...ARTS 105 Art Appreciation Summer 2016 Session (15-55) May 30 , 2016 – July 23, 2016 Course Description Introduction to the place of visual art in modern society, to the vocabulary used in discussing a work of art, and the studio techniques artists use to produce two and three-dimensional works Prerequisite: None Proctored Exams: None Instructor Information Dr. Patricia Rooney, PhD American Studies-Visual Culture, St. Louis University M.A. Art History, Webster University parooney@cougars.ccis.edu Textbooks Frank, Patrick. Prebles’ Artforms 11th Edition. 2014. Upper Saddle River, NJ: Pearson, 2014. ISBN: 978-0-205-96811-4 Textbooks for the course may be ordered from MBS Direct. You can order * online at http://direct.mbsbooks.com/columbia.htm (be sure to select Online Education rather than your home campus before selecting your class) * by phone at 800-325-3252 For additional information about the bookstore, visit http://www.mbsbooks.com. Course Overview Art Appreciation is an introduction to the principles and concepts used in the study and analysis of the fine arts, in order to achieve a basic understanding of art and artistic concerns. Art Appreciation studies the major cultural achievements and significant artistic works that have shaped Western culture. The approach to this course is to study the arts in an historical context beginning with the earliest artistic expressions of ancient societies...
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...communication with the class will be primarily through announcements posted on the Blackboard Message Board. However, if you need to contact me, please feel free to send me an email directly. Also, be sure to ENTER YOUR CURRENT STUDENT ID NUMBER and CLASS ID ON ALL EMAILS, otherwise a response will be significantly delayed. All homework assignments must be posted on Blackboard. Assignments emailed to me will not receive any credit. The Blackboard system is our “classroom” therefore you must turn in all assignments into the BB system. NO EXCEPTIONS!!!! DO NOT EMAIL ME. There are no face-to-face meetings in this distance education class. You will receive all information for the class electronically. ONLINE students, after the semester begins, you must check the News page every day. Anything less and you will be jeopardizing your grade and status in the class! This is an intense class which imitates a regular in-person class. Also, this is a 3 unit college level class and as such requires 10-12 hours of study per week. As is the case with many on-campus courses, History 121 requires that the student be highly disciplined and motivated. This course offers considerable flexibility for the completion of assignments, yet like students taking Asian History at the SCC campus, on-line students must meet certain deadlines in order to complete the course successfully. Late work will not be accepted!! No exceptions!!! PREREQUISITES None. However, a desire to learn and think critically...
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...ASSIGNMENT 04 AR300 Art History Directions: Be sure to save an electronic copy of your answer before submitting it to Ashworth College for grading. Unless otherwise stated, answer in complete sentences, and be sure to use correct English, spelling, and grammar. Sources must be cited in APA format. Your response should be four (4) double‐spaced pages; refer to the “Format Requirementsʺ page located at the beginning of this learning guide for specific format requirements. Part A 1. Analyze storytelling in the cultures we studied in the past four weeks using the artworks below as examples of the Egyptian, Islamic, and Early Christian societies’ modes for depicting stories. Begin with a brief analysis of each story that is being told, using your own words and making sure to point out the formal elements of the artwork (line, color, shape, and composition) that combine to tell the story. * Funerary Stele of Amenemhat, c. 2000 BCE. Painted limestone. Egyptian Museum, Cairo. Located on page 59 in the textbook. * Flight into Egypt, from the Infancy of Christ Window, c. 1140-1144 CE. Stained and painted glass. The Glencairn Museum, Bryn Athyn, Pennsylvania. Located on page 264 in the textbook. * Tile Mosaic Mihrab from the Madrasa Imami, c. 1354 CE. Glazed and cut ceramic tiles. The Metropolitan Museum in New York City. Located on page 194 in the textbook. 2. Next, compare and contrast the three artworks and the iconography used in each story and distinguish the connections...
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...ASSIGNMENT 04 AR300 Art History Directions: Be sure to save an electronic copy of your answer before submitting it to Ashworth College for grading. Unless otherwise stated, answer in complete sentences, and be sure to use correct English, spelling, and grammar. Sources must be cited in APA format. Your response should be four (4) double‐spaced pages; refer to the “Format Requirementsʺ page located at the beginning of this learning guide for specific format requirements. Part A 1. Analyze storytelling in the cultures we studied in the past four weeks using the artworks below as examples of the Egyptian, Islamic, and Early Christian societies’ modes for depicting stories. Begin with a brief analysis of each story that is being told, using your own words and making sure to point out the formal elements of the artwork (line, color, shape, and composition) that combine to tell the story. * Funerary Stele of Amenemhat, c. 2000 BCE. Painted limestone. Egyptian Museum, Cairo. Located on page 59 in the textbook. * Flight into Egypt, from the Infancy of Christ Window, c. 1140-1144 CE. Stained and painted glass. The Glencairn Museum, Bryn Athyn, Pennsylvania. Located on page 264 in the textbook. * Tile Mosaic Mihrab from the Madrasa Imami, c. 1354 CE. Glazed and cut ceramic tiles. The Metropolitan Museum in New York City. Located on page 194 in the textbook. 2. Next, compare and contrast the three artworks and the iconography used in each story and distinguish...
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...greeley@indwes.edu Beard, Office 115 Office hours: M/W 1:00–5:00 PM T/TH by appointment Prof Davy Chinn davy.chinn@indwes.edu PPAC, Office 164 Office hours: M/W 1:00–3:00 PM T/TH 10:30 AM–12:30 PM All others by appointment COURSE DETAILS Description MUS180 is an integrated arts appreciation course. It is part of the Humanities Core Curriculum. Each week, you will rotate between classes in art, music, and theatre appreciation (see p. 11 for course rotation schedule). Classes will be structured around a common topic or theme, enabling you to make connections between the different art forms. Required Course Texts Erwin Raphael McManus, The Artisan Soul: Crafting Your Life Into a Work of Art, HarperOne, 2014. Other texts as assigned, available via Learning Studio. Required Course Fee Our class field trip to the BSU David Owsley Museum on Jan. 22 will cost $10, due by Jan. 20 to Amanda Dyer in the BAC office. Prof Katie Wampler katie.wampler@indwes.edu Elder, Office 140E Office hours: M/W/F 12:10–1:25 PM W 2:30–3:30 PM T/TH 11:00 AM–1:30 PM Syllabus Contents Course details Learning outcomes Policies & expectations Course evaluation Museum Artwork Analysis paper Museum Art & Music Integration paper Mix-tape project Concert reports Theatre critiques Mix-tape project Arts Integration assignments Reading reflections Academic support Grading Course rotation schedule Course schedule 1 2 3 4 5 7 7 8 8 9 10 11 11 12 12 ...
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...Syllabus ARH 4470/5482 Contemporary Art Spring 2013 Tuesday and Thursday 2:00-3:15pm Chemistry and Physics, Room 197 Instructor: Dr. Alpesh Kantilal Patel Assistant Professor, Department of Art + Art History Director, Master of Fine Arts Program in Visual Arts Contact information for instructor: Department of Art + Art History MM Campus, VH 235 Preferred mode of contact: alpesh.patel@fiu.edu Office hours: By appointment on Tuesdays and Thursdays (preferably after class). Course description: This course examines major artists, artworks, and movements after World War II; as well as broader visual culture—everything from music videos and print advertisements to propaganda and photojournalism—especially as the difference between ‘art’ and non-art increasingly becomes blurred and the objectivity of aesthetics is called into question. Movements studied include Abstract Expressionism, Pop, and Minimalism in the 1950s and 1960s; Post-Minimalism/Process Art, and Land art in the late 1960s and 1970s; Pastiche/Appropriation and rise of interest in “identity” in the 1980s; and the emergence of Post-Identity, Relational Art and Internet/New Media art in the 1990s/post-2000 period. We will focus primarily on artistic production in the US, but we will also be looking at art from Europe, South and East Asia, Africa, and the Middle East. Emphasis will be placed on examining artworks and broader visual culture through the lens of a variety of different contextual frameworks:...
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...Art 224 701 MW Beginning Digital Photo Assignment sheet for written assignment #3: Paper and study guide DUE: Monday, Nov 11 You will visit the GAGE Gallery (18 South Michigan Ave) the Museum of Contemporary Photography (600 S. Michigan Ave – Columbia College) and the DePaul Museum, will look at the photography exhibits in those venues. You will choose two photographs to analyze and compare, and will analyze them for content, looking particularly at how the form of each photograph might communicate, and what is being communicated. You may choose photos from the DePaul Museum or the Museum of Contemporary Photography (which opens on OCT 18), to compare to each other, or to images in the Gage Gallery. You will analyze the photos according to a denotative/connotative approach. In this kind of analysis, you first look at and describe the artwork in question, taking note of all organizational structures, formal elements and details that make up the artwork (including the title). In order to do this more thoroughly, take a look at the terms that are listed below, and consider whether the artist is using any of these strategies and principles. Then in the connotative section, consider how is she/he using them in each artwork to help communicate, and state what the meaning of the photograph, or the intent of the photographer, might be based on your denotative findings. In the final section of your paper, compare the denotative/connotative conclusions of the separate photographs with each...
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... Axia College Course Design Guide SCI/245 Version 5 Physical Geology Start Date: 9/24/2012 End Date: 11/25/2012 Course Materials Murck, B. W., Skinner, B. J., & Mackenzie, D. (2008). Visualizing geology. Hoboken, NJ: John Wiley & Sons. Axia College’s Writing Style Handbook, available online at https://axiaecampus.phoenix.edu/Writing_Style_Handbook_AxiaUOP.pdf All electronic materials are available on your student Web site. Please print a copy of this syllabus for handy reference. Whenever there is a question about what assignments are due, please remember this syllabus is considered the ruling document. Copyright Copyright © 2009, 2008, 2007 by University of Phoenix. All rights reserved. University of Phoenix® is a registered trademark of Apollo Group, Inc. in the United States and/or other countries. Microsoft®, Windows®, and Windows NT® are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other company and product names are trademarks or registered trademarks of their respective companies. Use of these marks is not intended to imply endorsement, sponsorship, or affiliation. Edited in accordance with University of Phoenix® editorial standards and practices. Facilitator Information Rodney Higgs ...
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...Profile Process Piece: Analyzing the Rhetorical Situation Week 1 Assignment Please answer the following questions in complete sentence and paragraph format. Although this is not a formal essay assignment, please note that proper spelling, grammar, and sentence structure are required. This week’s lecture and Chapters 2 and 3 in your text will help you work through some of the terms within the rhetorical situation. Defining Topic, Angle, Purpose 1. What is your chosen topic? (For example: a profile of Barb Collins, a volunteer at the local homeless shelter; a profile of “Shipwreck Days,” a citywide flea market and festival; or a profile of Burdick’s Grocery, the oldest family-owned business in town.) I am doing a profile on Dale Chihuly, An American glass blower and artist. 2. What unique angle can you present on this topic? (Consider what is new about the topic or what unique perspective can be shared about this topic.) Chihuly’s works are considered unique to the field of blown glass, "moving it into the realm of large-scale sculpture," (Museum of Fine Arts, Boston). 3. What is your purpose for writing? (What do you hope to accomplish? Why are you writing?) My purpose for writing about Chihuly is to give everyone a chance to see what kind of amazing and beautiful art that can be done by someone who is blind in one eye. Analyzing your Readers You will be writing your Profile essay to your local community. Imagine you might submit the Profile to your local newspaper...
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...|[pic] |College of Natural Sciences | | |HCS/235 Version 3 | | |Health Care Delivery in the U.S. | Whenever there is a question about what and when assignments are due, please remember this syllabus is considered the ruling document along with your Instructors Policies and Course Requirements located in our Course-materials forum. You will also find our Course Calendar at the end of this Syllabus. This will assist you with when all assignments and DQ’s are due. Course Description This course provides a broad overview of the various functions of the United States health care system. The historical evolution of health care is examined. The student is introduced to the various forms of provider models and service delivery systems found in private and public health sectors, including ambulatory, acute, mental, and long-term care. The financing aspects of health care and their influence on health care delivery and quality are outlined. Policies Faculty and students will be held responsible for understanding and adhering to all policies contained within the following two documents: • University policies: You must be...
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...Worth’s (2012) concern that “nonprofit managers must be committed to performance measurement but should not become overly focused on it to the detriment of delivering their mission’s programs” (p. 157). Performance measurement Process Before engaging in performance measurement, it is vital to understand the level and scope of the process. Measurement can be conducted for effectiveness or performance at the program/project or organizational level. Effectiveness relates to achieving the mission, while performance is a broader concept that considers financial results and other variables related to the overall organization. Once the scope and level of analysis are determined, several questions should be answered about the evaluation process: 1. WHAT is to be evaluated—or assessed for effectiveness? 2. HOW should it be assessed? 129 130 • INTRODUCTION TO NONPROFIT MANAGEMENT 3. WHO is responsible for conducting the assessment? 4. TO WHOM should the results be reported? Budgets and other resource constraints may influence the answers...
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...GLG 101 - Week 6 Assignment: Metamorphic Rocks Lab PART 2/2 (UOP) FOR MORE CLASSES VISIT www.glg101tutorial.com Resources: pp. 108–116 of Geoscience Laboratory and Appendixes K & L Identify and classify the rock examples in Appendix K. Answer the Appendix L questions from your lab book. Write your responses in Appendix K. Complete All of Appendix K & L. Post completed Appendix K & L in the individual forum. Due day 7. ================================================= GLG 101 Assignment Deserts Lab (UOP) FOR MORE CLASSES VISIT www.glg101tutorial.com Resources: pp. 265–276 of Geoscience Laboratory and Appendix M Answer the Appendix M questions from your lab book. Write your responses in Appendix M. Complete ALL of Appendix M. Post completed Appendix M to the individual forum. Due day 7. ================================================= GLG 101 Assignment: Earthquake Technology Lab (UOP) FOR MORE CLASSES VISIT www.glg101tutorial.com Resources: pp. 156–170 of Geoscience Laboratory and Appendix F Answer the questions listed in Appendix F from the lab book. Write your responses in Appendix F. Complete ALL of Appendix F. Post the completed Appendix F in the individual forum. Due day 7. ================================================= GLG 101 Assignment Groundwater Lab (UOP) FOR MORE CLASSES VISIT www.glg101tutorial.com Resource: pp. 213–227 of Geoscience Laboratory and Appendix N. Answer the Appendix N questions from...
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...The Politics of Art Throughout History The Politics of Art Throughout History John A Kenny I have read and understand the Strayer University Academic Integrity Policy listed in the Syllabus II of our classroom. In submitting this assignment, I assert that I acknowledged all sources, whether quoted or summarized, in APA citation style. I did not receive unauthorized assistance. I understand that violations of the Academic Integrity Policy will lead to disciplinary action against me, up to and including suspension or expulsion from the University. I understand that all students play a role in preserving the academic integrity of the University and have an obligation to report violations of the Academic Integrity Policy committed by other students. Name: _John A. Kenny______ Date: __Nov, 13, 2009________ Abstract A brief explanation of how art has carried political messages throughout history. The Politics of Art Throughout History Why All Art is Political When people begin to discuss the idea of the convergence of art and politics, many times the focus of the discussion gravitates toward images of propaganda art such as Rosy the Riveter, or Hitler Youth posters. While these are certainly two very obvious examples of art created purely for political reasons, I submit that all art makes some sort of political statement. The political message that is portrayed in artwork is typically influenced by a few major factors, the issues and ideas that are important...
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...argument. Scientific research is reviewed and constant evaluated and judge whether their conclusions are valid. “Test results and/or observations that may either help support or help refute a scientific idea. In general, raw data are considered evidence only once they have been interpreted in a way that reflects on the accuracy of a scientific idea”(University of California Museum of Paleontology, 2011). Evidence significantly impacts the scientist community in more ways than one; accepting established theories are harder to accept and must provide evidence to back up their claims, as hard data. Same is true with effective business planning, ideas must flow together and examine key objectives, as well rationale a chosen selection for an argument over other alternative ideas. Essentially business planning is explanation of why an idea makes sense, resources used to envision the goal, skills required and team to do the research. “The plan must be concise, well-written and should focus on the lender's or investor's principal areas of concern”(Andrew, 2003). Reference University of California Museum of Paleontology (2011) The core of science: relating evidence and ideas. Retrieved March 3, 2011 from...
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...Conservations and Preservation Strategy Public Forum, October 1996. Introduction This paper has been written in response to an invitation from the Conservation Working Party of the Heritage Collections Committee of the Cultural Ministers Council. Its purpose is to consider the implications of cultural diversity in Australia in a program which seeks to implement the National Conservation and Preservation Policy for Movable Cultural Heritage issued by the Heritage Collections Committee of the Cultural Ministers Council in September 1995. That document included ten policy statements intended to provide the framework for a proposed National Conservation Strategy which might pave the way for a concerted effort to improve the conservation status of heritage collections in Australia. In relation to cultural diversity, the statement of policy (Policy Statement 2) was expressed as follows: The Commonwealth, State, Territory and Local Governments acknowledge the diversity of cultures of the Australian people which should be reflected in the definition and identification of movable cultural heritage. Expressed in this way, the policy statement does little more than state the obvious that Australia is a culturally diverse community and that efforts, unspecified, should be made to ensure that justice is done to this demographic and social reality in the programs which are developed by museums, libraries and archives to build collections and to provide a range of services and products based on these...
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