2 to 4 p.m. at The Hope Horn Gallery / Hyland 407.
2.
“Hope Horn: Legacy”
Art Gallery Lecture and Opening Reception:
Sunday,.March 21, 2004
Lecture byDr. Josephine Dunn, University of Scranton, at 1 p.m. in Brennan 508
Reception from 2 to 4 p.m. at The Hope Horn Gallery / Hyland 407.
3.
National Museum of Women in the Arts
Art and Music Bus Trip toWashington DC:
Departure and arrival times to be announced.
Saturday, April 24, 2004.
Since critiques will be based on both theory and practice, students are encouraged to review art events in a
way that is both critically sound and personally significant: a good critique will use visual and historical
evidence to support individualized interpretations of works, events, or lectures being reviewed. While all
critiques will be unique, each should contain an introduction completely identifying the sites/events you are
reviewing; an analysis outlining the relationship of major concepts and ideas embodied by these
sites/events; and an evaluation of how and why these relationships exist. Completed critiques should be
approximately five pages in length. Any referenced materials (texts, films, internet et cetera) must be
properly acknowledged.
REFLECTION PAPERS
Students enrolled in “Women in the Visual Arts” will complete three short two-page reflections papers
based on the films “Artemisia,” “Camille Claudel,” and “Frida,” which will be viewed as part of the class.
These papers will be posted on the course Blackboard site and read by all students prior to discussion days
listed on the syllabus. They will then provide the starting point for group conversations which may take
place in class, or, if possible, at other relevant nearby locations.
ACADEMIC CODE OF HONESTY
Students are expected to act in accordance with the Academic Code of Honesty of the
University of Scranton. If you are unfamiliar with this policy, contact your instructor or the
CAS Dean's Office to obtain the policy brochure.
In Addition:
Students enrolled in more than one art history course are asked to meet with all art history
instructors regarding duplicate assignments (all art history classes require museum and
gallery reviews, et cetera). Individual assignments can not be submitted for credit in more
than one class!
GRADE SCALE
The following grade scale is used by the Art and Music Program:
A (93-100); A- (90-92); B+ (88-89); B (83-87); B- (80-82); C+ (78-79);
C (70-77); C- (70-72); D+ (68-69); D (60-67); F (below 60).
CONTACTING THE INSTRUCTOR
Darlene Miller-Lanning, Ph.D
St. Thomas 208B/University Art Gallery
Rosemarie Pryle, Secretary
St. Thomas 261/History Department Office
(570) 941-4214
(570) 941-7625
CLASS SCHEDULE
Date
R
T
R
T
R
T
R`
T
R
T
R
T
R
T
R
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Paper
R
T
R
T
R
T
R
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R
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R
T
R
T
R
01/29
02/03
02/05
02/10
02/12
02/17
02/19
02/24
02/26
03/02
03/04
03/09
03/11
03/16
03/18
03/23
Classwork
Topic
Introduction
Women in the Visual Arts
Reading 1.
Renaissance, 17th Century, 18th Century.
Chapters 1, 2 and 3.
Gentilleschi and Leyster.
Readings 2 and 3.
Film:
“Artemisia.”
Film:
“Artemisia.”
Reflection Discussion I:
“Artemisia.” Reflection Paper
Kauffman and Vigee-LeBrun.
Readings 4 and 5.
19th Century.
Chapter 4..
Film:
“Camille Claudel”.
Film:
“Camille Claudel”.
Review I
Chapters 1-4
Test I
Chapters 1-4
Spring Break
None
Spring Break
None
Reflection Discussion II:
“Camille Claudel” Reflection
03/25
03/30
04/01
04/06
04/08
04/13
04/15
04/20
04/22
04/27
04/29
05/04
05/06
05/11
05/13
Gallery Discussion:
Bonheur and L’Art Feminin.
Morisot and Cassatt.
Early 20th Century.
Valadon and Kollwitz.
O’Keeffe and Kahlo
Film:
Film:
Reflection Discussion III:
Mid 20th Century, Late 20th Century.
Krasner and Chicago.
Review II
Test II
Studio Project:
Studio Project:
“Hope Horn: Legacy” Exhibition
Readings 6 and 7.
Readings 8 and 9.
Chapter 5.
Readings 10 and 11.
Readings 12 and 13.
“Frida”
“Frida”
“Frida” Reflection Paper
Chapters 6 and 7.
Readings 14 and 15..
Chapters 5-6
Chapters 5-6
Self Portrait
Self Portrait
READING LIST
Primary Text
1.
Nancy Heller, Women Artists: An Illustrated History. New York: Abbeville Press,
Third Edition, 1997.
2.
The Guerrilla Girls, The Guerrilla Girls’ Bedside Companion to the History of Western
Art, New York: Penguin, 1998
Assigned Readings
1.
Linda Nochlin, “Why Have There Been No Great Women Artists?” in Linda Nochlin,
Women, Art and Power and Other Essays, Boulder: Westview Press, 1988, 145-178.
2.
Mary D. Garrard, “Artemisia and Susanna,” in Norma Broude and Mary Garrard,
Feminism and Art History: Questioning the Litany, New York: Harper and Row, 1982,
147-172.
3.
Frima Fox Hofrichter, “Judith Leyster’s Proposition - Between Virtue and Vice,” in
Norma Broude and Mary Garrard, Feminism and Art History: Questioning the Litany,
New York: Harper and Row, 1982, 173-182.
4.
Natalie Boymel Kampen, “The Muted Other: Gender and Morality in Augustan Rome
and Eighteenth-Century Europe,” in Norma Broude and Mary Garrard, The
Expanding Discourse: Feminism and Art History, New York: HarperCollins, 1992,
161-170.
5.
Carol Duncan, “Happy Mothers and Other New Ideas in Eighteenth-Century French
Art,” in Norma Broude and Mary Garrard, Feminism and Art History: Questioning the
Litany, New York: Harper and Row, 1982, 201-220.
6.
James M. Saslow, “Disagreeably Hidden: Construction and Constriction of the Lesbian
Body in Rosa Bonheur’s Horse Fair,” in Norma Broude and Mary Garrard, The
Expanding Discourse: Feminism and Art History, New York: HarperCollins, 1992,
187-206.
7.
Tamar Garb, “L’Art Feminin:
The Formation of a Critical Category in Late
Nineteenth-Century France,” in Norma Broude and Mary Garrard, The Expanding
Discourse: Feminism and Art History, New York: HarperCollins, 1992, 207-230.
8.
Linda Nochlin, “Morisot’s Wet Nurse: The Construction of Work and Leisure in
Impressionist Painting,” in Norma Broude and Mary Garrard, The Expanding
Discourse: Feminism and Art History, New York: HarperCollins, 1992, 231-244.
9.
Griselda Pollock, “Modernity and the Spaces of Femininity,” in Norma Broude and
Mary Garrard, The Expanding Discourse: Feminism and Art History, New York:
HarperCollins, 1992, 245-268.
10.
Alessandra Comini, “Gender or Genius? The Women Artist of German Expressionism,”
in Norma Broude and Mary Garrard, Feminism and Art History: Questioning the
Litany, New York: Harper and Row, 1982, 271-292.
11.
Carol Duncan, “Virility and Domination in Early Twentieth-Century Vanguard
Painting,” in Norma Broude and Mary Garrard, Feminism and Art History:
Questioning the Litany, New York: Harper and Row, 1982, 293-314.
12.
Barbara Buhler Lynes, “Georgia O’Keeffe and Feminism: A Problem of Position,” in
Norma Broude and Mary Garrard, The Expanding Discourse: Feminism and Art
History, New York: HarperCollins, 1992, 437-450.
13.
Janice Helland, “Culture, Politics and Identity in the Paintings of Frida Kahlo,” in
Norma Broude and Mary Garrard, The Expanding Discourse: Feminism and Art
History, New York: HarperCollins, 1992, 397-408.
14.
Anne M. Wagner, “Lee Krasner as L.K.,” in Norma Broude and Mary Garrard, The
Expanding Discourse: Feminism and Art History, New York: HarperCollins, 1992,
425-436.
15.
Josephine Withers, ”Judy Chicago’s Dinner Party: A Personal Vision of Women’s
History,” in Norma Broude and Mary Garrard, The Expanding Discourse: Feminism
and Art History, New York: HarperCollins, 1992, 451-466.
COURSE APPROVAL ATTACHMENTS
ARTH 210: WOMEN IN THE VISUAL ARTS
COURSE DECRIPTION
This cross-disciplinary course presents selected topics on women in the visual arts, including
the history of women’s achievements and struggles in the visual arts, and varied ways of
thinking and writing about women, art and culture. Topics will include but are not limited to:
Survey of Women in Art; Being Female in the Renaissance; Contemporary Women Artists;
The Female Artist in Latin America; Women Artists in America; 19th Century Women
Artists; et cetera. This course will utilize the Blackboard system for class research links,
email communications, discussions and paper submissions.
RATIONALE FOR COURSE
ARTH 210: Women in the Visual Arts provides a basic introduction to this subject. It is
suitable for students of any grade level with general interest, as well as those pursuing art
history minors and/or women’s studies concentrations. Using lectures, discussions, gallery
and museum trips, and writing assignments, students will become familiar issues related to
women in the visual arts; in order to contextualize these issues, they will also gain a broader
background in art history in general. The course is cross-listed with the Women’s Studies
Program.
RESOURCES NEEDED
Current library and internet resources are sufficient for this course.
EVALUATION PROCEDURES
Students will be evaluated on the basis of class participation, documented, in part, through
attendance at assigned art events and use of the Blackboard system; midterm and final
examinations; and six writing assignments (approximately 20 pages at 200 words each for a
4000 word writing intensive minimum). Based on the results of these evaluation procedures,
the use of Blackboard research/ discussion facilities and the scope of writing assignments, in
particular, may be adjusted and/or further developed.
Course Approval Form
Signature Sheet
Date Submitted to Department:
October 2, 2003
Date of Department Decision:
October 2, 2003.
Departmental Recommendation:
X
Approval
_______________ Deny Approval
Provide Rationale for Recommendation:
ARTH 210: Women in the Visual Arts will meet stated requirements for Writing Intensive courses based on
a 4,000 word writing intensive minimum
Chairperson Signature: __________________________
Date: _______________
College Action: (Note if course is being offered jointly by more than one college, it must be approved by all
deans who are jointly responsible)
Date Posted on Curriculum Bulletin Board ______________
Recommendation:
___________ Approval
_________ Deny Approval
Dean’s Signature: ______________________________
(Attach Rationale)
Date:_______________
General Education Review (If necessary)
Date Discussed by Conference Committee on Curriculum ______________________
Recommendation:
______Approval for General Education (Check all that apply)
Writing Intensive _______ Cultural Diversity
_________
Humanities
_______ Social/Behavioral Sciences
_________
Natural Sciences _______ Theology/Philosophy
_________
Quantitative Reasoning __________
Signature: ____________________________________
Date: ________________
Provost’s Action:
_______________
Approve _____________ Deny
Provost’s Signature: _____________________________
(Attach rationale)
Date:
_______________