NCRC
Intro. to the Fine Arts
FNA101RA
Prof. Marc D’Agusto
SP 2010
Day and Time: Monday, 12:45 – 3:45pm
Credits: 3
Room: Hilltop Rm 8.
Facebook group: http://www.facebook.com/group.php?gid=264437126559 (updates and questions)
Class Website: http://www.marcdagusto.com/nyack (for Downloads)
Contact: Marc@getgravity.com
COURSE DESCRIPTION:
This course will offer a study of the major developments of architecture, art, sculpture, theatre and music throughout
history. Emphasis is placed on standard art works and their reflection of religious, social and cultural life.
The class is an introduction to the fine arts that presents an introductory understanding of the visual arts through the
formal language of the visual art and experience, the various media used in the visual arts, and a general art historical
survey of the visual arts from the earliest forms of art to contemporary art practice. We will look at the role of the arts
throughout history. With the large number of disciplines to be introduced we will cover each broadly, describing how
each is defined and its role in society through the ages. We will approach each of the arts with the perspective how
does it reflect our humanity and our faith. We will discus how being human is reflected and/or defined in the arts. The
fact that we as viewers carry on a dialogue with the art and artist will be highlighted. The principles of theme,
symmetry and harmony will be explored in each art form so the student will be made aware of the unity of all the arts.
Class discussion is essential.
REQUIRED TEXT AND CONTENT:
o Prebles’ Artforms 9ed. by Patrick L. Frank, CD, Web access
o Metropolitan Museum of Art: http://www.MetMuseum.org
o Annenberg Video Series: Art of the Western World:
http://www.learner.org/resources/series1.html?pop=yes&pid=234
RECOMMENDED TEXT:
o Interpreting Art: Reflecting, Wondering, and Responding by Terry Barret
o Writing About Art by Henry M. Sayre
MATERIALS AND EQUIPMENT REQUIRED:
o Hardbound journal or sketchbook between 5x8 an 8.5x11, large Molskine brands are nice, students are also
encouraged to make their own.
o
o
12” ruler, kneaded eraser, pencil sharpener, pencil
Other materials may be announced
COURSE GOALS:
Upon completion of this course, students will be able to discuss the formal aspects of works of art, the media used; the
historical context; the concepts, vocabulary and analytic skills needed to appreciate art, becoming an informed viewer;
and understand the cultural importance of the visual arts, which influence our culture through a myriad of disciplines.
This course will provide a Western and Non-Western viewpoint, delineating the evolution of art objects and various
cultural contexts.
The main objective of this course is to expose the student to the place of art within society. We live in an increasingly
diverse world with cultures bumping into and overlapping each other. Understanding the arts enables us to see that all
cultures reflect some aspect of being human.
ASSIGNMENTS
A. Weekly reading:
For each week’s topics, all readings and media are to be completed PRIOR to class discussion. See calendar for
due dates.
B. Journal/Sketchbook:
Students will have various take home projects and be required to keep a weekly creative/journal. The Journal
functions are to record thoughts, observations, self-discovery, questions, innovative ideas, verse and poetry.
Another purpose is to help train the eye and hand through sketching and enhanced observation and reflection.
1. REQUIRMENTS
A minimum of THREE significant journal entries required weekly. (Each entry must contain a minimum
of three academic paragraphs with full-page drawings and annotations). Other assignments and uses for the
Journal will also be required. Note: Carry your journal with you at all times and draw or write in it whenever you have a few
free minutes. The subject does not always have to be "artistic". Just write or draw. Sketches are not meant to be finished drawings.
They provide a continuous source of ideas for future compositions and a record of the past.
1st. The first entry must be a response from the reading assignments, class discussions, lecture or a
gallery/museum visit
2nd. The second entry must be an observation or conceptual drawing/sketch with annotations
3rd. The third can be of any topic you desire. The following list is to provide guidance for utilizing
your creative journal effectively but is not exhaustive.
i.
ii.
iii.
iv.
v.
vi.
vii.
viii.
Record the development of your ideas, impressions of things seen, felt, remembered or imagined
Experiment with different techniques, tools, and mediums
Analyze and record other works of art, commentary or lectures.
Train the eye to observe and the hand to render accurately through continuous sketching.
Use it to record thoughts, interests and activities.
Attach clippings of text or visual images and photos that interest you
Develop an idea through several pages of sketches, poetry and or music
Course content response, criticisms, journal prompts. This is a free place for authentic comments; Positive or
negative criticisms welcome. However civil, intelligent, well-founded and courteous comments will be expected
Extra credit / Above-and-Beyond*: More than three entries will not only be personally rewarding it will
also be considered in the student final assessments as a motivated student. Feel free to be creative, colorful
and decorative; however, it must be legible.
2. FORMATTING:
On each entry, in the upper right corner, cite the following:
1. Date of journal entry
2. The Title of Period/Assignment
3. Title, Medium, Size and Date of Art
4. Source: where did you find this work: Website, text or other
On the rest of the page:
1. Draw the object or artwork as best and accurate as you can.
2. Write three paragraph written response and various notes on artwork.
Each response MUST contain the following assessments:
Object information: Where did it come from, how old is it?
Object Description: A concise description literal and perceived. I fully expect students to use acquired language
and vocabulary covered in class and text. Please note school plagiarism policies, do not copy website
descriptions or annalists. Use your own words, and feel free to use simile and metaphor to illustrate your
observations.
Personal reaction: What is your reaction to this work? Asses Formal qualities, interpretations: symbolic, Formal
and narrative, how does your world-view line up with or conflict with present or period norms? If you quote or
paraphrase or cite critics’ ideas to support YOUR notions you MUST give appropriate credit.
ASSIGNMENTS Continued
3. HOMEWORK GRADES: Each journal entry will be checked at random and at the midterm.
o Weekly journal assessments are considered homework grades. Assignments will be based on timely
completion, legibility, clean and creative presentation, followed format, quality of content, met specified
objective
4. TEST GRADE: The Journal, as a creative whole will be collected at the end of term.
o End of Term journal collection is equivalent to a test grade and will be based on overall activities
enclosed, creative use and presentation as a powerful personal and creative tool.
Note: All scoring will be based on a 0-10 point scale; 10pts are only given when work exceeds minimum assignment
expectations. Considerations will be given to those who present significant creative and substantive materials
exhibiting Above-and-Beyond* the minimum parameters. See grading page.
D. MIDTERM EXAM: THE NATURE OF ART, FORMS, MEDIA AND INTERPRETATION
D. FINAL EXAMINATION MET PROJECT: The Online METROPOLITAN ART MUSEUM
(MET) Analysis Project will begin at the midterm and be handed in at the end of the term. We will be surveying
various periods, philosophies and cultures throughout history in class and though required readings (Prebles’
ARTFORMS, PART FOUR - Art as Cultural Heritage - Chapters 14 -25). You will be required to select and write about
15 works of art (approximately 1- 2 from each period) which you will choose from different periods, artists and
movements contained in the Metropolitan Museum of Art (MET) or the Museum of Modern Art (MOMA).
1. REQUIREMENTS:
1st. Weekly Homework/journal: You will be using your journal for initial notes, observations,
sketches and analysis. These will replace the second and third entry requirements from first half of
the semester journal entries and be counted towards a homework grade.
2nd. The Final Exam collection of writing assessment for each work of art must be a minimum of 3
double-spaced paragraphs (more than 4 sentences) and maximum one typed page. This must be
typed, bound, covered and handed in with your Journal at the Final Exam date. Presentation,
spelling, format and grammar counts.
2. FORMATTING: This is a mandatory format, grade will be reduced for any deviation.
On each entry, in the upper right corner, cite the following:
1.
2.
3.
4.
Date of journal entry
The Title of Period/Assignment
Title, Medium, Size and Date of Art
Source: where did you find this work (Website, text or other).
In the upper left corner:
5. Paste 3”x3” image of art: The corresponding image must be
approximately 3 inches. No smaller or larger. You can accomplish
this by pulling the image off the website and place it onto your
Word Document. Use the scale tool to size. Always cite your sources whether words or images .
In the rest of the page:
3. The 3 paragraph written response. Each response MUST contain the following assessments:
Object information: Where did it come from, how old is it?
Object Description: A concise description literal and perceived. I fully expect students to use acquired language
and vocabulary covered in class and text. Please note school plagiarism policies, do not copy website
descriptions or annalists. Use your own words, and feel free to use simile and metaphor to illustrate your
observations.
Personal reaction: What is your reaction to this work? Asses Formal qualities, interpretations: symbolic, Formal
and narrative, how does your world-view line up with or conflict with present or period norms? If you quote or
paraphrase or cite critics’ ideas to support YOUR notions you MUST give appropriate credit.
4. ONLINE ACCESS INSTRUCTIONS (Quicker than it looks)
STEP ONE: Getting to know the timeline.
1. Visit the following website: www.metmuseum.org
2. Select link Enter here
3. Select Timeline of Art History in left navigation, select link about timeline
a. Do not skip this step. Read complete introduction page.
4. Return to Timeline home page, (not Museum home page)
5. Spend time familiarizing yourself by navigating the Timelines pull-down menu, Timelines section in
center column of page and Thematic Essays.
6. During the course of this semester you will be required to explore the MET Timeline, seek out objects
from various periods and cultures and styles covered in class and text.
7. You will then go to your personal online My Art Gallery section to import selections into your
collection (Instructions for setup in Step Two). These selections will be utilized for the written
evaluation segment to final exam project (parameters above).
STEP TWO: Register and create your online My Art Gallery collection
8. From the Museum home page select the link for My Met Museum. (You can also find this and Timeline
links at the bottom navigation of any webpage).
9. Log into your new account, and go to you’re My Met Gallery.
10. From here you can enter the Collection Database, seek and add your images from your Timeline
selections to your personal collection. Inevitably you will reach your goal of 24 works to do your
written analysis.
11. Note: Unfortunately you will not be able to add your images directly from your Timeline searched in
STEP ONE, so remember to copy and paste your desired object images into the database search engine
to import into your collection.
12. Extra credit will be considered for those who visited these objects from life at the MET.
Proof of visit required.
E. SPECIAL TRIPS: Required attendance for special events and field trips: Campus performances, Selfguided Gallery visits, At least one school trip to NYC Performance.
F. GRADING & COURSE REQUIREMENTS
Grading will be based on: Journal, Mid-term exam, attendance, class participation, Final Project and above-andbeyond contributions. All formal papers are to be submitted on the due date. The instructor is requiring both digital
AND hard copies submitted in person on day of deadline via Jump Drives or CD/DVDS. Students may email
copies verses Jump Drive but must be in BEFORE class on due date. Digital copies submitted early are not
sufficient for grading. Hard copies MUST be on time to receive full credit for assignments.
10% Attendance, Class work, participation
20% Homework: Weekly Journal Prompts
20% Tests: Creative Journals
25% Midterm Exam
25% Final: Online MET Project Analysis - Exam
Grading Scale:
A=
4.0 95-100%
A- =
3.7 92-94
B+ =
3.3 88-91
B =
3.0 83-87
B- =
2.7 79-82
C+ =
2.3 76-78
C=
C-=
D+ =
D=
D- =
F=
2.0 72-75
1.7 68-71
1.3 65-67
1.0 2-64
0.7 60-61
0.0 under 60
* Above and Beyond:
To succeed in life after beyond the education experience one must set himself/herself apart from the pack. Any student that
fulfills the minimum criteria and requirements will get no higher than 95%. To receive above a 95% students must exhibit
above standard requirements:
Assignments: Evidence of extra research, Evidence of extra work,
Attention to detail, Creative embellishments, taking risks (Always
rewarded!), Cross Curriculum insight and input
Class involvement: Cross curriculum, Leadership, Extra projects,
Risk taking, Exemplary class participation
Assignments will be graded on a 10pt scale
0 = Fulfilled none of the criteria
1-5 (--)
6 (-)
8
7 (√--)
10 = %80 (B-)
8 (√-)
9 (√)
9.5 (√+) = Maximum with minimum criteria
10 (√++) = Above and Beyond*
G. CALENDAR OF CLASSES FOR THE SEMESTER
Readings and research: For each week’s topic, all readings and media listed are to be completed prior to class.
Weekly Journals: Always be prepared to show weekly journal entries they we will be requested at random.
Additional Reading Assignments: As needed, supplemental reading assignments will be handed out or available online for downloading.
Homework due Class 1: Read syllabus, come with questions
Class 1: January 25th – INTRODUCTIONS – PREBLES’ ARTFORMS:
Part One: THE NATURE OF ART
o Introduction to Creative Journaling
o Looking and Seeing: A drawing unit will be treated like a workshop, beginning in Part One and continuing
the entirety of Part Three: various drawing exercises will be assigned in class and for homework
Homework for next class:
Weekly Journal/Sketch assignment: Prompt – 1. Expectations of the course, what is art? 2. Observation 3. Free (=3)
Reading: Prebles Art forms text: Chapter 1- 5
Additional Reading: Interpreting Art: Reflecting, Wondering, and Responding by Terry Barrett
o Introduction xv-xxi, Chapter 8: Principles for Interpreting Art
Class 2: February 1st – Part Two: The Language of Visual Experience: VISUAL ELEMENTS 3,
PRINCIPLES OF DESIGN 4, EVALUATING ART 5
Homework for next class:
Weekly Journal/Sketch assignment (=3)
Reading: Prebles Art forms text: Chapter 6 - 8
Additional Reading: Interpreting Art: by Terry Barrett Chapter 2: Multiple Interpretations: Edouard Manet
Class 3: February 8th – Part Three: Media in Art:
Two Dimensional Forms: DRAWING 6, PAINTING 7 & PRINTMAKING 8
Three-dimensional forms: SCULPTURE 11, CRAFTS 12, ARCHITECTURE &
ENVIRONMENTAL DESIGN 13
Homework for next class: Weekly Journal/Sketch assignment
Weekly Journal/Sketch assignment (=3)
Reading: Prebles Art forms text: Chapter 9 - 13
Additional Reading: Interpreting Art: by Terry Barrett; Chapter 6: Interpretation and Medium: Photography
Class 4: February 15th – Part Three cont.: Cultural media, Graphic and Digital Media: CAMERA ARTS &
COMPUTER IMAGING 9, GRAPHIC DESIGN 10
Homework for next class: Weekly Journal/Sketch assignment
Weekly Journal/Sketch assignment (=3) 12 total for this unit.
Reading: Prebles Art forms text: Chapter 14
Class 5: February 22nd - Continued from previous week.
Homework for next class: (1 works of art from chapter 14 time period)
Weekly Journal/Sketch assignment change: BEGIN Online MET Project Analysis: For the following, precisely follow
all of the instructions contained in the “Assignments” section “D” of the syllabus above.
1. On the Metropolitan Museum of Art website, create a My MET Gallery account and explore Art History Timeline.
2. Select four of your favorite works from each time period from the subjects covered in this class..
3. Import them into your online My MET Gallery or save them in a word document.
4. Make written responses and sketch the objects in your journal. Be thorough, this will be your main source of information for
the final project and part of your weekly journal grade.
5. Include image and write paper to be included in Final Project Packet.
Very Important: Make sure you follow all the instructions contained in the assignments section for this procedure will be
duplicated for each period. Writing criteria will not be strictly enforced in journal entry portion, but journal criteria will be
(see assignments page).
Part Four: ART AS CULTURAL HERITAGE
Class 6: March 1st
ASSIGN MID-TERM EXAM: THE NATURE OF ART, FORMS, MEDIA AND INTERPRETATION
<Very short summery on exam expectations and questions>
FROM THE EARLIEST ART TO THE BRONZE AGE: PALEOLITHIC,
MESOPOTAMIA, EGYPT 14
Homework for next class:
Weekly Journal/Sketch assignments: Journal Entry and MET Project entries. (2 for chapter 15)
Reading: Prebles Art forms text: Chapter 15
Class 7: March 8th –
THE CLASSICAL MEDIEVAL WEST: GREECE, ROME, EARLY CHRISTIAN AND BYZANTINE,
MIDDLE AGES IN EUROPE 15
Homework for next class:
Weekly Journal/Sketch assignment: Journal Entry, Online MET Project Analysis: (1 for chapter 16)
Reading: Prebles Art forms text: Chapter 16
Online Video assignment: Annenberg Media. A White Garment of Churches—Romanesque and Gothic: Part I: With the fall
of the Roman empire, Christianity flourished with the Church as patron of monumental Romanesque architecture and
sculpture. Part II: The origin of Gothic architecture is found in the choir of the Abbey Church of St. Denis and the Chartres
Cathedral serves as a model of High Gothic style. (http://www.learner.org/resources/series1.html?pop=yes&pid=228#)
Weekly Journal/Sketch assignment: Respond to video and essay; consider how faith, culture and period influences the forms
represented in the work created. Make comparisons and observations, consider how your faith, geographic location, and time
period influences and informs what your hands build in your life. Compare and contrast.
Class 8: March 22nd –
Continued: CLASSICAL MEDIEVAL WEST 15
RENAISSANCE AND BAROQUE EUROPE 16
Homework for next class:
Weekly Journal/Sketch assignment: Journal Entry: Online MET Project Analysis: (1 for each chapter 17-19 = 3 total)
Reading: Prebles Art forms text: Chapter 17-19
Class 9: March 29th –
CONTINUED…
Homework for next class:
Reading: Prebles Art forms text: chapter 20-21
Class 10: April 5th
–
NON-WESTERN: ASIA 17, ISLAMIC WORLD 18, AFRICA, OCEANIA,
AND THE AMERICAS 19
Homework for next class:
Weekly Journal/Sketch assignment: Online MET Project Analysis: (1 for each chapter 20, 21, 22 = 3 total)
Reading: Prebles Art forms text: chapter 22-23
Part Five: THE MODERN WORLD
Class 11: April 12th –
LATE EIGHTEENTH AND NINETEENTH CENTURIES 20: Neoclassicism, Romanticism,
Photography, Realism, Impressionism, Post-Impressionism
EARLY TWENTIETH CENTURY 21: Fauves, Expressionism, Abstract Sculpture, Modern American
Spirit, Futurism
BETWEEN WORLD WARS 22: DADA, Surrealism, Expanded Cubism, Political Protest, Latin
American Modernism and American Painting
o
o
DVDs Sr. Wendy: Concerning Cezanne, Picasso, etc, and Impressionism
Impressionism in Music: Debussy
Homework for next class:
Reading: Prebles Art forms text: chapter 24
Weekly Journal/Sketch assignment: Online MET Project Analysis: (1 for each chapter 23 and 24 = 2 total)
Online Video assignment: Annenberg Media. A Fresh View—Impressionism and Post-Impressionism
Part I: Courbet and his followers rejected the standard academic themes and techniques, Manet shocked Paris, and
Impressionists represented the world bathed in color and changing light. Part II: Post-Impressionists Seurat, Van Gogh,
Gauguin, and Cézanne broke new ground with daring and imaginative use of color and approaches to form.
(http://www.learner.org/resources/series1.html?pop=yes&pid=228#)
Weekly Journal/Sketch assignment: Written response to video
Class 12: April 19th –
POSTWAR MODERN MOVEMENTS IN THE WEST 23: Abstract Expressionism, Assemblage, Pop
Art, Minimalism, Site works and Earthworks, Installation
MODERN ART 24
o
o
On the Museum’s Ruins: Douglas Crimp
Introduction to Modern Philosophy: Modernism and Formalism: Clement Greenberg
Homework for next class:
Reading: Prebles Art forms text: Chapter 25
Weekly Journal/Sketch assignment: Online MET Project Analysis: (3 for chapter 25)
Additional Reading: Published Articles: Clement Greenberg, “Modernist Painting,” 1960 – web:
http://www.sharecom.ca/greenberg/modernism.html
Additional Reading: Interpreting Art: by Terry Barrett
o Chapter 4: Interpretation and appreciation: Abstract Painting
Class 13: April 26th
o
o
– POSTMODERNITY AND GLOBAL ART 25
Philosophy and Survey, Relativism: Death of an Author by Roland Barthes
Spirituality in art, Controversial art, Relational Esthetics
Homework due for final homework assignment:
Additional Reading: Interpreting Art: by Terry Barrett, Chapter 3: Interpretation and Judgment: Controversial Art
Published Articles:
1. Donald Kuspit, "Reconsidering the Spiritual in Art," 2002
Web: http://www.blackbird.vcu.edu/v2n1/gallery/kuspit_d/reconsidering_text.htm
2. Richard Hecht & Linda Ekstrom, "Unveiling the Sacred in contemporary art”
Web: www.soc.ucsb.edu/projects/ct3/docs/hecht1.doc
Weekly Journal/Sketch assignment: 1. One response writing from Music trip to NYC, 2. One from the readings or lecture
and 3. One closing thoughts of the class. ( = 3)
Final exam week: See Exam Schedule. 1. Final Journal/Sketch Books due. 2. Online MET Project papers due.
Have a great summer break!!
CLASS POLICIES:
Absence: Students will be allowed one unexcused absence. Final grades will be reduced a full grade level for every
following unexcused absence. Students are to arrive on time. Tardiness will construe a partial absence. Students are
expected to attend class. In the unusual event that an absence is unavoidable, it is the student’s responsibility to obtain
the relevant content. Missed exams, late work or projects can be made up at the Instructors discretion. Excessive
absence (greater that 25% of class meetings) will result in a failing grade. All students are required to access the online
course resources via Internet.
Late assignments: Missed deadlines will receive a zero for a grade until the assignment has been made up. students
will have until next class following the due date to make it up, but will receive a full grade deduction. Assignments will
not be accepted after this date and will automatically receive no credit.
Academic Integrity and Plagiarism: In a Christian college academic integrity is particularly important. Any student
caught cheating or plagiarizing (the unacknowledged use of other people’s words or ideas as though they were your
own) will be subject to the penalties as described in the plagiarism policy in the college catalog and student handbook.
Phone and texting policy: Under no circumstances will phone calls and texting be permitted during lesson and
lecture times. Enforcement will be confiscation of the phone or dismissal from class.
LEARNING DISABILITIES
Any student eligible for and requesting academic accommodations due to a disability is required to provide a letter of
accommodation from Academic Support Services within the first six weeks of the beginning of the class.
LIBRARY RESOURCES
Nyack College catalog: http://www.nyackcollege.edu/library.php
New York Public Library: http://www.nypl.org/
STUDENT LEARNING GOALS
All the goals below are to be carried out in an atmosphere of the highest scholarly standards of conduct.
Student Learning Goals
The Student Will
FNA
program
goals
Nyack Core
goals
Culturally literate, confident, curious, and
knowledgeable about the arts
1, 2
1b. 2b 3a 5a
Able to transmit critical thinking about the
arts into useful tools for the study of other
disciplines, including writing
2a-c
2b 2c 5a
Appreciate artistic accomplishments of many
cultures and ethnic groups
3a-c
1a 2b 3a 4a
Able to discern, within the creative process,
art as a gift from God, to be wisely used in
God’s service and in service to others
4a,c
1a 2b 4b 5a
Equipped to appreciate the arts in context,
through frequent field trips to Fine Art sites
5a,b
2b 2c
Assignments &/or
Assessments Used
Online MET Project Analysis – Observational and
Written, Web and Field research
Weekly reading and Media – Art Foundations text,
supplemental reading, Annenberg videos,
CD media and web resources
Journal/Sketchbook – Recorded observation,
writings, Text, Field response writing
Exams – Content knowledge assessment
Class work – lecture, group projects and exercises
Online MET Project Analysis – Observational and
Written, Web and Field research
Weekly reading and Media – Art Foundations text
& supplemental reading, Annenberg videos
Class work – lecture, group projects and exercises
Online MET Project Analysis – Observational and
Written, Web and Field research
Class work – lecture, group projects and exercises
Class work – Guest, lecture, group projects and
exercises
Journal/Sketchbook – Recorded observation,
writings, Text, Field response writing
Online MET Project Analysis – Observational and
Written, Web and Field research
Weekly reading and Media – Art Foundations text
& supplemental reading, Annenberg videos,
CD media and web resources
Journal/Sketchbook – Observation drawings &
writings, Text, Field response writing
INFORMATION LITERACY GOAL:
Students will research the works of great artists using a variety of methods, including the Internet, possible interviews,
exhibitions and the library.
NYACK COLLEGE CORE GOALS
(see italicized numbers for Student Learning Goals charts)
1- Socially Relevant
1a. Students will recognize the value of economic, political, social, and systems as tools for positive change
1b. Students will apply a foundation of compassion and integrity to their chosen field of study
1c. Students will demonstrate servant leadership as they engage the community and marketplace
2- Academically Excellent
2a. Students will attain an educational foundation in arts and humanities, science, mathematics, and social science
2b. Students will be able to communicate in oral and written form and demonstrate information and technological literacy
2c. Students will demonstrate critical thinking, problem-solving, and research skills across the curriculum
3- Globally Engaged
3a. Students will understand the interplay of historical, cultural, and geographical realities of the global community
3b. Students will value diversity through an understanding of worldviews, languages, cultures, and peoples
3c. Students will engage in service opportunities within the global community
4- Intentionally Diverse
4a. Students will understand the heritages and traditions of diverse peoples and cultures
4b. Students will appreciate the need to promote biblical principles of social-equality
4c. Students will engage in interactions and relationships with those from diverse backgrounds
5- Emphasizing Personal Transformation
5a. Students will grow in their faith as they pursue God’s purpose in their lives
5b. Students will integrate their Christian worldview into learning and service
5c. Students will apply discipleship principles to assist in the personal transformation of others
DEPT 0F FINE ARTS CORE GOALS
(see italicized numbers for Student Learning Goals charts)
The Department of Fine Arts seeks to graduate students who are
1.
Culturally literate, confident, curious, and knowledgeable about the arts:
1a. Having learned to differentiate between styles, historical periods, and materials used in painting, music and other forms of art
1b. Having developed a basis for art criticism
1c. Having experienced art and music as a form of intellectual expression
2.
Able to transmit critical thinking about the arts into useful tools for the study of other disciplines, including writing:
2a. Having participated in journaling and critical analyses of art
2b. Having observed that the arts have a powerful impact upon politics and philosophy
2c. Having gained an appreciation for the various forms art has taken in modern times, different from the printed word but communicative
in its way
3.
Appreciative of the artistic accomplishments of many cultures and ethnic groups:
3a. Having studied a significant amount of world art and music, thereby gaining an appreciation and understanding of world cultures
3b. Having connected this course to the World Civilization courses, which feature ethnic diversity within our city and country
3c. Having attained the benchmarks of worldwide artistic common knowledge, through regular assessment
4.
Able to discern, within the creative process, art as a gift from God, to be wisely used in God’s service and in service to others:
4a. Having enjoyed rich spiritual content within all Fine Arts courses, including diversity within unity among Christian artists
4b. Having made use of the resources at the Museum of Biblical Arts
4c. Having seen and heard concerts, lectures, and demonstrations by accomplished Christian artists in the class context
5.
Equipped to appreciate the arts in context, through frequent field trips to Fine Art sites:
5a. Museums
5b. Broadway shows and classical music venues
5c. Art in the parks and other available plays and concerts within the City of New York and surrounding areas
5d. The museums and culture available through the Fine Arts Abroad courses
SOURCES
Interpreting Art: Reflecting, Wondering, and Responding by Terry Barrett
Concerning the Spiritual in Art by Wassily Kandinsky
Reality Through the Arts by Dennis J. Sporre
Art Fundamentals: Theory and Practice by Otto Ocvirk
Art of Seeing, by Paul J. Zelanski
Ways of Seeing: by John Berger
Esthetics Contemporary by Richard Kostelanetz
The Anti-Aesthetic: Essays on Postmodern Culture by Hal Foster
Criticism Resources and Articles:
Modernism and Formalism:
Clement Greenberg, “Modernist Painting,” 1960 – web:
http://www.sharecom.ca/greenberg/modernism.html
Michael Fried, “Modernist Painting and Formalist Criticism,” 1964
Postmodern Authors
Roland Barthes, “The Death of the Author,” 1977 – web:
http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/BarthesAuthor.pdf
Douglas Crimp, “On the Museum’s Ruins,” 1983
Craig Owens, “The Discourse of Others: Feminists and Postmodernism,” 1983 – web:
http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/OwensOthers.pdf
Postmodern Consumers
Frederic Jameson, “Postmodernism and Consumer Society,” 1983
Dick Hebdige, “A Report on the Western Front,” 1987
Art & Spirituality
1. Donald Kuspit, "Reconsidering the Spiritual in Art," 2002 Web: http://www.blackbird.vcu.edu/v2n1/gallery/kuspit_d/reconsidering_text.htm
2. Richard Hecht & Linda Ekstrom, "Unveiling the Sacred in contemporary art” Web: www.soc.ucsb.edu/projects/ct3/docs/hecht1.doc
Contemporary Art," 2001
Representing Difference
Cornel West, “The New Cultural Politics of Difference,” 1990 – web:
http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/WestDiffrnce.pdf
Stuart Hall, “New Ethnicities,” 1992
Michael Kimmelman, “At the Whitney, Sound, Fury and Little Else,” 1993 – web:
http://query.nytimes.com/gst/fullpage.html?res=9F0CE5D61E30F936A15757C0A965958260&sec=&spon=&partner=permalink&exprod=perma
link
Linda Nochlin, “Learning from Black Male,” 1995 – web:
http://findarticles.com/p/articles/mi_m1248/is_n3_v83/ai_16821894
Regarding Beauty
Peter Schjeldahl, “Notes on Beauty,” 1998
Susan Sontag, “An Argument about Beauty,” 2002 – web:
http://www.amacad.org/publications/fall2002/Sontagweb.pdf
Suzanne Hudson, “Beauty and the Status of Contemporary Criticism,” 2003
Grotesque/Abject
Mikhail Bakhtin, “The Grotesque Image of the Body,” 1965
Noel Carroll, “The Grotesque Today,” 2003
Simon Taylor, “The Phobic Object: Abjection in Contemporary Art,” 1993
Institutional Critique
Daniel Buren, “The Function of the Studio,” 1970
Brian O’Doherty, “Notes on the Gallery Space,” 1976 – web (2 pages):
http://www.societyofcontrol.com/whitecube/insidewc.htm
Hans Haacke, “Museums: Managers of Consciousness,” 1984 – web:
http://www.artcontext.net/crit/scrapbook/index.php?id=26
Audience Participation
Nicolas Bourriaud, “Relational Aesthetics,” 1998 – web:
http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/BourriaudRA.pdf
Claire Bishop, “Antagonism and Relational Aesthetics,” 2004 – web:
http://roundtable.kein.org/files/roundtable/claire%20bishop-antagonism&relational%20aesthetics.pdf