WSU Regulation 3-4
WINONA STATE UNIVERSITY
POLICY FOR CHANGING THE CURRICULUM
The purpose of this policy is to describe the process to be used to accomplish curricular changes, while recognizing the
responsibility and right of the faculty to propose such changes. Curricular changes include proposals for the growth, reduction, or
discontinuation (banking) of a major, minor, option or concentration, new courses, or changes in existing courses. The policy
applies to:
1.
Changes to existing courses requiring notification of, but not action by, the Academic Affairs and Curriculum Committee
(A2C2) and/or Graduate Council,
2.
All new or revised courses requiring A2C2 and/or Graduate Council approval,
3.
All courses which departments wish to submit for inclusion in the University Studies Program requiring University
Studies Subcommittee and A2C2 approval (See also the University Studies Program and Policies document and the University
Studies Course Approval Form),
4.
New and revised programs (majors, minors, options, certificates, and concentrations, including credit hour increases or
decreases) requiring A2C2 and/or Graduate Council approval,
5.
Discontinuation (banking) of a Program (major, minor, option, or concentration) or Course. (See WSU Regulation 3-19.)
Process for Accomplishing Curricular Change
A. Responsibilities of the Department
Curriculum proposals and notifications originate with a department or with one or more faculty members. To ensure that
proposals are drafted in keeping with this Regulation 3-4, the appropriate department’s A2C2 representative will complete and
sign the Checklist for Curricular Change Proposals. The submitting department(s) will evaluate each proposal and
recommend approval or disapproval. The proposal or notification is then sent to the college dean for consideration and
recommendation. The dean returns the proposal with a recommendation to the department chair. All curriculum proposals
must be submitted on the approved WSU curriculum proposal forms or notification form. Copies are attached.
B. Responsibilities of the Dean of the College
After approval by the department, all proposals are sent to the college dean for consideration and recommendation. The dean
returns the proposal with a recommendation to the department chair.
C. Responsibilities of the Department Chair
The chair will forward the original forms and eleven (11) copies plus an electronic copy for posting for curricular changes and
one (1) copy of notifications that involve undergraduate credit to A2C2 and ten (10) copies for those that involve graduate
credit to the Graduate Council, following the procedures as outlined on the appropriate forms. For proposals involving both
undergraduate and graduate credit twenty-one (21) copies are submitted. The electronic copy of University Studies proposals
will be sent to the IFO secretary for posting.
A representative of the originating department must attend the meeting at which the proposal will be considered. Other
interested parties are also invited to attend.
D. Responsibilities of the Academic Affairs and Curriculum Committee (A2C2)
A2C2 considers new proposals and revisions according to the following procedure and steps:
1.
Upon receiving the original forms and the appropriate number of copies from the department, the A2C2 chair puts the
proposal on the agenda of the A2C2 Course and Program Proposal Subcommittee or the University Studies Subcommittee
meeting. Notifications will be put on the agenda of the next A2C2 meeting and will be read by the chair.
2
2.
One week before the Course and Program Proposal Subcommittee meeting the A2C2 chair distributes copies of the
proposal to A2C2 and Course and Program Proposal Subcommittee members and notifies the following of the time and
place of the A2C2 Course and Program Proposal Subcommittee meeting at which the proposal will be considered:
a.
b.
c.
d.
e.
f.
g.
h.
i.
each department’s A2C2 representative,
Course and Program Proposal Subcommittee members,
concerned department chairs,
the IFO Faculty Association President,
the President of MSUAASF,
the President of Student Senate,
the Graduate Council, if appropriate,
the College Deans, and
the Vice President for Academic Affairs.
One week before the University Studies Subcommittee (USS) meeting the University Studies director distributes copies of
the proposal to the USS members and notifies the campus community of the time and place of the USS meeting and
identifies proposal being considered.
3.
The department initiating the curriculum proposal must send a representative who is knowledgeable of the proposal to this
meeting. If no representative from the originating department is present, the proposal will be tabled.
4.
All university units, faculty, students, MnSCU, are invited to send representatives to the A2C2 Course and Program
Proposal Subcommittee meetings.
5.
Any department or other University unit that objects to the curriculum proposal must present a written statement of their
position (with copies for each subcommittee member) at the A2C2 Course and Program Proposal Subcommittee meeting
and may send a representative to the meeting to explain the objection. If conflicts between university units are not
resolved to the subcommittee’s satisfaction, the proposal will be postponed until resolved.
6.
Curriculum proposals will be evaluated using the criteria as listed in this regulation and on the proposal forms, and a
recommendation for approval or disapproval will be made.
7.
If the proposal contains both a new program and new courses, the program and courses will be submitted simultaneously.
Upon receiving a recommendation from the subcommittee, A2C2 will formally act first on the new program and then on
the new courses.
8.
The A2C2 Course and Program Proposal Subcommittee will bring the proposal and the recommendation to the next A2C2
meeting.
9.
A2C2 will vote approval or disapproval of the proposal.
10. The A2C2 chair will forward the proposal together with the A2C2 recommendation to the IFO Faculty Senate.
Note: A2C2 does not act on proposals involving courses or programs for graduate credit only or on proposals to designate a
lower-level course as being eligible for graduate credit.
E.
Responsibilities of the Graduate Council
All proposals involving notification and new or revised courses or programs for graduate credit only and all proposals that
designate a lower-level course as eligible for graduate credit are acted on by the Graduate Council. A2C2 does not make
recommendations or receive copies of these proposals.
A proposal for a curriculum change which includes any double-numbered course which qualifies for both undergraduate and
graduate credit must be submitted both to A2C2 and to the Graduate Council for their evaluation and recommendation.
3
F.
Responsibilities of the WSU Faculty Association Senate
After receiving the proposal and recommendation from A2C2 and/or Graduate Council, the WSU Faculty Association Senate
will approve or disapprove the proposal. The proposal, together with the A2C2 and/or Graduate Council recommendation and
the Faculty Senate recommendation will then be forwarded to the Vice President of Academic Affairs.
G. Responsibilities of the Vice President of Academic Affairs and the President
The Vice President for Academic Affairs shall recommend approval or disapproval of the proposal to the President within a
reasonable length of time.
The President shall make the decision approving or disapproving of the proposal.
The Vice President for Academic Affairs shall communicate the President’s decision to all appropriate University units within
fifteen (15) contract days of the date of the decision. The decision shall be printed in the appropriate University publication.
The effective date for curricular changes is normally the semester after which the proposal is approved.
If the Vice President’s recommendation and/or the President’s decision departs from the A2C2 or Graduate Council
recommendation, the Vice President shall communicate in writing to the A2C2 chair or the chair of the Graduate Council and
to the originator of the proposal the reasons for the departure within the fifteen (15) contract day limitation.
H. All Course and Program Proposals are subject to MnSCU Policies on Curriculum.
Types of Curricular Proposals
A. Notifications.
The following types of curricular proposals are considered to be notifications. These proposals require notification of, but not
action by, A2C2 and/or Graduate Council. Submit on form entitled Notifications.
The proposal is considered to be a Notification if the curricular change is for an individual course and the change proposed is
one of the following:
•
Change in course title,
•
Change in catalog description only,
•
Change in prerequisites,
•
Change in grading option,
•
Reduction in course number,
•
Change in course number within level, e.g. 310 to 350, or
•
Increase in hours or credits in an independent study course.
A proposal for such a curricular change requires approval of only the department and college dean. The notification will be
presented in writing at the next A2C2 and/or graduate Council meeting as part of the agenda under Notifications. The
notification is sent to A2C2 if the course is an undergraduate course and to the Graduate Council if the course is a graduate
course.
A department, with its dean’s approval, may change up to two required courses within an existing major, minor, option,
concentration, etc., per year without seeking approval of A2C2 or the Graduate Council, provided that (1) the total credits do not
increase or decrease for the major, minor, option, concentration, etc., and (2) the change does not affect other departments or the
University Studies Program. Such a change is also considered to be a notification and is submitted on the form Notifications.
However, if such a change affects other departments or the University Studies Program, then the proposal will be considered a
new or revised course or program proposal.
The department will supply A2C2 or the Graduate Council with the original form and one copy at least seven (7) contract days
before the meeting at which the department wishes the notification to be presented.
B. Proposals for New Courses.
Use form Proposal for New Courses. Supply all information according to the directions found on the form. Include a Financial
and Staffing Data Sheet and an Approval Form. The department will supply A2C2 and/or Graduate Council with the original
forms and the appropriate number of copies of the forms at least seven (7) contract days before the A2C2 meeting or Graduate
Council meeting at which the department wishes the proposal to be considered.
C. Proposals for Revised Courses.
If the proposed curricular change requires A2C2 and/or graduate Council approval, i.e., not considered a notification, use form
Proposal for Revised Courses. Follow directions given on the form and include an Approval Form. The department will supply
A2C2 and/or Graduate Council with the original forms and the appropriate number of copies of the forms at least seven (7)
contract days before the A2C2 meeting or Graduate Council meeting at which the department wishes the proposal to be
considered.
D. Proposals for Courses for Inclusion in the University Studies Program including flagged courses.
Use form Proposal for University Studies Courses. Follow directions given on the form and include a University Studies
Course Approval Form. The department will supply A2C2 with the original forms and ten (10) copies of the forms at least seven
(7) contract days before the University Studies Subcommittee meeting at which the department wishes the proposal to be
considered. If the proposed course is a new course, it must submitted for approval as a new course (see above) before submission
as a University Studies course.
E.
Proposals for Revised Programs.
Use form Proposal for Revised Programs. Supply all information requested on the form and include a Financial and Staffing
Data Sheet and an Approval Form. The department will supply A2C2 and/or Graduate Council with the original forms and the
appropriate number of copies of the forms at least seven (7) contract days before the A2C2 meeting or Graduate Council meeting
at which the department wishes the proposal to be considered.
F.
Proposals for New Programs.
Proposals for new programs will be submitted as required by MnSCU regulations.
G. Proposals for Discontinuation (Banking) of a Program or Course.
See WSU Regulation 3-19. Supply all information requested on the form. The department will supply A2C2 with the original
form and one copy at least seven (7) contract days before the A2C2 meeting at which the department wishes the proposal to be
presented.
WINONA STATE UNIVERSITY
REQUIRED CHECKLIST FOR ALL CURRICULAR PROPOSALS
Course or Program___ART 440: Realism in Modern and Contemporary Art_______________________________
This checklist enables A2C2 representatives to endorse that their departments have accurately followed the Process for
Accomplishing Curricular Change. For each course or program proposal submitted to A2C2, this checklist must be completed, signed
by the submitting department's A2C2 representative, and included with the proposal when forwarded for approval. Peer review of
proposals is also strongly advised, e.g., departments should discuss and vote on the proposals as submitted to A2C2, rather than on just
the ideas proposed or drafts of proposals.
If a proposal fails to follow or complete any aspect of the process, the Course and Program Proposal Subcommittee will postpone
consideration of the proposal and return it to the department's A2C2 representative for completion and resubmission. Resubmitted
proposals have the same status as newly submitted proposals.
Note: This form need not be completed for notifications.
1.
The appropriate forms and the “Approval Form" have been completed in full for this proposal. All necessary or relevant
descriptions, rationales, and notifications have been provided.
________ Completed
2a. The “Financial and Staffing Data Sheet" has been completed and is enclosed in this proposal, if applicable.
________ Completed
________ NA
2b. For departments that have claimed that “existing staff" would be teaching the course proposed, an explanation has been
enclosed in this proposal as to how existing staff will do this, e.g., what enrollment limits can be accommodated by
existing staff. If no such explanation is enclosed, the department's representative is prepared to address A2C2's questions
on this matter.
________ Completed
________ NA
3.
Arrangements have been made so that a department representative knowledgeable of this proposal will be attending both
the Course and Program Proposal Subcommittee meeting and the full A2C2 meeting at which this proposal is considered.
________ Completed
Name and office phone number of proposal's representative: _____________________________________
4.
Reasonable attempts have been made to notify and reach agreements with all university units affected by this proposal.
Units still opposing a proposal must submit their objections in writing before or during the Course and Program Proposal
Subcommittee meeting at which this proposal is considered.
________ Completed
________ NA
5.
The course name and number is listed for each prerequisite involved in this proposal.
________ Completed
________NA
6.
In this proposal for a new or revised program (major, minor, concentration, etc.), the list of prerequisites provided includes
all the prerequisites of any proposed prerequisites. All such prerequisites of prerequisites are included in the total credit
hour calculations. ________ Completed
________ NA
7.
In this proposal for a new or revised program, the following information for each required or elective course is provided:
a.
The course name and number.
b.
A brief course description.
c.
A brief statement explaining why the program should include the course.
________ Completed
________ NA
8.
This course or program revision proposal:
a.
Clearly identifies each proposed change.
b.
Displays the current requirements next to the proposed new requirements, for clear, easy comparison.
________ Completed
________ NA
9.
This course proposal provides publication dates for all works listed as course textbooks or references using a standard form
of citation. Accessibility of the cited publications for use in this proposed course has been confirmed.
________ Completed
________ NA
__________________________________________________
Department's A2C2 Representative or Alternate
______________________
Date
[Revised 9-05]
WINONA STATE UNIVERSITY
PROPOSALS FOR NEW COURSES
DIRECTIONS FOR THE DEPARTMENT
This form, Proposal for New Courses, is to be used to submit course proposals for any new undergraduate or graduate course. Read
the directions below for information on providing course descriptions and impact of approval on other departments. The department
must include a Financial and Staffing Data Sheet and an Approval Form with this proposal. Copies of each of these forms are
attached. Refer to Regulation 3-4, Policy for Changing the Curriculum, for complete information on submitting proposals for
curricular changes.
Provide the following information when submitting a new course proposal.
A.
Provide a description of the course. This description must include the following information.
1.
2.
3.
4.
5.
6.
Description of the course as it will appear in the WSU catalog.
Syllabus or course outline of the major topics, themes, subtopics, etc., to be covered in the course. This outline should be,
at a minimum, a two-level outline, i.e., consisting of topics and subtopics.
Indicate the instructional delivery methods and course media codes used.
Course requirements (papers, lab work, projects, etc.) and means of evaluation.
List of course materials. This list may include textbooks, articles, monographs, software, etc.
Bibliography, including author, title, date, for a reasonable number of scholarly materials such as articles and books.
The above course description does not preclude future revisions of course content, texts used, methods of instruction and forms
of evaluation.
B.
Provide a rationale for the new course. The rationale should include the following item.
1.
2.
3.
C.
Provide a statement of the impact of this course on other departments, programs, majors, and minors.
1.
2.
3.
D.
Statement of the major focus and objectives of the course.
Statement specifying how this course will contribute to the departmental curriculum.
Courses which may be dropped, if any, if this course is implemented.
Clearly state the impact of this course on courses taught in other departments. Does this course duplicate the content of
any other course? Is there an effect on prerequisites?
Would approval of this course change the total number of credits required by any major or minor of any department? If
so, the department must indicate which departments are affected and explain carefully the effects of the course.
If this course has an impact on the major or minor of any other department or any program, it is the responsibility of the
department submitting the course proposal to send written notification to the department(s) or program(s) affected. State
clearly which other programs are affected by this proposal and whether the other departments have been notified and/or
consulted.
If this course is also being submitted for inclusion in the University Studies Program, the form Proposal for University Studies
Course and appropriate approval form must also be completed and submitted according to the instructions on that form.
Note: If any of the requested information is missing, the proposal will not be reviewed by the A2C2 Course and Program
Proposal Subcommittee or the Graduate Council but will instead be returned to the department.
[Revised 7-5-07]
WINONA STATE UNIVERSITY
PROPOSAL FOR NEW COURSES
Department ____ART___________________________________________
Date September 21, 2009_______________
Refer to Regulation 3-4, Policy for Changing the Curriculum, for complete information on submitting proposals for curricular
changes.
ART 440_____________
Course No.
_ Realism in Modern and Contemporary Art _____________________ _3.00________
Course Title
Credits
This proposal is for a(n)
_X__ Undergraduate Course
______ Graduate Course
Applies to:
_X__ Major
_____ Required
_X_ Elective
Prerequisites
_ART 221, ART 222_______________________________________________________________________
Grading method _X__ Grade only
_X_ Minor XUniversity Studies*[WRITING FLAG]
_____ Required
X__ Elective
______ P/NC only
__ Not for USP
______ Grade and P/NC Option
Frequency of offering ___Varying/ once every 2 yrs: this is an elective among several for majors/minors____________________
*For University Studies Program course approval, the form Proposal for University Studies Courses must also be completed and
submitted according to the instructions on that form.
Provide the following information:
A.
Course Description PLEASE SEE NEXT PAGE
1. Catalog description.
2. Course outline of the major topics and subtopics (minimum of two-level outline).
3.a Instructional delivery methods utilized: (Please check all that apply).
Lecture: Auditorium
ITV
Online
Web Enhanced
XLecture: ClassroomX
Service Learning
Travel Study
Laboratory
Other: (Please indicate)
3.b. MnSCU Course media codes: (Please check all that apply).
None:
3. Internet
6. Independent Study
1. Satellite
4. ITV Sending
7. Taped
2. CD Rom
5. Broadcast TV
8. ITV Receiving
4. Course requirements (papers, lab work, projects, etc.) and means of evaluation.
5. Course materials (textbook(s), articles, etc.).
6. Assessment of Outcomes
7. List of references.
B.
9. Web Enhanced
10. Web Supplemented
Rationale
1.
2.
3.
C.
XWeb Supplemented X
Internship/Practicum
Statement of the major focus and objectives of the course.
Specify how this new course contributes to the departmental curriculum.
Indicate any course(s) which may be dropped if this course is approved.
Impact of this Course on other Departments, Programs, Majors, or Minors
1.
2.
Does this course increase or decrease the total credits required by a major or minor of any other department? If so, which
department(s)?
Attach letter(s) of understanding from impacted department(s).
Supplements for New Course proposal: Realism in Modern and Contemporary Art
1.
Catalog description.
Realism in Modern and Contemporary Art: an examination of artists who chose to paint or sculpt naturalistic, recognizable
images during a time when non-representation had become established and, in some cases, dominant. Topics will include with
the socially radical realism of Gustave Courbet, the classicizing impulse of Pablo Picasso, the popularizing art of Norman
Rockwell, and the social and gender critique of Jenny Saville. Classes will consist of primary source readings, critical
discussions, independent research, a paper, presentation, and when possible, viewing of actual works of art.
2 Topics and Subtopics
I. Introduction to Realism as distinct from naturalism and idealization
A. Linda Nochnlin on Realsim
B. Giorgio Vasari
II. Realism as Subversion and the beginnings of modernism:
A. Gustave Courbet
B. Edouard Manet
C. Thomas Eakins
D. August Rodin
III. Foundational debates in 20th century modernism
A. Henri Matisse and Clement Greenberg, “Exactitude is not Truth”
B. Farifield Porter: realism as critical grudge.
IV. The “Return to Order”: 1920s neo-classicism
A. Picasso and others
B. Buchloh’s objections: “Figures of Authority, Ciphers of Regression”
V. The hegemony of modernism
A. William Bailey and Philip Pearlstein
B. Arts Renewal.org
1. a lesson in critical reading
2. a lesson in the problems of internet research
VI. Photography, exactitude, and challenges to “expressionism”
A. Chuck Close
B. Richard Estes and photorealism
C. Duane Hanson: tableau vivants of the modern world
D. Gerhard Richter: painting through a glass darkly
VII. Challenges to “taste” and “high art”
A. From without:
1. Norman Rockwell
2. Thomas Kinkade
B. From within:
1. Francis Picabia
2. Kehinde Wiley: celebrity, eroticism, and cultural appropriation
in the African American male
VIII. Other Reals
A. The Lacanian Real: Slavoj Zizek and Hal Foster
B. Non-representation as realism: Robert Ryman and James Meyer
IX. Be careful what you wish for: “Real painting” and gender complications
A. Lucian Freud
B. Lisa Yuskavage
C. John Currin
X. Angst of the Body - self and self-image
A. Jenny Saville
B. Odd Nerdrum
C. Kiki Smith
D. Ron Mueck
3. Instructional delivery methods utilized [see Course Proposal Form]
4. Course requirements (papers, lab work, projects, etc.) and means of evaluation.
Students will be evaluated based on participation in daily discussions, incremental research and critical
reading assignments leading to a final paper, a presentation, an online discussion component on D2L, and two take-home, openbook/open-note exams.
5.
Course materials (textbook(s), articles, etc.).
Articles and book excerpts will be provided electronically on D2L or retrieved but the student when they available fulltext online through library databases.
6.
Assessment of Outcomes: In addition to the in-class assessment methods listed, outcomes will also be assessed by
the Art Department Learning Fundamentals Exam, and the ability of students to situate their work within an informed
dialogue as required by the Junior Review and the Senior Artist Statement.
1. The
student will recognize realism as distinct from naturalism, and be able to place it historically as an expression of radical
social/political agitation in the 1840s.
Assessed by: Classroom discussions, take-home exams.
th
th
st
2. The student will acquire a chronology of major realist artists of the 19 , 20 , and 21 centuries.
Assessed by: Classroom discussions, take-home exams. (particularly in generalized questions that require a battery of artists
on which the student must draw to make his or her argument – see attached take-home exam.)
3. The
student will recognize how the meaning of realist works of art are contingent upon contemporaneous artistic
developments and trends.
Assessed by: Classroom discussions, take-home exams, and research paper.
4. The
student will develop skill in reading and comprehending complex theoretical texts about works of art.
Assessed by: Classroom discussions, take-home exams, and research paper.
5. The
student will develop his or her ability to discern differences in works of art and recognize how meaning is embedded in
these differences.
Assessed by: Classroom discussions (to include examinations of works projected onto the screen), take-home exams, and
research paper (to include detailed descriptions of one or more works of art).
6. The
student with understand that modern and contemporary western art exists as an ongoing dialogue and debate, in which
works of art act as statements of positions.
Assessed by: Classroom discussions, take-home exams, and research paper.
The student will conduct individual research and deliver a paper that makes an argument with regard to an artist or topic of
his or her choice.
Assessed by: incremental research assignments, research paper, and presentation.
7.
The following materials will be supplied to students:
Grading Criteria for Papers:
Adherence to guidelines given in documents on D2L:
Writing tips: avoid “I,” avoid contractions, etc., etc., etc.
Citation Format: I did not count every semi-colon, but I want to see basics such as italicized or underlined books titles, article
titles in quotation marks, correspondence between numbers in text and actual notes, etc. I can tell when a good faith effort is
made and when it is not.
Research: adequate research beyond superficial; use of databases given in library and in-class instruction.
Summary of last three points: did you take responsibility to avail yourself of the help I offered?
Draft: did you read and incorporate my comments? Did you fix errors and meet the challenges I issued regarding content?
Ambition: did you have something to say? Did you carefully discuss the formal properties of the art as well as the ideas that
surround it (the ideas of the artist, his/her critics, etc.)
Meaning of numbers: a 100 paper is impossible
90s: excellent; not only are there minimal imperfections as to format and writing, but paper displays ambition and creativity in
its art historical analysis: it presents a well-defined topic and considerable insights.
80s: solid; you should be pleased. reasonable efforts at format and content, with some imperfections. writing and ideas are
somewhat clear. May not have anything WRONG, but lacks the ambition and insight of a 90s paper.
70s: average; not bad, not really good. A main idea with supporting details are communicated, but structure and format are
lacking. Paper does not demonstrate an impressive amount of initiative, care, or follow-through. Not quite adequate supporting
details or complete discussions of points.
60s: below average. A lack of care in clarity of language, format, research, and mechanics. An idea may be present, but it is
communicated inconsistently and without authority. Full of generalizations without substantiation.
50s: thoroughly inadequate. Conspicuous absence of initiative and effort. Minimal research, minimal thought, failure to take
advantage of guidelines and instruction.
Presentation Criteria:
The presentation is a five minute formal reading of a text extracted from your paper. You can try to sum up the whole thing, or
you can focus on one point.
This is the standard format in academic art history.
Five minutes is about 2.5 typed, double spaced pages.
Be professional: stand up straight, appear like you care. (“dress for success”)
Read the title, Pause, then read the script. Don’t say “my paper is” or “I did my paper on”
Speak loudly, clearly, and slowly.
Show evidence that you have practiced.
Know all pronunciations. [check with me!!]
Adhere to the five minute limit: too short lacks substance, too long lacks discipline.
Have a thesis, a point that you are making.
Stick to the script: be definitive and authoritative. Do not make it up as you go along.
Demonstrate that you have extracted a cogent presentation, a segment from your paper.
Have some visuals; bring PPT via a jump drive or cd. OR your own laptop.
Don’t overdo the slides. Not too many, but enough to make your point.
7.
List of references.
Baily, William. “William Baily: a tenacious dissenter talks about the mystery of painting and bemoans the sad state of today’s
art world.” Art & Antiques (October 1986) p. 57-8+
Buchloh, Benjamin H.D. “Figures of Authority, Ciphers of Regression.” October 16 (Spring 1981): 39-68.
Doherty, M.S. “Thomas Kinkade shares his light,” American Artist v. 65 no. 711 (October 2001) p. 20-7
Harrison, Charles. “Manet,” from Painting the Difference: Sex and Spectator in Modern Art. Chicago: University of Chicago
Press, 2005.
Hickey, Dave. “The Kids are All Right: After the Prom.” Norman Rockwell: Pictures for the American People. Atlanta: High
Museum of Art, 1999.
Kuspit, Donald. “Flesh for Phantasy (Fresh Freud),” Artforum v. 32 (March 1994) p. 54-9
Kuspit, Donald. “What’s Real in Realism?” in Art in America v. 69, no 9 (September 1981): p. 84-94.
Matisse, Henri. “Exactitude is not Truth.” Jack Flam, ed., Matise on Art. New York and London: Phaidon, 1973.
Greenberg, Clement. “Avant-Garde and Kitsch,” “Abstract, Representational, and so Forth.” Art and Culture: Critical Essays.
Boston: Beacon Press, 1961.
Nochlin, Linda. Realism. New York: Penguin, 1971.
Nochlin, Linda. “Flesh for Phantasy (Frayed Fraud: Lucian Freud)” Artforum v. 32 (March 1994) p. 54-9
Nochlin, Linda. “Floating in Gender Nirvana,” Art in American v. 88 no. 3 (March 2000) p. 94-7
Siegel, Katy. “Blonde Ambition: the Art of Lisa Yuskavage” Artforum v. 38 no. 9 (May 2000) p. 156-9
Vasari, Giorgio. “Preface to Part Three,” and excerpt from entry on Titian in Lives of the Artist, Volume 1, trans., George Bull
(London, New York: Penguin, 1965, 1987), 249-254; 443-44.
Zizek, Slavoj. “The Undergrowth of Enjoyment: How Popular Culture Can Serve as an Introduction to Jacques Lacan” The
Zizek Reader. London: Blackwell, 1999.
B.
Rationale
1.
Statement of the major focus and objectives of the course.
This course focuses on artists who have used representation, often in opposition to mainstream values in art at any given time.
They will recognize modern and contemporary art as a field of conversation and contention, and in order to make sense of this
field, they will receive experience and instruction on independent research and critical reading of texts and works of art.
2.
Specify how this new course contributes to the departmental curriculum.
This course will serve as one of several electives available to the Studio Art Major or the Art History Minor. It provides to
the art student a sense of the diversity and contentiousness of the many kinds of representation for the last one
hundred and fifty years, thereby divesting them of the oversimplified binary of “realist” vs “abstract.”
3. Indicate any course(s) which may be dropped if this course is approved.
Because this is an elective that may be used to fulfill the requirement that Studio Art Majors take one 400-level Art History
course in addition to ART 439 (Art Since 1945), it will not be necessary to drop any other courses. It will not add to the total
credit hours of any of our programs.
C.
Impact of this Course on other Departments, Programs, Majors, or Minors
1.
Does this course increase or decrease the total credits required by a major or minor of any other department? If so,
which department(s)?
2.
Attach letter(s) of understanding from impacted department(s).
No
not applicable
Definitions:
01-Satellite:
02- CD Rom:
03- Internet: Predominately = where all, or nearly all, course activity occurs in an online environment. One to two activities may
occur face-to-face in a classroom, with the maximum being two activities.
04 – ITV Sending: a course in which students are in the classroom with the instructor, other students join via interactive television
technology from other geographically separate locations
05 – Broadcast TV:
06 – Independent Study: a course in which the teacher develops specialized curriculum for the student(s) based on department
guidelines in the University course catalog
07 – Taped: a course in which the teacher records the lessons for playback at a later date
08 – ITV Receiving: a course in which students are not in the classroom with the teacher, other students join via interactive television
technology from other geographically separate locations
09 – Web Enhanced- Limited Seat Time: For a course in which students are geographically separate from the teacher and other
students for a majority of required activities. However, some on-site attendance is required. The course includes synchronous and/or
asynchronous instruction.
10 – Web Supplemented- No Reduced Seat Time: For a course utilizing the web for instructional activities. Use of this code may
assist your college/university in tracking courses for “smart classrooms” and/or facility usage.
Attach a Financial and Staffing Data Sheet.
Attach an Approval Form with appropriate signatures.
Department Contact Person for this Proposal:
_Vittorio Colaizzi________________________
Name (please print)
_457 5529__
Phone
_vcolaizzi@winona.edu________________
e-mail address
[Revised 7/5/07]
WINONA STATE UNIVERSITY
PROPOSAL FOR UNIVERSITY STUDIES COURSES
DIRECTIONS FOR THE DEPARTMENT
This form, Proposal for University Studies Courses, is to be used to submit course proposals for inclusion in the University Studies
Program. Read the directions below for information on providing course descriptions. The department must include the University
Studies Approval Form with this proposal. Copies of each of these forms are attached. Refer to Regulation 3-4, Policy for Changing
the Curriculum and the University Studies Program and Policies Document for complete information on submitting University
Studies courses.
The following points are contained in the University Studies Program and Policies Document (Section IV. Course Approval
Process).
Material to be submitted for course approval for Course Requirements:
1.
2.
Course proposals must address all specified outcomes.
The course proposal must include documentation of Course Requirements and learning activities designed to meet the
course outcomes specifies for the area.
The course proposal must include a course description (e.g., a syllabus or course outline for distribution to students) that
clearly identifies (to the student) the course as a University Studies Course.
The course description (e.g., a syllabus or course outline for distribution to students) should also include information
directed to the student that clearly identifies course activities and assignments that address the course outcomes.
Sequences of courses may be submitted to satisfy area requirements. In this case the requested material or documentation
in items 1-4 must be submitted for all of the courses in the sequence.
The USS may request other material (e.g., textbooks) for review in evaluation course proposal.
The USS may request additional information for re-approval.
3.
4.
5.
6.
7.
Material to be submitted for course review of Flagged Courses:
1.
2.
3.
4.
5.
The USS recognizes that decisions as to which courses meet department flag requirements reside with the
department offering the courses. Nevertheless, departments are required to demonstrate how flagged courses
address the relevant outcomes for each flag.
Departments should submit course descriptions for flagged courses to the USS and the syllabus should clearly
identify the course as a course that satisfies a flag requirement within the University Program.
The course descriptions for flagged courses should include information directed to the students which clearly
identifies activities and assignments that address the outcomes.
The USS has the right to comment on department plans for flagged courses and to offer suggestions.
No flagged course will satisfy University Studies Course Requirements in the University Studies Program.
*********If the proposed course is a new course, it must be submitted for approval as a new course (see above) BEFORE
submission as a University Studies course.**********
WINONA STATE UNIVERSITY
PROPOSAL FOR UNIVERSITY STUDIES COURSES
Department _ART_______________________________________
Date _September 21, 2009______
440__________
Course No.
___Realism in Modern and Contemporary Art ______
Course Name
This proposal is for a(n)
___X___ Undergraduate Course
Applies to: ____X__ Major
_____ Required
___X__ Elective
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
_____ 2. Oral Communication
_____ 1. Humanities
_____ 2. Natural Science
_____ 1. Critical Analysis
_____ 2. Science and Social
_____ 3. Mathematics
_____ 4. Physical Development & Wellness
_____ 3. Social Science
_____ 4. Fine & Performing Arts
_____ 3. a. Global Perspectives
_____ b. Multicultural
Policy
Perspectives
_____ 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, ART
222______________________________________________________________________
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
______________________________________________
_______________________________
Name (please print)
457 5529
________________
vcolaizzi@winona.edu
Phone
e-mail address
PLEASE SEE ATTACHED SAMPLE SYLLABUS OUTLINING ASSIGNMENTS
PERTAINING TO WRITING FLAG
[Revised 9-05]
WINONA STATE UNIVERSITY UNIVERSITY STUDIES APPROVAL FORM
Routing form for University Studies Course approval.
Department Recommendation
_____ Approved
_________________________________
Department Chair
_____ Disapproved
________________
Date
Dean’s Recommendation _____ Approved
_________________________________
Dean of College
Course______________________
____________________________________________
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
_________________________________
University Studies Director
A2C2 Recommendation
_____ Disapproved
________________
Date
_____ Approved
_________________________________
Chair of A2C2
Faculty Senate Recommendation
_____ Disapproved
________________
Date
_____ Approved
_________________________________
President of Faculty Senate
_____ Disapproved
________________
Date
Academic Vice President Recommendation _____ Approved
_________________________________
Academic Vice President
Decision of President
_____ Approved
_________________________________
President
_____ No recommendation
_____ Disapproved
________________
Date
_____ Disapproved
________________
Date
Please forward to Registrar.
Registrar
_________________
Date entered
Please notify department chair via e-mail that curricular change has been recorded.
[Revised 9-05]
WINONA STATE UNIVERSITY
FINANCIAL AND STAFFING DATA SHEET
Course or Program_ART 440 Realism in Modern and Contemporary 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.
2.
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
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 may or may not be provided because it is also posted on D2L, and the exams will be
take-home and delivered via e-mail.
Some photocopying will be necessary in preparation of the class readings, because there is no text and they are taken from
numerous sources and supplied electronically.
[Revised 9-05]
WINONA STATE UNIVERSITY
NEW AND REVISED COURSE AND PROGRAM APPROVAL FORM
Routing form for new and revised courses and programs.
Course or Program__________________________________
Department Recommendation
_________________________________
Department Chair
________________
Date
Dean’s Recommendation _____ Approved
_________________________________
Dean of College
A2C2 Recommendation
_____ Disapproved
________________
Date
_____ Approved
_____ Disapproved
_________________________________
Chair of A2C2
________________
Date
Graduate Council Recommendation
(if applicable)
_____ Approved
_________________________________
Chair of Graduate Council
________________
Date
_________________________________
Director of Graduate Studies
________________
Date
Faculty Senate Recommendation
_____ Approved
_________________________________
President of Faculty Senate
_____ Disapproved
_____ Disapproved
________________
Date
Academic Vice President Recommendation _____ Approved
________________________________
Academic Vice President
____________________________________________
e-mail address
________________
Date
_____ Disapproved
Decision of President
_____ Approved
_________________________________
President
_____ Disapproved
________________
Date
Please forward to Registrar.
Registrar
_________________
Date entered
Please notify department chair via e-mail that curricular change has been recorded.
[Revised
7-5-07]
WINONA STATE UNIVERSITY
REGULATION 3-4 CHANGE APPROVAL FORM
Routing form for change to WSU Regulation 3-4.
Regulation 3-4 Changes
Academic Affairs and Curriculum Committee (A2C2) Recommendation
_________________________________
Chair of A2C2
________________
Date
Graduate Council Recommendation
(if applicable)
_____ Approved
_________________________________
Chair of Graduate Council
________________
Date
_________________________________
Director of Graduate Studies
________________
Date
Faculty Senate Recommendation
_____ Approved
_________________________________
President of Faculty Senate
_____ Disapproved
_____ Disapproved
________________
Date
Academic Vice President (VPAA) Recommendation _____ Approved
________________________________
Academic Vice President
_____ Approved _____ Disapproved
_____ Disapproved
________________
Date
*In the case of a recommendation to disapprove the proposal, a written rationale of the specific areas of concern will be provided
through Meet and Confer to the Faculty Senate with a copy to A2C2.
Decision of President
_____ Approved
_________________________________
President
_____ Disapproved
________________
Date
*In the case of a recommendation to disapprove the proposal, a written rationale of the specific areas of concern will be provided
through Meet and Confer to the Faculty Senate with a copy to A2C2.
**President’s Office: Please notify VPAA, deans, Human Resources, Academic Affairs and Curriculum Committee, and
department chairs via e-mail that the change to Regulation 3-4 has been approved. Also, send this back to Meet and Confer for
notification of approval.
[7-5-07]
Sample Syllabus for Writing Flag requirement
ART 440 Realism in Modern and Contemporary Art
Welcome to this seminar class on Realism. Despite the frequent identification of abstraction with modern art, as well
as the proliferation of “new media,” naturalistic representation has never gone away. Our goals are to understand the
varying roles of realism within modernism and postmodernism, to survey and join the debates surrounding this
mode of artmaking, through individual research, to bring in-depth knowledge of an artist of your choice to the class.
In addition, we will use our engagement with a specific kind of art to get a sense of the structure of art critical
discourse today, especially be looking at a variety of source. This will enable you to distinguish between these
sources, ascertain the goals and ideologies that motivate these different kinds of writing, and will prepare you for
future critical reading about any kind of art.
Class session will consist of discussions of the reading, often guided by my questions to the class. You will also be
invited to comment on examples of the artwork itself especially in its relation to the readings.
Our readings will not be strictly chronological, but will be broken into three “units” of unequal length, which I am
calling “Debates,” “Other Reals,” and “Case Studies.”
WRITING FLAG: No semester course can be comprehensive. Therefore we will necessarily skip a great amount of
interesting and important material. This is one of the reasons that you will:
Write a term paper on a topic of your choosing. This can be an artist, movement, issue, or historical or interpretive
problem. 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. 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 will contribute to your
homework grade (see below). However, I will take the opportunity to edit your writing.
Your final paper is to be a disciplined art historical examination. To this end it must include a formal analysis of at
least one work of art, and an assessment of how the form, subject matter, and content are integrated. It must also
consider the historical, cultural, and/or stylistic milieu from which the work emerged, as well as the work or works’
critical reception: what was said about it? Was it important to other, subsequent artists? Or did they see it as a dead
end, or a wrong turn (this last question, as you will see, is endemic to modernism and its aftermath).
Most importantly, you must present an argument within your paper. It 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.
Your paper must also bear conscientious observation of instructions given in class handouts: Writing Tips, Research
Guidelines, and Citation Format.
A first draft is due on the date below, to be followed by a final paper that integrates the criticism and suggestions
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 five-minute,
formal art historical presentation (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 representational 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.
READINGS:
The readings are demanding as appropriate to an upper level course, and it is crucial that you read them carefully
and come to class prepared to discuss them. This does not mean that you have to thoroughly understand them (that
takes years), but you must have made an ho9nest attempt, reading diligently and with an active mind, making notes,
underlining passages, and when necessary formulating questions of your own.
Because we are joining the ongoing discussion of art, the SUCCESS OF THIS CLASS DEPENDS ON YOUR
PARTICIPATION in the form of thoughtful reading, diligent research, completion of homework assignments, and
contribution to our conversations.
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.
A note on participation: the success of this class is dependent on your diligence in keeping up with the readings and
coming to class prepared with specific comments, questions, etc. These readings are not to be taken as gospel, but
as jumping off points for criticism and discussion. Our task is to comprehend the authors’ viewpoints, but also to
engage in debates with/about them.
To this end, an additional component of your homework grade will be the contribution to discussions on D2L. Go
to the “Discussions” tab on this course’s D2L site and add your opinion to the ongoing discussion. At the end of
each two weeks, I will check to see that each person has contributed at least once. You need not write an essay; just
a one-to-three sentence comment on whatever topic is under discussion. Obviously, no one will receive credit for
superficial thoughtless comments like “This is stupid.” The purpose of this component is to encourage discussion
and contribution that might not occur in the classroom. However, I may make reference to particularly interesting
comments posted on D2L. The ultimate goal is to ease you into the class discussion format through the online
format. D2L discussions supplement but do not replace classroom discussion. Verbal expression and interaction is
a necessary skill for all students.
Part of your homework grade: You must attend two art department events (exhibitions, lectures, etc.) and write a one
page summary/reaction. A list these events are forthcoming.
This schedule or reading is subject to revision.
Readings will be provided electronically, via e-mail, course reserves, or Blackboard. You must use your Winona
State e-mail account. This is not optional.
Day
Donald Kuspit, “What’s Real in Realism?” in Art in America v. 69, no 9 (September 1981): p. 84-94.
Giorgio Vasari, “Preface to Part Three,” and excerpt from entry on Titian in Lives of the Artist, Volume 1, trans.,
George Bull (London, New York: Penguin, 1965, 1987), 249-254; 443-44.
Day
Henri Matisse, “Exactitude is not Truth”
Clement Greenberg: Avant-Garde and Kitsch,” Abstract, Representational, and so Forth.”
Michael Fried, paragraph on Farifield Porter
Paul Cummings, interview with Farifield Porter
Day
Charlotte Mullins, “Introduction,” Painting People: Figure Painting Today
J.T. Kirkland, DCist Blog entry on Kehinde Wiley and comments
DUE: Turn in a list of not less than three possible topics with your first choice indicated.
Day
Elizabeth Cowling, “Introduction,” from On Classic Ground (London: Tate Gallery, 1990), 11-30.
Benjamin H.D. Buchloh, ”Figures of Authority, Ciphers of Regression.”
DUE: Turn in your final topic choice.
Day
Doherty, M.S. “Thomas Kinkade shares his light,” American Artist v. 65 no. 711 (October 2001) p. 20-7
Mike Rogers, “I believe in Thomas Kinkade.”
DUE: Turn in a written description of one work of art by your chosen artist or form within your chosen field. Make
it as detailed as possible but restrict yourself to description.
Day
“William Baily: a tenacious dissenter talks about the mystery of painting and bemoans the sad state of today’s art
world. Art & Antiques (October 1986) p. 57-8+
Berlind, R. “Putting the piece together again [Hopper and realism today: Artist talk on art, 1980; roundtable
discussion]” Women Artist News v. 16-17 (1991-1992) p. 179-83
Philip Pearlstein, “Censorship on Stylistic Grounds”
Day
Fred Ross, “Abstract Art id Not Abstract and Definitely Not Art”
Also have a quick look at http://www.artrenewal.org
Hilton Kramer, “Kitsch as King”
Michael Kimmelman “With Barbed With Aforethought”
Day
DUE: Turn in a list of at least five sources on your topic.
You must include five “scholarly” sources such as books, magazines/journal articles, or newspaper reviews. You are
encouraged to also find additional sources and be mindful of their differing tones, purposes, and criteria.
Day
DUE: Turn in a summary of a piece of critical writing on your artist
Day OTHER REALS
Slavoj Zizek, :The Undergrowth of Enjoyment: How Popular Culture Can Serve as an Introduction to Jacques
Lacan.”
Hal Foster, “Obscence, Abject, Traumatic.”
Day
Robert Ryman, excert from “On Painting”
Jamers Meyer, excerpt from Minimalism on “Art of the Real”
DUE: Turn in a one to three page mock debate between the author of your focus readings and any other person,
living or dead, Demonstrate an understanding of their relative positions through imaginary discussion. You may use
two or three actual quotations to help move things along.
Day Catch up and Review
Day
CASE STUDIES
Charles Harrison, “Manet,” from Painting the Difference: Sex and Spectator in Modern Art
Day Take home exam one due
Michael Fried, “Painter into Painting: Courbet’s After Dinner at Ornans” and “Stonmebreaker.” Jennifer Doyle,
“Sex, Scandal, and Thomas Eakins’s The Gross Clinic.”
Day
Arthur C. Danto, “Painting and Differences: Recent Portraits by Chuck Close.”
Donald Kuspit, Duane Hanson: The Ultimate Realist
Gerrit Henry, Richard Estes, exhibition review, ARTnews v. 93 (May 1994) p. 157
Donald Kuspit, Eric Fischl, exhibition review,. Artfourm International v. 31 (Feburuary 1993) p. 95
DUE: informal presentations: from your seats you will share your paper topics with the class. Informally discuss
your goals, what interested you about this topic, as well as any question, uncertainty, or trouble you are
encountering. Feel free to ask questions of your classmates about their topics. Think of this as a conversation and
foretaste of the final presentations. At this time, you might also note difference among different kinds of sources.
Day
David Frankel, “Norman Rockwell,” exhibition review, Artforum v. 40 no 9 (May 2002) p. 180
David Hickey, “The Kids are All Right” After the Prom”
Bruce Hainley, “Maureen Gallace”
Painters NYC Blog on Gallace
Due: Turn in a provisional thesis statement for your paper. This should be one sentence and may be adjusted in your
final paper, but you need to have some sense of what you want to say.
Day
Donald Kuspit, “Flesh for Phantasy (Fresh Freud)”; Linda Nochlin, Flesh for Phantasy (Frayed Fraud: Lucian
Freud)” Artforum v. 32 (March 1994) p. 54-9
A. Jolis, “Odd Man In,” ARTnews v. 98 no 1 (January 1999) p. 118-20
Donald Kuspit, “The North Stripped Bare: Odd Nerdrum’s Norwegian Existentialism.”
Day
Linda Nochlin, “Floating in Gender Nirvana,” Art in American v. 88 no. 3 (March 2000) p. 94-7
Katy Siegel, “Blonde Ambition: the Art of Lisa Yuskavage” Artforum v. 38 no. 9 (May 2000) p. 156-9
Day
Robert Rosenblum, “Francis Picabia: late painting” New York Artfourm v. 38 no. 10 (Summer 2000) p. 181
Barbara Adams, “Picabia, the New Paradigm,” Art in America v. 91 no. 3 (March 2003) p. 84-6, 88-91
DUE: First draft of your final paper.
Day
Peter Plages. “Alex Katz,” exhibition review, Artforum, vol. 40, no. 4 Dec. 2001. Pp.117
Tom Breidenbach, “A tree grows in SoHo,” Artforum (U.S.A), vo. 36 no. 19 Summer 1998, pp. 100-3, 145
Day
Brian O’ Doherty, “On the Strange Case of Francis Bacon”
Peter Osborne, “Painting Negation: Gerhard Richter’s Negatives”
Amy M. Spindler, “Tea and Strumpets” (on Delia Brown)
Day
Katy Siegel, “Awkward sage: Balthus, 1908-2001” [obituary] Artforum v. 39 no. 10 (Summer 2001) p. 35-7
Joyce Carroll Oates, “About Whom Nothing is Know”: Balthus
Day Richard Leydier, “Ron Mueck’s Psychological Realism”
Day Presentations, Discussions, and/or Catch up and Review
Day Presentations, Discussions, and/or Catch up and Review
Day Presentations, Discussions, and/or Catch up and Review
FINAL EXAM time slot for additional presentations/discussions.
TAKE HOME EXAM TWO DUE
Late Homework Assignments will be given half credit until one week after the due date, after which they will not be
accepted. The paper will be marked down by ten percent each day it is late, beginning with the class session in
which it is due.
Excuses for absences or late assignments might be accepted, only in the extreme circumstances with written
documentation and a phone number for confirmation. Any such documentation must be submitted as soon as
possible after a missed class or deadline, in person (no e-mails, phone messaged, and notes in my mailbox). No
excuses are guaranteed to be accepted except:
Excuses for college-sponsored activities must be submitted in advance and will not be honored if submitted
afterwards.
Make up exams: only for college-sponsored activities. Otherwise, never.
All written assignment must be typed and doubled spaces. If they exceed one page, they must be stapled in the upper
left hand corner. No paper clips, no folders, etc, I will throw away any work that does not adhere to these guidelines,
and I won’t chase you down to resubmit.
Some possible topics for your paper:
Delia Brown
Fairfield Porter
Chuck Close
Duane Hanson
William Bailey
Philip Pearlstein
Richard Estes
Alex Katz
Francis Bacon
Lucian Freud
Norman Rockwell
Gerhard Richter
Francis Picabia
John Currin
Ron Mueck
Stephen Balkenhol
Gustave Courbet
Auguste Rodin
Eduoard Manct
Thomas Eakins
Pablo Picasso
Gerhard Richter
Luc Tuymans
Edward Hopper
Lisa Yuskavage
Larry Rivers
Elizabeth Peyton
Richard Diebenkorn
Karen Kilimnik
William Bailey
Richard Phillips
Jack Beal
Neo Rauch
Alfred Leslie
Tim Gardner
Alberto Giacometti
Maureen Gallace
Balthus
Kehinde Wiley
Eric Fischl
Graham Nickson
Robert Gober
Raymond Pettibon
Will Cotton
Douglas Gordon