NCRC Intro. to the Fine Arts

Prof. Marc D’Agusto

FNA101RA

FA 2009

Day and Time: Tuesday & Thursday 11:10 am – 12:35amCredits: 3Room: ??Office hours: Tuesday and Thursday. By appointment between 4:30 - 5:30Contact: 732 261-1179, 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 Preble’s Artforms 9ed. by Patrick L. Frank, CD, Web accesso Metropolitan Museum of Art: http://www.MetMuseum.orgo 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 Barreto Reality Through the Arts by Dennis J. Sporreo 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 12” ruler, kneaded eraser, pencil sharpener, pencil grades HB, 3bo 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.

STUDENT LEARNING GOALSAll the goals below are to be carried out in an atmosphere of the highest scholarly standards of conduct.

Student Learning GoalsThe Student Will

FNA program

goals

Nyack Core goals

Assignments &/or Assessments Used

Culturally literate, confident, curious, and knowledgeable about the arts

1, 2 1b. 2b 3a 5a 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 assessmentClass work – lecture, group projects and exercises

Able to transmit critical thinking about the arts into useful tools for the study of other disciplines, including writing

2a-c 2b 2c 5a 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

Appreciate artistic accomplishments of many cultures and ethnic groups

3a-c 1a 2b 3a 4a Online MET Project Analysis – Observational and Written, Web and Field research

Class work – lecture, group projects and exercisesAble 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 Class work – Guest, lecture, group projects and exercises

Journal/Sketchbook – Recorded observation, writings, Text, Field response writing

Equipped to appreciate the arts in context, through frequent field trips to Fine Art sites

5a,b 2b 2c 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.

ASSIGNMENTS

1. Weekly reading: For each week’s topics, all readings and media are to be completed prior to class discussion.

2. Journal/Sketchbook: Students will have various take home projects and be required to keep a weekly creative/journal. A creative journal is one of a creative person’s most important tools. 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.

a. A minimum of three significant entries required weekly (minimum three academic paragraphs in size, full page drawings with annotations)

i. One must be an observation or conceptual drawing/sketch with annotationsii. One must be a response from the reading assignments, class discussions, lecture or a

gallery/museum visitiii. 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.• Record the development of your ideas for assignments.• Record visual 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• Application and experimentation of design principles & elements• 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

iv. 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.

v. Other assignments and uses for the Journal will also be required.

b. Further Instructions: On each page, write down the date and the assignment or entry in small characters in the lower right corner. 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.

c. This Journal will be checked weekly and collected at the mid. and end of term. Grading: o Weekly assessments are considered homework assignments and will be based on timely completion

of assignments, legibility, clean and creative presentation, followed format, quality of content, met specified objective

o Mid and end of term journal assessments are equivalent to tests 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

3. Midterm Exam: THE NATURE OF ART, FORMS, MEDIA AND INTERPRETATION

ASSIGNMENTS Continued

4. Final Exam: Online MET Project Analysis - MY MET GALLERY | MET TIMELINE: As we begin to survey the various periods, philosophies and cultures throughout history, you will be required to select and write about 24 works of art (approximately 2 from each assignment) which you will choose from different periods and artists contained in the Metropolitan Museum of Art’s collection and website. This must be typed, bound and handed in with your Journal at the Final Exam date. Presentation, spelling and grammar counts.

a. Writing: You will be using your journal for initial notes, observations, sketches and analysis. The final writing assessment of each work of art must be a minimum of 2 double-spaced paragraphs and maximum one typed page. Standard MLA formatting.

Each response must contain the following assessments: i. Object information: Where did it come from, how old is it?

ii. 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.

iii. 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.

b. Attached Image: The corresponding image must be placed on the upper left hand corner of the page. Approximate size: 3 inches. No smaller or larger please. 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.

c. Online access instructions: (Quicker than it looks)i. STEP ONE: Getting to know the timeline.

1. Visit the following website: www.metmuseum.org 2. Select link Enter here3. 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 Timeline 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).

ii. STEP TWO: Register and create your online My Art Gallery collection1. 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).2. Log into your new account, and go to you’re My Met Gallery.3. 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.

4. 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.

5. Extra credit will be considered for those who visited these objects from life at the MET. Proof of visit required.

5. Field Trips: Not during class timea. There will be a field trip with the Music department to a NYC performance <TBD> b. Local Nyack arts excursion: Galleries, shows Public Art etc. <TBD>c. I am hoping for at least one field trip to the MET for this class towards the last quarter of the

semester. This will most likely be required outside of class time. <TBD>

GRADING & COURSE REQUIREMENTS

Grading will be based on: Journal, Mid-term exam, attendance, class participation, Final Project and above-and-beyond 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, participation20% Homework: Weekly Journal Prompts20% Tests: Creative Journals25% Midterm Exam 25% Final: Online MET Project Analysis - Exam

* 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:o Evidence of extra researcho Evidence of extra worko Attention to detailo Creative embellishments o Taking risks (Always rewarded!)o Cross Curriculum insight and input

Class involvement:o Cross curriculumo Leadershipo Extra projectso Risk taking o Exemplary class participation

Grading Scale: A = 4.0 95-100% C = 2.0 72-75A- = 3.7 92-94 C - = 1.7 68-71B+ = 3.3 88-91 D+ = 1.3 65-67B = 3.0 83-87 D = 1.0 2-64B- = 2.7 79-82 D- = 0.7 60-61C+ = 2.3 76-78 F= 0.0 under 60

Assignments will be graded on a 10pt scale0 = Fulfilled none of the criteria1-5 (--)6 (-)7 (√--)8 (√-)9 (√) 9.5 (√+) = Maximum with minimum criteria10 (√++) = Above and Beyond*

810 = %80 (B-)

IMPORTANT NOTES:Readings and research: For each week’s topic, all readings and media listed are to be completed prior to class.Weekly Journals: Unless otherwise noted or announced are due every Tuesday.Additional Reading Assignments: As needed, supplemental reading assignments will be handed out or available online for downloading.

CALENDAR OF CLASSES FOR THE SEMESTER

Class 1: R 9/10 – INTRODUCTIONS – PREBLES’ ARTFORMS: Part One: THE NATURE OF ARTo Introduction to Creative Journaling o Looking and Seeing: A drawing unit 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 Due 9/10: Read syllabus, come with questions

THE NATURE OF ART, FORMS, MEDIA AND INTERPRETATIONClass 2: T 9/15 – Cont. Part one: THE NATURE OF ART

Homework: Due 9/15 Weekly Journal/Sketch assignment

Class 3: R 9/17 – Part Two: The Language of Visual Experience: VISUAL ELEMENTS 3, PRINCIPLES OF DESIGN 4, EVALUATING ART 5

o Interpretation Group Exercise

Homework: Due 9/17Additional Reading: Interpreting Art: Reflecting, Wondering, and Responding by Terry Barrett

o Introduction xv-xxi, Chapter 8: Principles for Interpreting Art

Class 4 & 5: TR 9/22-24 – Part Three: Media in Art: Two Dimensional Forms: DRAWING 6, PAINTING 7, PRINTMAKING 8

Homework: Due 9/22Additional Reading: Interpreting Art: by Terry Barrett

o Chapter 2: Multiple Interpretations: Edouard Manet

Weekly Journal/Sketch assignment

Class 6 & 7: TR 9/29 - 10/01 – Part Three cont.: Three-dimensional forms: Sculpture 11, Crafts 12, Architecture & Environmental Design 13

Homework: Due 9/29 Weekly Journal/Sketch assignment

Class 8 & 9: TR 10/06-10/08 – Part Three cont.: Cultural media, Graphic and Digital Media: CAMERA ARTS & COMPUTER IMAGING 9, GRAPHIC DESIGN 10

Homework: Due 10/06Additional Reading: Interpreting Art: by Terry Barrett

o Chapter 6: Interpretation and Medium: Photography

Part Four : ART AS CULTURAL HERITAGE Class 10 & 11: TR 10/13 - 10/15 – FROM THE EARLIEST ART TO THE BRONZE AGE:

PALEOLITHIC, MESOPOTAMIA, EGYPT 14o Thursday 10/15: Very short summery on exam expectations and questions

Homework: Due on Tuesday’s class 10/13Online MET Project Analysis: For the following, precisely follow all of the instructions contained in the “Assignments” section 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 two of your favorite works from each time period from the subjects covered in this class (4 for this group).

3. Import them into your online My MET Gallery. 4. Make written responses and sketch the objects in your journal due on Tuesdays. 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. 6. 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).

Class 12: T 10/20 – THE CLASSICAL MEDIEVAL WEST: GREECE, ROME, EARLY CHRISTIAN AND BYZANTINE, MIDDLE AGES IN EUROPE, THE CLASSICAL AND MEDIEVAL WEST 15

Homework: Due 10/20Online MET Project Analysis: (2 for this group)

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#)

MET website - Timeline of Art History | Thematic Essays: read “African Christianity in Ethiopia”

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 13: R 10/22 – MID-TERM EXAM: THE NATURE OF ART, FORMS, MEDIA AND INTERPRETATION

O Cont. THE CLASSICAL MEDIEVAL WEST

Class 14: T 10/27 – RENAISSANCE AND BAROQUE EUROPE 16Homework: Due 10/26

Online MET Project Analysis: (2 for this group)

Weekly Journal/Sketch assignment

Class 15-17: RTR 10/29-11/5 – NON-WESTERN: ASIA 17, ISLAMIC WORLD 18, AFRICA, OCEANIA, AND THE AMERICAS 19

Homework: Due 11/3 Online MET Project Analysis: (4 for this group)

Weekly Journal/Sketch assignment

Online Video assignment: Annenberg Media: A world of Artworks in progress – Hung Liu, painter, comments on traditional Chinese society as she paints a series of works on the Last Emperor and his court. (http://www.learner.org/resources/series64.html )

Part Five : THE MODERN WORLD Class 18: T 11/10 – LATE EIGHTEENTH AND NINETEENT CENTURIES 20: Neoclassicism,

Romanticism, Photography, Realism, Impressionism, Post Impressionism

o DVD on Impressionismo Impressionism in Music: Debussy

Homework: Due 11/10Online MET Project Analysis: (2 for this group)

Online Video assignment: Annenberg Media. A Fresh View—Impressionism and Post-ImpressionismPart 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

Class 19: R 11/12 – EARLY TWENTIETH CENTURY 21: Fauves, Expressionism, Abstract Sculpture, Modern American Spirit, Futurism

o Film: Picasso o Sr. Wendy: Concerning Cezanne, Picasso, etc

Homework: Due 11//12Online MET Project Analysis: (2 for this group)

Class 20: T 11/17 – BETWEEN WORLD WARS 22: DADA, Surrealism, Expanded Cubism, Political Protest, Latin American Modernism and American Painting

o Introduction to Modern Philosophyo Modernism and Formalism: Clement Greenberg

Homework: Due 11/17Online MET Project Analysis: (2 for this group)

Additional Reading: Published Articles: Clement Greenberg, “Modernist Painting,” 1960 – web: http://www.sharecom.ca/greenberg/modernism.html

Weekly Journal/Sketch assignment

Class 21: R 11/19 – POSTWAR MODERN MOVEMENTS IN THE WEST 23: Abstract Expressionism, Assemblage, Pop Art, Minimalism, Site works and Earthworks, Installation

o On the Museum’s Ruins: Douglas Crimp

Homework: Due 11/17Online MET Project Analysis: (2 for this group)

Additional Reading: Interpreting Art: by Terry Barretto Chapter 4: Interpretation and appreciation: Abstract Painting

Class 22: T 11/24 – Cont. MODERN ART 24

Homework: Due 11/24Online MET Project Analysis: (2 for this group)

Weekly Journal/Sketch assignment

Final day to get indie-movie approved – See Class 27

R 11/26: Thanksgiving

Class 23: T 12/1 – POSTMODERNITY AND GLOBAL ART 25 o Philosophy and Survey o Relativism: Death of an Author by Roland Bartheso Roots: Rauschenberg

Homework: Due 12/1Online MET Project Analysis: (2 for this group)

Weekly Journal/Sketch assignment

Additional Reading: Reality Through the Arts by Dennis J. Sporreo Chapter 13: Art in a world of Pluralism

Class 25: R 12/3 – Cont. POSTMODERNITYo Spirituality in arto Controversial arto Relational Esthetics

Homework: Due 12/3Additional Reading: Interpreting Art: by Terry Barrett

o 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

Class 26: T 12/8 – PERFORMING ARTS: MUSIC, OPERA, THEATER, DANCEHomework: Due 12/8

Weekly Journal/Sketch assignment

Additional Reading: Reality Through the Arts by Dennis J. Sporreo Chapter 4: Music and operao Chapter 5: Theatre o Chapter 7: Dance

Class 27: R 12/10 – Cont. PERFORMING ARTS: MOTION PICTUREHomework: Due 12/10

NYC Field Trip - Descriptive response paper: Field trip to a NY performance. Date and information TBAo Same parameters as Online MET Analysis project and to be added to the final project packet.

Additional Reading: Reality Through the Arts by Dennis J. Sporreo Chapter 6: Cinema the most influential art form of today. Choice of films is yet to be determined

Class 28: T 12/15 – Last day of classes: Cont. PERFORMING ARTSHomework: Due 12/15

Film critique paper: Discuss any independent full-length film, Documentary of Short.o Same parameters as Online MET Analysis project and to be added to the final project packeto Netflix is fine but above and beyond grade considerations for those who actually go to an indie theater

showing. Proof of attendance required o Pre-approval for title is required before Thanksgiving break

Final Journal/Sketch Books due

Final exam class: R 12/17-22/09 – Online MET Project and Performing art papers due

Have a great Christmas 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 RESOURCESNyack College catalog: http://www.nyackcollege.edu/library.phpNew York Public Library: http://www.nypl.org/ 

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 change1b. Students will apply a foundation of compassion and integrity to their chosen field of study1c. 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 science2b. Students will be able to communicate in oral and written form and demonstrate information and technological literacy2c. 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 community3b. Students will value diversity through an understanding of worldviews, languages, cultures, and peoples3c. 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 cultures4b. Students will appreciate the need to promote biblical principles of social-equality4c. 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 lives5b. Students will integrate their Christian worldview into learning and service5c. 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 art1b. Having developed a basis for art criticism1c. 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 art2b. Having observed that the arts have a powerful impact upon politics and philosophy2c. 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 cultures3b. Having connected this course to the World Civilization courses, which feature ethnic diversity within our city and country3c. 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 artists4b. Having made use of the resources at the Museum of Biblical Arts4c. 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. Museums5b. Broadway shows and classical music venues5c. Art in the parks and other available plays and concerts within the City of New York and surrounding areas5d. The museums and culture available through the Fine Arts Abroad courses

SOURCES

Interpreting Art: Reflecting, Wondering, and Responding by Terry BarrettConcerning the Spiritual in Art by Wassily KandinskyReality Through the Arts by Dennis J. SporreArt Fundamentals: Theory and Practice by Otto OcvirkArt of Seeing, by Paul J. Zelanski Ways of Seeing: by John BergerEsthetics Contemporary by Richard KostelanetzThe 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.htmlMichael Fried, “Modernist Painting and Formalist Criticism,” 1964

Postmodern AuthorsRoland Barthes, “The Death of the Author,” 1977 – web:http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/BarthesAuthor.pdfDouglas Crimp, “On the Museum’s Ruins,” 1983Craig Owens, “The Discourse of Others: Feminists and Postmodernism,” 1983 – web:http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/OwensOthers.pdf

Postmodern ConsumersFrederic Jameson, “Postmodernism and Consumer Society,” 1983Dick Hebdige, “A Report on the Western Front,” 1987

Art & Spirituality1. 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," 2001Representing DifferenceCornel West, “The New Cultural Politics of Difference,” 1990 – web:http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/WestDiffrnce.pdfStuart Hall, “New Ethnicities,” 1992Michael 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=permalinkLinda Nochlin, “Learning from Black Male,” 1995 – web:http://findarticles.com/p/articles/mi_m1248/is_n3_v83/ai_16821894

Regarding BeautyPeter Schjeldahl, “Notes on Beauty,” 1998Susan Sontag, “An Argument about Beauty,” 2002 – web:http://www.amacad.org/publications/fall2002/Sontagweb.pdfSuzanne Hudson, “Beauty and the Status of Contemporary Criticism,” 2003

Grotesque/AbjectMikhail Bakhtin, “The Grotesque Image of the Body,” 1965Noel Carroll, “The Grotesque Today,” 2003Simon Taylor, “The Phobic Object: Abjection in Contemporary Art,” 1993

Institutional CritiqueDaniel Buren, “The Function of the Studio,” 1970Brian O’Doherty, “Notes on the Gallery Space,” 1976 – web (2 pages):http://www.societyofcontrol.com/whitecube/insidewc.htmHans Haacke, “Museums: Managers of Consciousness,” 1984 – web:http://www.artcontext.net/crit/scrapbook/index.php?id=26

Audience ParticipationNicolas Bourriaud, “Relational Aesthetics,” 1998 – web:http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/BourriaudRA.pdfClaire Bishop, “Antagonism and Relational Aesthetics,” 2004 – web:http://roundtable.kein.org/files/roundtable/claire%20bishop-antagonism&relational%20aesthetics.pdf