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
Flagged Courses:
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:
_____ 1. College Reading and Writing
_____ 2. Oral Communication
_____ 3. Mathematics
_____ 4. Physical Development & Wellness
3.00
_____ 1. Humanities
_____ 2. Natural Science
_____ 3. Social Science
_____ 4. Fine & Performing Arts
Unity and Diversity:
_____ 1. Critical Analysis
_____ 2. Science and Social Policy
_____ 3. a. Global Perspectives
_____ b. Multicultural Perspectives
_____ 4. a. Contemporary Citizenship
_____ b. Democratic Institutions
___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
________________
Phone
[Revised 9-05]
vcolaizzi@winona.edu
_______________________________
e-mail address
Rationale for ART 440 (Realism in Modern and Contemporary Art) as a Writing Flag
A. Writing Flag (6 S.H.)
The purpose of the Writing Flag requirement is to reinforce the outcomes specified for the basic skills area
of writing. These courses are intended to provide contexts, opportunities, and feedback for students
writing with discipline-specific texts, tools, and strategies. These courses should emphasize writing as
essential to academic learning and intellectual development. Courses can merit the Writing Flag by
demonstrating that section enrollment will allow for clear guidance, criteria, and feedback for the writing
assignments; that the course will require a significant amount of writing to be distributed throughout the
semester; that writing will comprise a significant portion of the students’ final course grade; and that
students will have opportunities to incorporate readers’ critiques of their writing.
1.section enrollment will allow for clear guidance, criteria, and feedback for the writing assignments:
The enrollment is capped at 15 for this class, which allows for individual attention to each student’s
writing assignments, as well as the opportunity to ask questions in or out of class.
Class time is devoted to instruction and guidance in research, critical reading, analysis of a cross-section
of literature, identification of a thesis, assembly of supporting evidence, and the mechanics of style and
format in art historical writing.
Written and oral criteria are given to the students that pertain both to usage, style, and format as well as
standards of evidence in art historical writing.
Students will receive feedback on their writing assignments from the professor and, in more limited
instances, from peers.
2. the course will require a significant amount of writing to be distributed throughout the semester:
A term paper is due a the end of the semester that results from numerous incremental assignments, such as
statements of areas of interest, summaries of sources, descriptions of works of art, and exhibition reviews.
A first draft of the term paper is also due, that is revised before the final version is turned in.
3. that writing will comprise a significant portion of the students’ final course grade:
Two short essay-style take home exams are each worth 20% of the final grade.
Ongoing homework assignments, mostly consisting of one-to-two page writing tasks, are together worth
20% of the final grade.
The final paper is worth 25% of the final grade.
(A presentation accounts for the final 10%.)
4. and that students will have opportunities to incorporate readers’ critiques of their writing:
The instructor proofreads and corrects each assignment and sometimes requires resubmission. Some
assignments will be redistributed for peer review.
A first draft of the research paper is due, which will be extensively critiqued. Often this critique calls for
additional research and significant revisions, as well as corrections to mechanics and style.
These courses must include requirements and learning activities that promote students’ abilities to...
a. practice the processes and procedures for creating and completing successful writing in their fields;
The procedures of art historical writing include identifying a topic through visual and textual surveying,
conducting focused research through further looking and reading, articulating how works of art display
similarities, differences, and manifestations of ideas encountered in texts, surveying the text and artwork
relevant to a topic in order to discern a general trend, consensus, sequence or debate about a work or
group of works, construction of a thesis concerning the topic, and organization and presentation of an
argument that makes reference to written and visual evidence.
Students receive practice in these tasks through preliminary research assignments, “exhibition review”
assignments, field trips to museums and galleries as budgets permit, class discussions, and incremental
assignments leading to a final paper.
b. understand the main features and uses of writing in their fields;
Through class readings, discussions, and assignments, students will gain an understanding of how, in
generalized terms, art criticism and art history work hand in hand to propose and defend positions, praise
or criticize art, analyze strategies and repercussions of other writers, artists, and ideas, and chronicle and
articulate arguments and developments in the field of visual art.
Art criticism does these things by describing and evaluating current or recent exhibitions, and can appear
in newspapers, magazines, or blogs.
Art history makes an argument about art in relation to the recent or distant past, forming an ongoing
record of cultural production, by making reference to evidence gathered and analyzed by the writer. It
appears in books, academic journals, and sometimes magazines.
Other types of writing the students will encounter but not necessarily practice include exhibition wall
texts, artist’s statements, and gallery press releases.
c. adapt their writing to the general expectations of readers in their fields;
The style and content of art writing is itself a highly contested issue, with many expressing frustration
with jargon-laden writing that seems to lose touch with its object of study. Students will encounter a wide
variety of types and styles of writing, and will not be able to succeed if they ignore or discount any.
While there is no single set of expectations across the field, the class will receive instruction and exercise
in both short-form description and evaluation (art criticism – which allows for exploration’s of the writer’s
own experiences and values), as well as long-form scholarly writing (the art historical term paper – for
which the student must adopt an objective standpoint, enumerate observations and defend conclusions
about an artist or artists’ work).
Minimal expectations include proper grammar and mechanics, clarity of organization and description, and
a clearly ascertainable thesis. These will be practiced through assignments and criticism.
d. make use of the technologies commonly used for research and writing in their fields;
Online research methods will be demonstrated and practiced. Despite the richness of online data, not
everything is available electronically, and students are required, depending on their topics, to use older
technologies such as books, bound reference indexes, photocopiers, and occasionally microfilm.
Inadequate research is identified early on through a bibliography assignment, and the student is redirected.
e. learn the conventions of evidence, format, usage, and documentation in their fields.
Art History used Chicago Style citation, which the instructor demonstrates and the students practice.
Critical reading is encouraged through summary assignments and individual criticism. Students’ task is to
survey and discern the nature of a topic, and especially to recognize debates. The words of a critic or art
historian are not taken as fact, but as evidence of that particular author’s position, which may or may not
reflect a wider consensus. Nor are artists’ statements ever definitive, because meaning is more an effect
than an intention.
As to usage, students will have already acquired important terminology related to the formal description of
art. They will call on this terminology in their descriptive writing, and combine it with newly learned
concepts from modernist and postmodernist critical texts.
WINONA STATE UNIVERSITY UNIVERSITY STUDIES APPROVAL FORM
Routing form for University Studies Course approval.
Department Recommendation
Course______________________
_____ Approved
_________________________________
Department Chair
________________
Date
Dean’s Recommendation _____ Approved
_________________________________
Dean of College
_____ Disapproved
____________________________________________
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]
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:
[PENDING APPROVAL] This course carries the Writing Flag designation. The following sections
describe the requirements and purposes of the Writing Flag as instituted by the WSU University Studies
program, and describes how this course fulfills those requirements.
The purpose of the Writing Flag requirement is to reinforce the outcomes specified for the basic skills area
of writing. These courses are intended to provide contexts, opportunities, and feedback for students
writing with discipline-specific texts, tools, and strategies. These courses should emphasize writing as
essential to academic learning and intellectual development. Courses can merit the Writing Flag by
demonstrating that section enrollment will allow for clear guidance, criteria, and feedback for the writing
assignments; that the course will require a significant amount of writing to be distributed throughout the
semester; that writing will comprise a significant portion of the students’ final course grade; and that
students will have opportunities to incorporate readers’ critiques of their writing.
These courses must include requirements and learning activities that promote students’ abilities to...
a. practice the processes and procedures for creating and completing successful writing in their fields;
The procedures of art historical writing include identifying a topic through visual and textual surveying,
conducting focused research through further looking and reading, articulating how works of art display
similarities, differences, and manifestations of ideas encountered in texts, surveying the texts and artwork
relevant to a topic in order to discern a general trend, consensus, or debate about a work or group of
works, construction of a thesis concerning the topic, and organization and presentation of an argument that
makes reference to written and visual evidence.
Students receive practice in these tasks through preliminary research assignments, “exhibition review”
assignments, field trips to museums and galleries as budgets permit, class discussions, and incremental
assignments leading to a final paper.
b. understand the main features and uses of writing in their fields;
Through class readings, discussions, and assignments, students will gain an understanding of how, in
generalized terms, art criticism and art history work hand in hand to propose and defend positions, praise
or criticize art, analyze strategies and repercussions of other writers, artists, and ideas, and chronicle and
articulate arguments and developments in the field of visual art.
Art criticism does these things by describing and evaluating current or recent exhibitions, and can appear
in newspapers, magazines, or blogs.
Art history makes an argument about art in relation to the recent or distant past, forming an ongoing
record of cultural production, by making reference to evidence gathered and analyzed by the writer. It
appears in books, academic journals, and sometimes magazines.
Other types of writing the students will encounter but not necessarily practice includes exhibition wall
texts, artist’s statements, and gallery press releases.
c. adapt their writing to the general expectations of readers in their fields;
The style and content of art writing is itself a highly contested issue, with many expressing frustration
with jargon-laden writing that seems to lose touch with its object of study. Students will encounter a wide
variety of types and styles of writing, and will not be able to succeed if they ignore or discount any of
them.
While there is no single set of expectations across the field, the class will receive instruction and exercise
in both short-form description and evaluation (art criticism – which allows for exploration’s of the writer’s
own experiences and values), as well as long-form scholarly writing (the art historical term paper – for
which the student must adopt an objective standpoint, enumerate observations and defend conclusions
about an artist or artists’ work).
Minimal expectations include proper grammar and mechanics, clarity of organization and description, and
a clearly ascertainable thesis. These will be practiced through assignments and criticism.
d. make use of the technologies commonly used for research and writing in their fields;
Online research methods will be demonstrated and practiced. Despite the richness of online data, not
everything is available electronically, and students are required, depending on their topics, to use older
technologies such as books, bound reference indexes, photocopiers, and occasionally microfilm.
Inadequate research is identified early on through a bibliography assignment, and the student is redirected.
e. learn the conventions of evidence, format, usage, and documentation in their fields.
Art History uses Chicago Style citation, which is demonstrated and practiced in class.
Coursework will encourage critical reading through discussions, summary assignments and individual
criticism. Students’ task is to survey and discern the nature of a topic, and especially to recognize debates.
The words of a critic or art historian are not taken as fact, but as evidence of that particular author’s
position, which may or may not reflect a wider consensus. Nor are artists’ statements ever definitive,
because meaning is more an effect than an intention.
As to usage, students will have already acquired important terminology related to the formal description of
art. They will call on this terminology in their descriptive writing, and combine it with newly learned
concepts from modernist and postmodernist critical texts.
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
summary/reaction that adheres to the form of an exhibition review. A list these events are forthcoming, and we will read
exhibition reviews from Artforum, The New York Times, etc. in order to become acquainted with this format.
This schedule or reading is subject to revision.
Readings will be provided electronically, via e-mail, course reserves, or D2L. 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