Undergraduate Academic Board Agenda

November 16, 2012 2:00-5:00 ADM 204 I. Roll ( ) Dave Fitzgerald (CBPP) ( ) Ira Ortega (COE) ( ) Christina Stuive (SA) ( ) Adjunct vacancy ( ) Paola Banchero (CAS) ( ) Jeffrey Callahan (CTC) ( ) Francisco Miranda (FS CAS) ( ) USUAA vacancy ( ) Mari Ippolitio (CAS) ( ) Utpal Dutta (SOE) ( ) Alberta Harder (FSAL) Ex-Officio Members: ( ) Barbara Harville(CAS) ( ) Michael Hawfield (KPC) ( ) Soren Orley (FSAL) ( ) Susan Kalina ( ) Len Smiley (CAS) ( ) Kevin Keating (LIB) ( ) FS at large vacancy ( ) Lora Volden ( ) Helena Jermalovic (COH) ( ) Joan O’Leary (Mat-su) ( ) Kathrynn Hollis Buchanan (Kodiak) ( ) S&P ( ) Eileen Weatherby (COH) ( ) Thia Falcone (Adjunct)

II. Approval of the Agenda (pg. 1-2)

III. Approval of Meeting Summary (pg. 3-4)

IV. Administrative Report A. Vice Provost for Undergraduate Academic Affairs Susan Kalina

B. University Registrar Lora Volden

V. Chair’s Report A. UAB Chair- Dave Fitzgerald

B. GERC

VI. Program/Course Action Request- Second Readings Chg AKNS A290 Topics in Alaska Native Studies (1-3)(1-3+0)(pg. 5-9)

Chg AKNS A490 Advanced Topics in Alaska Native Studies (1-3)(1-3+0)(pg. 10-14)

Chg AKNS A492 Cultural Knowledge of Native Elders (3 cr)(3+0)(pg. 15-19)

Chg AKNS A495 Alaska Native Studies Internship (1-3)(1-3+0)(pg. 20-23)

VII. Program/Course Action Request- First Readings Add Physical Therapist Assistant (Prefix Only)(pg. 24-25)

Chg ENGL A312 Advanced Technical Writing (3 cr)(3+0)(pg. 26-32)

Chg ART A203 Introduction to Art Education (3 cr)(3+0)(pg. 33-38)

Chg ART A204 History and Philosophy of Art Education ( cr)(3+0)(pg. 39-43)

Chg ART A209 Beginning Metalsmithing and Jewelry (Stacked with ART A309 and ART A409)(3 cr)(0+6)(pg. 44-48)

Chg ART A212 Beginning Watercolor (Stacked with ART A312 and ART A412) (3 cr)(0+6)(pg. 49-54)

Chg ART A261 History of Western Art I (3 cr)(3+0)(pg. 55-64)

Chg ART A262 History of Western Art II (3 cr)(3+0)(pg. 65-74)

1 Chg ART A303 Curriculum Planning and Interpretation in Art (3 cr)(3+0)(pg. 75-82)

Chg ART A304 Art Experience: Social, Cultural, and Educational (3 cr)(3+0)(pg. 83-88)

Chg ART A360A History of Non-Western Art I (3 cr)(3+0)(pg. 89-99)

Chg ART A360B History of Non-Western Art II (3 cr)(3+0)(pg. 100-110)

Chg ART A361 History of Graphic Design (3 cr)(3+0)(pg. 111-115)

Chg ART A362 History of Modern Art (3 cr)(3+0)(pg. 116-122)

Chg ART A363 History of Contemporary Art (3 cr)(3+0)(pg. 123-128)

Chg ART A364 Italian Renaissance Art (3 cr)(3+0)(pg. 129-134)

Chg ART A366 Asian Art (3 cr)(3+0)(pg. 135-140)

Chg ART A367 History of Photography (3 cr)(3+0)(pg. 141-144)

Chg ART A392 Selected Topics in Art Education (1-3 cr)(1-3+0)(pg. 145-154)

Chg ART A403 Arts and Technology (3 cr)(3+0)(pg. 155-161)

Chg ART A404 Diversity and Visual Culture (3 cr)(3+0)(pg. 162-167)

Chg ART A491 Senior Seminar (3 cr)(3+0)(pg. 168-172)

Chg ART A492 Art History Seminar (3 cr)(3+0)(pg. 173-183)

Chg ART A499 Thesis (3 cr)(0+6)(pg. 184-194)

Chg GEOL A490 Advanced Topics in Geology (Stacked with GEOL A690) (1-4 cr)(1-4+0)(pg. 195-204)

VIII. Old Business

IX. New Business

X. Informational Items and Adjournment

2 Undergraduate Academic Board Summary

November 9, 2012 2:00-5:00 ADM 204 I. Roll (x) Dave Fitzgerald (CBPP) (x) Ira Ortega (COE) (x) Christina Stuive (SA) ( ) Adjunct vacancy (x) Paola Banchero (CAS) (x) Jeffrey Callahan(CTC) (x) Francisco Miranda (FS CAS) ( ) USUAA vacancy (x) Mari Ippolitio (CAS) (x) Utpal Dutta (SOE) (x) Alberta Harder (FSAL) Ex-Officio Members: (x) Barbara Harville(CAS) (x) Michael Hawfield (KPC) (x) Soren Orley (FSAL) (x) Susan Kalina (x) Len Smiley (CAS) (x) Kevin Keating (LIB) ( ) FS at large vacancy (x) Lora Volden ( ) Helena Jermalovic (COH) (x) Joan O’Leary (Mat-su) (x) Kathrynn Hollis Buchanan(Kodiak) (x) S&P (x) Eileen Weatherby (COH) (e) Thia Falcone (Adjunct)

II. Approval of the Agenda (pg. 1-2) Move CIS A250/A350 down in the first readings Approved

III. Approval of Meeting Summary (pg. 3-4) Approved

IV. Administrative Report A. Vice Provost for Undergraduate Academic Affairs Susan Kalina SLO memo is finalized and will be sent out to the faculty soon Provost search schedule is posted on the Chancellor’s website

B. University Registrar Lora Volden Registration opened today for graduate students; senior registration will open on Monday

V. Chair’s Report A. UAB Chair- Dave Fitzgerald CIO search has been narrowed down to three candidates

B. GERC No report

VI. Program/Course Action Request- Second Readings Add CE A426 Traffic Modeling and Simulation (Stacked with CE A626)(3 cr)(3+0)(pg. 5-12) Unanimously Approved

VII. Program/Course Action Request- First Readings Add CIS A250 Basic Web Page Design and Development (stacked with CIS A350)(3 cr)(3+0)(pg. 13-17) Accepted for first reading

Add CIS A350 Advanced Web Page Design and Development (stacked with CIS A250)(3 cr)(3+0)(pg. 18-22) Accepted for first reading

Add WS A252 Women and Social Action (Cross listed with SOC A252)(3 cr)(3+0)(pg. 23-26) Waive first reading, approve for second

Chg SOC A252 Women and Social Action (Cross listed with WS A252)(3 cr)(3+0)(pg. 27-30) Waive first reading, approve for second

Add MUS A216 World Music (Cross listed with AKNS A216)(3 cr)(3+0)(pg. 31-35) Accepted for first reading, going to GERC

Add AKNS A216 World Music (Cross listed with MUS A216)(3 cr)(3+0)(pg. 36-40) Accepted for first reading, going to GERC

Chg MUS A431 Counterpoint (3 cr)(3+0)(pg. 41-43) Accepted for first reading

Chg MUS A432 Orchestration (3 cr)(3+0)(pg. 44-46) Accepted for first reading

Chg AKNS A290 Topics in Alaska Native Studies (1-3)(1-3+0)(pg. 47-50) Accepted for first reading

Chg AKNS A490 Advanced Topics in Alaska Native Studies (1-3)(1-3+0)(pg. 51-55) Accepted for first reading

Chg AKNS A492 Cultural Knowledge of Native Elders (3 cr)(3+0)(pg. 56-60) Accepted for first reading

Chg AKNS A495 Alaska Native Studies Internship (1-3)(1-3+0)(pg. 61-64) Accepted for first reading

Add HIST A308 Europe in the High Middle Ages (3 cr)(pg. 65-71) Accepted for first reading

Add HIST A336 Latin America to 1800 (3 cr)(pg. 72-78) Accepted for first reading

Add HIST A338 Modern Latin America (3 cr)(pg. 79-85) Accepted for first reading

Add JPN A390 Selected Topics: Studies in Japanese Culture and Society (3 cr)(3+0)(pg. 85-92) Waive first reading, approve for second

VIII. Old Business

IX. New Business

X. Informational Items and Adjournment

4 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AHUM Division of Humanities Alaska Native Studies

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) AKNS A290 N/A 1-3 (1-3+0) 6. Complete Course Title Topics in Alaska Native Studies Topics in AK Native Studies Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status Yes # of Repeats 3 Max Credits 12

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Fall/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG; Title change (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. AKNS minor 92, 333 11/12/12 Maria Williams 2.

3. Initiator Name (typed): Maria Williams Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 07/05/2012 13c. Coordination with Library Liaison Date: 07/19/2012 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) None N/A N/A 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) None College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Updated title, repeat status, CCG; student learning outcomes and course description to better reflect course level expectations.

 Approved ______Initiator (faculty only) Date  Disapproved Dean/Director of School/College Date Maria Williams Initiator (TYPE NAME)  Approved  Approved ______Undergraduate/Graduate Academic Date  Disapproved Department Chairperson Date  Disapproved Board Chairperson

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

5 COURSE CONTENT GUIDE UNIVERSITY OF ALASKA ANCHORAGE Alaska Native Studies Program

III. Course Activities Because this is a “selected topics” course, the exact focus of the course may vary depending on the topic addressed. However, in general, the course will involve a combination of: A. Lectures B. Discussions C. Guest speakers

IV. Course Level Justification This 200-level class examines selected topics in Alaska Native Studies at an introductory level.

V. Course Evaluation Grades are primarily based on student essays, exams, class participation and attendance.

VI. Course Outline This class explores different issues in Alaska Native studies. Students will be exposed to new ideas and information that are currently impacting Alaska Native people, and

6 topics can range from politics/policies, art practices/production, resource extraction, global climate change, and Alaska Native corporations. Guest speakers throughout the semester will bring Alaska Native perspectives into the classroom. Possible topics can include: A. Colonialism and Neo-colonialism in Alaska B. Alaska Native art traditions C. Traditional Ecological Knowledge (TEK) D. Subsistence challenges/issues E. Alaska Native Claims Settlement Act (ANCSA) F. Alaska National Interest Conservation Act (ANILCA) G. Alaska Native Tribes and People H. Village out-migration I. Federal Indian Policy J. History of Alaska Natives K. Politics and Public Policy L. Resource extractions and impacts on Alaska Native people M. Global Climate change and impacts on Alaska Native people

VII. Sample Course Outline

Course title: Decolonizing Methodologies

A study of research methods that work to honor Indigenous ways of producing and sharing knowledge. Through theory and case studies, students will study research methodologies that incorporate a strong ethic of community-based practices and the reciprocal sharing of knowledge. Although weighted toward Indigenous communities, this course will be useful to researchers involved with or belonging to other minority groups that have often been the objects—rather than subjects—of research.

Suggested Text:

Smith, Laura Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. Second Edition. London: Zed Books, 2012.

Bibliography:

David, E.J. Filipino -/ American Postcolonial Psychology: Oppression, Colonial Mentality, and Decolonization. Bloomington, IN: Author House, 2011. Deloria, Vine Jr. Red Earth, White Lies: Native Americans and the Myth of Scientific Fact. Golden, CO: Fulcrom Press, 1997. Dwyer, Sonya Corbin and Jennifer L. Buckely. “The Space Between: On Being and Insider- Outsider in Qualitative Research,” in International Journal of Qualitative Methods. 2009 8(1): 54-63. Kenny, Carolyn. “A Holistic Framework for Aboriginal Policy Research.” Ottawa: Status of

7 Women Canada, 2004. Kovach, Margaret Elizabeth. Indigenous Methodologies: Characteristics, Conversations, and Contexts. University of Toronto Press, Scholarly Publishing Division; Reprint edition, 2010. Lomawaima, K. Tsianina and Teresa L. McCarty. To Remain an Indian. New York: Teachers College Press, 2006.

VIII. Instructional Goals and Student Learning Outcomes

A. Instructional Goals. The instructor will: 1. Engage students through lecture and presentation formats, bringing the subject matter to a level within their comprehension. 2. Empower students to participate in class discussion, facilitated debates, and various in-class activities and exercises that are designed to bring the historical issues alive for learning, including using Native Case Studies. 3. Challenge students to debate controversial issues surrounding Alaska Native people objectively.

4. Provide an interaction with guest lecturers who provide a high level of expertise in their fields, such as federal Indian policy, Alaska Native history, art production, elder knowledge, Alaska Native land claims, traditional knowledge, Alaska Tribal sovereignty issues, to foster student learning and mentorship.

B. Student Learning Outcomes. Students will be able to: Assessment Method 1. Demonstrate knowledge on issues Homework , essays, and exams, centered on current and historical class discussions, class Alaska Native topics, including presentation(s) education, boarding schools, subsistence, and contemporary approaches to indigenous based pedagogy 2. Articulate the events that led to ANCSA Homework, essays, quizzes, in- and ANILCA class exercises, and journals

8 3. Demonstrate an understanding of In-class exercises, and interdisciplinary approaches to discussions. colonialism, neo-colonialism, resource extraction, and its impact on Alaska Native communities

4. Demonstrate a basic understanding of Quizzes and discussions. federal Indian policy, and compare and contrast the Alaska Native tribal status and courts to those of the Lower 48 American Indian Tribes.

IX. Suggested Text None required.

X. Bibliography Reading selections will include a variety of articles from numerous sources. ISER, Alaskool, and the Alaska Native Knowledge Network will be utilized for various historical and current articles.

9 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AHUM Division of Humanities Alaska Native Studies

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) AKNS A490 N/A 1-3 (1-3+0) 6. Complete Course Title Advanced Topics in Alaska Native Studies Adv. Topics in AKNS Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status Yes # of Repeats 3 Max Credits 12

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Fall/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Department updating CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. AKNS minor 92, 333 11/12/12 Maria Williams 2.

3. Initiator Name (typed): Maria Williams Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 07/05/2012 13c. Coordination with Library Liaison Date: 07/05/12 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) N/A N/A N/A 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Upper division standing College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Updated title, repeat status, CCG; student learning outcomes and course description to better reflect course level expectations.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

10 COURSE CONTENT GUIDE UNIVERSITY OF ALASKA ANCHORAGE Alaska Native Studies Program

I. Date Initiated November 13, 2012 II. Course Information College/School: College of Arts and Sciences Department: Alaska Native Studies Program: minor, Alaska Native Studies Course Title: Advanced Topics in Alaska Native Studies Course Number: AKNS A490 Credits: 1-3 Contact Hours: Determined by the specific nature of the topics and the number of credits Grading Basis: A-F Course Description: Examines topics on contemporary issues in Alaska Native studies at an advanced level. Course can include political, social and historical aspects of Alaska Native peoples and culture. Special Note: Subtitle varies. May be repeated for credit up to three times with a different subtitle. Course Prerequisites: AKNS A201 Registration Restrictions: Upper division standing Fees: Yes

IV. Course Level Justification This 400-level course examines selected topics in Alaska Native Studies at an advanced level and requires a background in Alaska Native history, politics/policy, and culture. Students must have had AKNS A201 or have upper division standing.

V. Course Evaluation Grades are primarily based on student essays, exams, class participation and attendance.

VI. Course Outline This class explores various issues in Alaska Native Studies. Students will address at an advanced level new ideas and information that are currently impacting Alaska

11 Native people, and topics can range from politics/policies, art practices/production, resource extraction, global climate change, and Alaska Native corporations. Guest speakers throughout the semester will bring Alaska Native perspectives into the classroom. Topics to be covered will include: A. Colonialism and Neo-colonialism in Alaska B. Alaska Native Art traditions C. Traditional Ecological Knowledge (TEK) D. Subsistence challenges/issues E. Alaska Native Claims Settlement Act (ANCSA) F. Alaska Native Tribes and People G. Village out-migration H. Federal Indian Policy I. History of Alaska Natives J. Politics and Public Policy K. Resource extractions and impacts on Alaska Native people L. Global Climate change and impacts on Alaska Native people

VII. What follows is a sample course offering a) Decolonizing Methodologies This course focuses on research methods that work to honor Indigenous ways of producing and sharing knowledge, including seeking proper permissions from Indigenous communities and individuals before beginning research, sharing research materials and outcomes, and respecting the boundaries of knowledge intended for specific audiences. We will also study how these methods stand in contrast to a long history of "colonizing" research that distorted knowledge gained from and about Indigenous peoples and/or that failed to build reciprocal and respectful relationships between researchers and Indigenous communities. Brydon, Diana Ed. Postcolonialism. New York: Routledge, 2000. Smith, Laura Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples Second Edition. London: Zed Books, 2012. Vizenor, Gerald. Manifest Manners: Postindian Warriors of Survivance. Middletown, CT: Wesleyan University Press, 1993. Wilson, Shawn. Research is Ceremony: Indigenous Research Methods. Halifax & Winnipeg: Fernwood Publishing, 2006.

VIII. Instructional Goals and Student Learning Outcomes

A. Instructional Goals. The instructor will:

12 1. Engage students through lecture and presentation formats, bringing the subject matter to a level within their comprehension. 2. Empower students to participate in class discussion, facilitated debates, and various in-class activities and exercises that are designed to bring the historical issues alive for learning, including using Native case studies. 3. Challenge students to debate controversial issues surrounding Alaska Native people objectively.

4. Provide an interaction with guest lecturers who provide a high level of expertise in their fields, such as federal Indian policy, Alaska Native history, art production, elder-knowledge, Alaska Native land claims, traditional knowledge, or Alaska Tribal sovereignty issues, to foster student learning and mentorship.

B. Student Learning Outcomes. Students will be able to: Assessment Method 1. Articulate issues centered on current and Homework , essays, and class historical Alaska Native topics, discussions, class presentation(s), including education, boarding schools, research paper(s). subsistence, and contemporary approaches to indigenous based pedagogy 2. Articulate the events that led to ANCSA Homework, essays, quizzes, in- and ANILCA. class exercises, and journals

3. Demonstrate an understanding of In-class exercises and discussions, interdisciplinary approaches to the study and research paper(s). of colonialism, neo-colonialism, resource extraction, and its impact on Alaska Native communities

4. Demonstrate knowledge of basic federal Quizzes, essays, and class Indian policy, and compare and contrast discussions. the Alaska Native tribal status and courts to those of the Lower 48 American Indian Tribes.

13 IX. Suggested texts: Barnhardt, Ray and Angayuqaq Oscar Kawagley. Alaska Native Education: Views from Within. Alaska Native Knowledge Network, University of Alaska Fairbanks, 2010.

Williams, Maria, Editor. The Alaska Native Reader. Duke University Press, 2009.

Note: Reading selections will include a variety of articles from numerous sources. ISER, Alaskool, and the Alaska Native Knowledge Network will be utilized for various historical and current articles.

14 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AHUM Division of Humanities Alaska Native Studies

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) AKNS A492 3 (3+0) 6. Complete Course Title Cultural Knowledge of Native Elders Cultural Knowledge of Elders Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats 0 Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Fall/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Department Updating CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. AKNS minor 333, 91 10/7/12 Maria Williams 2.

3. Initiator Name (typed): Maria Williams Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 10/07/12 13c. Coordination with Library Liaison Date: 10/07/2012 submitted to Faculty Listserv: ([email protected])

14. General Education Requirement Oral Communication Written Communication Quantitative Skills Humanities Mark appropriate box: Fine Arts Social Sciences Natural Sciences Integrative Capstone 15. Course Description (suggested length 20 to 50 words) This course is offered in a structured setting to provide a hands-on experiential learning encounter for the student. Elders from different Alaska Native cultures will be invited to participate and impart knowledge to the students. The course fosters an appreciation of diversity across cultures, a broader understanding of creative expression, and Indigenous worldview. Special Note: Students enrolling in this course should have either upper division class standing with a strong background in the social sciences or appropriate life experience, or a combination of the two prior to enrolling for this course.

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) N/A 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) AKNS A201 or Upper-division standing College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Updated title and CCG; student learning outcomes and course description to better reflect course level expectations.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

15 COURSE CONTENT GUIDE UNIVERSITY OF ALASKA ANCHORAGE Alaska Native Studies Program

I. Date Initiated November 13, 2012 II. Course Information College/School: College of Arts and Sciences Department: Alaska Native Studies Program: Minor, Alaska Native Studies Course Title: Cultural Knowledge of Native Elders Course Number: AKNS A492 Credits: 3 Contact Hours: 3 hours per week for 15 weeks Grading Basis: A-F Course Description: This course is offered in a structured setting to provide a hands-on experiential learning encounter for the student. Elders from different Alaska Native cultures will be invited to participate and impart knowledge to the students. The course fosters an appreciation of diversity across cultures, a broader understanding of creative expression, and Indigenous worldview. Special Note: Students enrolling in this course should have either upper division class standing with a strong background in the social sciences or appropriate life experience, or a combination of the two prior to enrolling for this course. Course Prerequisites: N/A Registration Restrictions: AKNS A201 or upper-division standing Fees: yes

III. Course Activities This course is offered in a structured setting, to provide a hands-on experiential learning encounter for the student. Elders from different Alaska Native cultures will be invited to participate and impart knowledge to the students. The course fosters an appreciation of diversity with cultures, and a broader understanding of creative expression, and Indigenous worldview.

IV. Course Level Justification Students must have had AKNS A201 or have upper division standing.

V. Course Evaluation Class participation, student journals and research papers.

VI. Course Outline

16 This class explores traditional knowledge and worldview and incorporates visiting Alaska Native elders and tradition bearers. Students will learn Alaska Native perspectives and worldview to gain a deeper understanding of knowledge transmission and Indigenous epistemologies. Depending on the visiting Elders, topics can vary, but can include: A. Music and dance B. Indigenous history and oral traditions C. Indigenous concepts of teaching and learning D. Indigenous concepts of the environment, subsistence, and relation to the land E. Indigenous art techniques, including gathering and preparing materials that are used in Alaska Native art production F. Indigenous languages and relationship to culture G. Indigenous worldview

VII. Instructional Goals and Student Learning Outcomes

A. Instructional Goals. The instructor will: 1. Provide an interactive classroom experience by bringing Alaska Native Elders to the class to provide traditional knowledge. 2. Assist the student in learning concepts of Alaska Native and Indigenous worldview.

3. Challenge the student to learn and discuss Indigenous knowledge systems.

4. Provide an interaction for the students with knowledgeable Elders who have detailed knowledge on Alaska Native oral traditions, subsistence, traditional ecological knowledge, art systems, and worldview/cosmology.

B. Student Learning Outcomes. Students will be able to: Assessment Method 1. Demonstrate what they have learned Class participation, final project, from the visiting Elders in class exercises, and journal

2. Articulate the knowledge and skill Homework, in-class exercises, obtained from the Elders in areas that journals, final project and/or include art production, worldview, research paper subsistence, traditional ecological

17 knowledge, and language

3. Demonstrate an understanding of In-class exercises, class Indigenous-based pedagogy and participation, and discussions, and learning as compared to Western-based journals learning

4. Articulate the importance of traditional Final class projects, journals, and knowledge and be able to apply this research paper(s) and class knowledge discussions

VIII. Suggested Text

A Place for Winter by Paul Tiulana. (CIRI Foundation, 1987).

Yupiit Yuraryarait: Yup’ik Ways of Dancing by James Barker, Ann Fienup-Riordan, Ann John, Theresa John. (University of Alaska Press, 2010).

IX. Bibliography

Barker, James H., Ann Fienup-Riordan, Theresa Arevgaq John. Yupiit Yuraryarait: Yup’ik Ways of Dancing. University of Chicago Press, 2010.

Barnhardt, Ray and Angayuqaq Oscar Kawagley. Alaska Native Education: Views from Within. Alaska Native Knowledge Network University of Alaska Fairbanks, 2010.

Fair, Susan. Alaska Native Art: Tradition, Innovation Continuity. University of Alaska Press, 2006.

Langdon, Steve. Native People of Alaska. Greatland Graphics, 4th edition, 2002.

Meade, Marie Agayuliyaraarput: kegginaqut, kangiit-llu: Our Way of Making Prayer: Yup’ik Masks and the Stories They Tell. Transcribed and edited by Marie Meade and Ann Fienup-Riordan. University of Washington Press, 2000.

Tiulana, Paul and Vivian Senungetuk. A Place for Winter: Paul Tiulana’s story. CIRI Foundation, 1987.

18 Williams, Maria, ed. Alaska Native Reader. Duke University Press 2009. http://www.alaskool.org http://www.uaf.edu/anlc/

19 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AHUM Division of Humanities Alaska Native Studies

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) AKNS A495 1-3 (1-3+0) 6. Complete Course Title Alaska Native Studies Internship AKNS Internship Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status Yes # of Repeats 5 Max Credits 6

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Fall/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. AKNS minor 91, 333 11/12/12 Maria Williams 2.

3. Initiator Name (typed): Maria Williams Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 10/19/2012 13c. Coordination with Library Liaison Date: 10/22/2012 submitted to Faculty Listserv: ([email protected])

14. General Education Requirement Oral Communication Written Communication Quantitative Skills Humanities Mark appropriate box: Fine Arts Social Sciences Natural Sciences Integrative Capstone 15. Course Description (suggested length 20 to 50 words) This is designed as a supervised on-campus or off-campus internship which provides an opportunity for the students to work in the professional environment of an Alaska Native organization. Students perform significant work and/or research and develop professional skills and networks. The internship requires a formal agreement between the student, the faculty member and the supervisor. Special Note: May be repeated for up to six credits.

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) AKNS A201 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Instructor permission, upper division standing, and knowledge of Alaska Native issues College Major Class Level required.

17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Updated the repeat status, the CCG; student learning outcomes and course description to better reflect course level expectations.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

20 COURSE CONTENT GUIDE UNIVERSITY OF ALASKA ANCHORAGE Alaska Native Studies Program

I. Date Initiated November 13, 2012 II. Course Information College/School: College of Arts and Sciences Department: Alaska Native Studies Program: minor, Alaska Native Studies Course Title: Alaska Native Studies Internship Course Number: AKNS A495 Credits: 1-3 Contact Hours: Determined by the number of credits Grading Basis: A-F Course Description: This is designed as a supervised on-campus or off-campus internship which provides an opportunity for the students to work in the professional environment of an Alaska Native organization. Students perform significant work and/or research and develop professional skills and networks. The internship requires a formal agreement between the student, the faculty member and the supervisor. Special Note: May be repeated for up to six credits. Course Prerequisites: AKNS A201 Registration Restrictions: Instructor permission, upper division standing, and knowledge of Alaska Native issues required. Fees:

III. Course Activities This is designed as a supervised on-campus or off-campus internship, which provides an opportunity for students to work in the professional environment of an Alaska Native organization. Students perform significant work and/or research and develop professional skills and networks. The internship requires a formal agreement between the student, the faculty member and the supervisor.

IV. Course Level Justification This internship provides students an opportunity to bring together in an applied situation the various knowledge skills, and commitments developed through prior courses in Alaska Native Studies. The internship provides an experiential learning environment for the student.

V. Course Evaluation Student evaluation is based on the internship outcomes, and the student’s final written report. The formal agreement of the internship is established by the student, the

21 faculty member and the supervisor and will be the guiding document for the internship and the basis for final evaluation.

VI. Course Outline The internships will provide students with a professional experience in working and/or researching for an Alaska Native organization. May vary depending on credit hours.

VII. Instructional Goals and Student Learning Outcomes

A. Instructional Goals. The instructor will: 1. Engage students through real-life professional experience, bringing the subject matter to a level within their comprehension. 2. Empower students by working in a professional setting.

3. Provide a professional interactive experience for the student within an Alaska Native organization or office, including Native corporations, profit and non- profit, village IRA Council, and non-governmental organizations. 4. Provide an interaction with professionals working in fields that include federal Indian policy, Alaska Native history, art production, Elder knowledge, Alaska Native land claims, traditional knowledge, Alaska tribal sovereignty issues, to foster student learning and mentorship.

B. Student Learning Outcomes. Students will be able to: Assessment Method 1. Demonstrate an understanding of how Student journal and supervisor Native organizations are managed, and report how they operate

2. Demonstrate what they learned in the Student journal/final report and internship, and what the skills they supervisor report acquired 3. Demonstrate a new understanding of Student journal/final report Alaska Native communities and organizations

22 4. Articulate how their internship will Student journal/final report inform their professional career

VIII Suggested Text None required.

IX Bibliography Reading selections will include a variety of articles from numerous sources. ISER, Alaskool, and the Alaska Native Knowledge Network will be utilized for various historical and current articles.

M E M O R A N D U M

To: UAA Undergraduate Academic Board

From: Robin Wahto Allied Health

Date: November 7, 2012

Re: Request for Prefix

______

Attached is PAR requesting a prefix, PTA, for the development of curriculum for a Physical Therapist Assistant AAS degree. The university has received funding to develop an AAS degree, which will be housed within the School of Allied Health, and we are in the early stages of development of the program. I have checked with UAA Publications and PTA is available for use as a prefix.

24 Program/Prefix Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Program of Study or Prefix

1a. School or College 1b. Department CH College of Health Physical Therapist Assistant

2. Complete Program Title/Prefix PTA (Physical Therapist Assistant)

3. Type of Program

Choose one from the appropriate drop down menu: Undergraduate: or Graduate: Associate of Applied Science CHOOSE ONE

This program is a Gainful Employment Program: Yes or No

4. Type of Action: PROGRAM PREFIX

Add Add Change Change Delete Inactivate

5. Implementation Date (semester/year) From: FA/2012 To: /9999

6a. Coordination with Affected Units Department, School, or College: UAF, UAS, College of Health

Initiator Name (typed): Robin Wahto Initiator Signed Initials: ______Date:______

6b. Coordination Email submitted to Faculty Listserv ([email protected]) Date: 11-6-12

6c. Coordination with Library Liaison Date: 10/29/12

7. Title and Program Description - Please attach the following:

Cover Memo Catalog Copy in Word using the track changes function

8. Justification for Action In response to a need in the State of Alaska for a PTA program, the university has received funding and is currently developing curriculum for an AAS degree in Physical Therapist Assistant.

 Approved ______Initiator (faculty only) Date  Disapproved Dean/Director of School/College Date

Robin Wahto Initiator (TYPE NAME)  Approved  Approved ______Undergraduate/Graduate Academic Date  Disapproved Department Chair Date  Disapproved Board Chair

 Approved  Approved ______ Disapproved College/School Curriculum Committee Chair Date  Disapproved Provost or Designee Date

25 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AHUM Division of Humanities English

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ENGL A312 N/A 3.0 (3+0) 6. Complete Course Title Advanced Technical Writing

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: 9999/9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Updating CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. See attached coordination table 2.

3. Initiator Name (typed): Patricia Jenkins Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 04/30/12 13c. Coordination with Library Liaison Date: 04/30/12 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ENGL A211, or A212, or A213, or A214, with a N/A minimum grade of C 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Englis A212 recommended College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Revised course description reflects revised course content and revised course content reflects current approaches to this subject.

 Approved ______Initiator (faculty only) Date  Disapproved Dean/Director of School/College Date Trish Jenkins Initiator (TYPE NAME)  Approved  Approved ______Undergraduate/Graduate Academic Date  Disapproved Department Chairperson Date  Disapproved Board Chairperson

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

Impacted Program/Course Catalog pages Date of Chair/Coordinator impacted Coordination Contacted BA English, Rhetoric and Language Option p. 103 4/30/2012 Dan Kline BA English, Education Option p. 103 4/30/2012 Dan Kline BS Aviation Technology, Aviation Management p. 185 4/30/2012 Rocky Capozzi Emphasis BS Aviation Technology, Air Traffic Control p. 186 4/30/2012 Rocky Capozzi Emphasis Paralegal Studies Certificate p. 158 4/30/2012 Andre Rosay BS, Technology p. 233 Angela Dirks BS, Technology Business Emphasis p. 234 Angela Dirks BA, Computer Science p. 241 Kenrick Mock BS, Computer Science p. 242 Kenrick Mock CS A490 p. 381 Kenrick Mock EDEL A205 p. 397 Keith Cates LEGAL A356 p. 441 Allan Barnes PARL A456 p. 469 Andre Rosay

27 Course Content Guide University of Alaska Anchorage College of Arts and Sciences Department of English

I. Initiation Date: September 2013

II. Course Information A. College: College of Arts and Sciences

B. Course Title: Advanced Technical Writing

C. Course Number: ENGL A312

D. Credit Hours: 3.0 Credits

E. Contact Time: 3 hours per week

F. Grading Information A-F

G. Course Description: Advanced study of technical writing principles, practices, and genres. Extensive practice in designing, revising, and editing print and electronic documents.

H. Status of Course: The course fulfills 3 credits of the Written Communication requirement for Associate and Baccalaureate degrees. May fulfill part of the requirements for the BA in English, Rhetoric and Language Option, and for the BA in English, Education Option. May fulfill part of the requirements for the minor in English, Professional Writing Emphasis; the BS in Aviation Technology, Aviation Management Emphasis and Air Traffic Control Emphasis; the BS in Technology, Business Emphasis; the BA and BS in Computer Science; and the undergraduate certificate in Paralegal Studies.

I. Lab Fees: Fees if delivered in a computerized classroom

J. Coordination: UAA Faculty Listserv

K. Prerequisites: ENGL A211, or A212, or A213, or A214, with a minimum grade of C

L. Registration Restrictions: English A212 recommended III. Course Level Justification. As a course that addresses the application of complex theory and practice associated with technical writing, it is best suited for students at the junior or senior level

28 IV. Course Content Outline: I. Visual Rhetoric A. Importance of rhetorical situation B. Function of rhetorical concerns C. Relationship between visual and verbal cues D. Verbal and visual conventions II. Visual Strategies A. Arrangements B. Emphasis C. Clarity D. Conciseness E. Tone F. Ethos G. Interdependence of visual strategies III. Perception and Design A. Perception issues B. Gestalt principles of design C. Empirical research as design tool IV. Visual Analysis A. Purpose of visual analysis B. Vocabulary of visual analysis C. Taxonomy for visual analysis D. Analyzing visual analysis rhetorically V. Text Design A. Linear components (e.g., letters, words, numbers) B. Text fields (distinguishable area of visual interest or attention) C. Non-linear components (textual information represented through tables, matrices, charts, etc.) VI. Extra –level design (Spatial and graphic elements) A. Data displays (non-textual means to display information) B. Pictures VII. Document design A. Supra-level elements (all components of a document) B. Designing for usability VIII. Preparing Graphics for Publication A. Graphic file formats B. Resolution, aspect ratio, color mode IX. Editing Print and Online Documents A. Concepts and methods B. Basic copyediting C. Comprehensive editing X. Revising A. Soliciting user reviews B. Usability testing and editing XI. Collaboration and Technical Writing A. Roles and relationships B. Approaches and strategies C. Advantages and disadvantages

V. Instructional Goals, Student Outcomes, and Methods of Evaluation:

Instructional Goals Student Outcomes Assessment Methods The instructor will The student will be able to Introduce the Apply principles and Class or online discussions principles, concepts, concepts and use strategies and strategies associated with designing Print and electronic associated with information in order to documents (e.g., flyers, designing information. analyze, design, and produce newsletters, charts, tables, print and online technical and instructions) documents. Semester project comprising a coordinated website or multiple-sectional print or electronic document

Introduce technical Evaluate and revise print and Class or online discussions style conventions and online technical documents concepts and methods for usability. Exercises, quizzes, and tests for technical editing. Print and electronic documents

Theorize constructing Evaluate and construct print Class or online discussions technical documents and online documents that as a response to a respond to a particular Print and electronic rhetorical situation: rhetorical situation. documents purpose, context, and audience. Semester project

Address the role of Engage with other students Class or online discussions collaboration in for constructive critique technical writing. and/or to complete Print and electronic collaborative projects. documents

Peer review activities

Semester project

VI. Suggested Texts:

Alred, G. J., Brusaw, C. T., & Oliu, W. E. (2008). Handbook of technical writing (9th ed.). Boston, MA: Bedford/St. Martin’s.

Kostelnick, C., & Roberts, D. D. (2010). Designing visual language: Strategies for technical communicators. New York, NY: Longman.

Rude, C. (2010). Technical editing. New York, NY: Longman.

VII. Selected Bibliography:

Baer, K. (2010) Information design workbook: Graphic approaches, solutions, and inspiration + 30 case studies. Beverly, MA: Rockport Publishers.

Bergstrom, B. (2009). Essentials of visual communication. London, England: Laurence King Publishers.

Bolter, J. D. (2001). Writing space: Computers, hypertext, and the remediation of print (2nd edition). Mahwah, NJ: Erlbaum.

Bowdon, M., & Scott, J. B. (2003). Service learning in technical and professional communication. New York, NY: Allyn & Bacon.

Eserver technical communication library. (2011). Retrieved from http://tc.eserver.org/

Felici, J. (2003). The complete manual of typography: A guide to setting perfect type. Berkeley, CA: Adobe Press.

Few, S. (2006). Information design: The effective visual communication of data. Sebastopol, CA: O’Reilly Media.

Handa, C. (2004). Visual rhetoric in a digital world: A critical sourcebook. Boston, MA: Bedford/St. Martins.

Hargis, G., Carey, M., Hernandez, A. K., Hughes, P., Longo, D., Rouiller, S. & Wilde, E. (2004). Developing quality technical information: A handbook for writers and editors (2nd ed.). Upper Saddle River, NJ: Prentice Hall.

Horn, R. (1990). Mapping hypertext: Analysis, linkage, and display of knowledge for the next generation of on-line text and graphics. Lexington, MA: Lexington Institute.

Kimball, M. A., & Hawkins, A. R. (2007). Document design: A guide for technical communicators. Boston, MA: Bedford/St. Martins.

Krug, S. (2000). Don’t make me think: A common sense approach to web usability. Indianapolis, IN: Que.

Lawler, B. P. (2006). The official Adobe print publishing guide: The essential resource for design, production, and prepress (2nd ed.). Berkeley, CA: Adobe Press.

Lester P. M. (2010). Visual communication: Images with messages. Florence, KY: Wadsworth.

Lynch, P. J., & Horton, S. (2002). Web style guide: Basic design principles for creating web sites (2nd ed.). New Haven, CT: Yale UP.

Microsoft Corporation Editorial Style Board. (2004). Microsoft Manual of Style for Technical Publications (3rd ed.). Indianapolis, IN: Microsoft Press.

Parker, R. (2006). Looking good in print. (6th ed.). Scottsdale, AZ: Paraglyph.

Snyder, I. (Ed.). (2008). Page to screen: Taking literacy into the electronic age. New York, NY: Routledge.

Sun Technical Publications. (2009). Read me first: A style guide for the computer industry (3rd ed.). Upper Saddle River, NJ: Prentice Hall.

Warnick, B. (2001). Critical literacy in a digital era: Technology, rhetoric, and the public interest. London, England: Routledge.

Williams, R. (2008). Non-designers design book. Berkeley, CA: Peachpit.

32 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A203 NA 3 (3+0) 6. Complete Course Title Introduction to Art Education

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. See attachment 2.

3. Initiator Name (typed): Deborah Tharp Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 11/11/11 13c. Coordination with Library Liaison Date: 11/11/11 submitted to Faculty Listserv: ([email protected])

14. General Education Requirement Oral Communication Written Communication Quantitative Skills Humanities Mark appropriate box: Fine Arts Social Sciences Natural Sciences Integrative Capstone 15. Course Description (suggested length 20 to 50 words) Introduction to general art education, museum education, and to theories, issues, and practices in historical and contemporary contexts. Includes rationales for teaching and learning art, theories of children's developmental levels in art, art and technology, and teaching practices through text and journal readings. Special Note: Required for BA/BFA Art degrees.

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ENGL A111 with minimum grade of C NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations and course description. Deletion of a registration restriction that is no longer applicable.

 Approved ______Initiator (faculty only) Date  Disapproved Dean/Director of School/College Date Deborah Tharp Initiator (TYPE NAME)  Approved  Approved ______Undergraduate/Graduate Academic Date  Disapproved Department Chairperson Date  Disapproved Board Chairperson

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

33 ART A203: Introduction to Art Education Impacted Course and Programs Supplemental Table Catalop Page(s) Impacted Program/Course Impacted Date of Coordination Chair/Coordinator Contacted Bachelor of Arts, Art 94 11/11/2011 Mariano Gonzales Bachelor of Fine Arts, Art 96 11/11/2011 Mariano Gonzales Minor, Art 96 11/11/2011 Mariano Gonzales ART A204 341 11/11/2011 Mariano Gonzales ART A303 342 11/11/2011 Mariano Gonzales ART A304 342 11/11/2011 Mariano Gonzales ART A403 344 11/11/2011 Mariano Gonzales

34 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Introduction to Art Education C. Course Subject/Number: ART A203 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Introduction to general art education, museum education, and to theories, issues, and practices in historical and contemporary contexts. Includes rationales for teaching and learning art, theories of children's developmental levels in art, art and technology, and teaching practices through text and journal readings. Special Note: Required for BA/BFA Art degrees. H. Status of course relative to degree or certificate program: Required course for BA or BFA in Art degrees I. Lab Fees: Yes J. Coordination: Yes K. Course Prerequisites: ENGL A111 with minimum grade of C

III. Course Activities Lecture course and projects. Reading and written work as assigned – including brief research papers.

IV. Evaluation Evaluation procedures are at the discretion of the instructor and will be discussed at the first class meeting of the semester. Students will be evaluated on class projects, homework assignments, sketchbook/journal/written work, technical and critical thinking skills, progress throughout semester, attendance and participation. Project evaluation will generally include content, problem solving, craftsmanship, creativity/ingenuity, and amount of effort. It is understood that progress will vary with individual students and is dependent upon entry-level skills, expertise, creativity, and/or amount of time devoted to each project.

Criteria for Grading

To receive a grade of A (superior): 1. Scholarship/Research: Strong, exceeding all instructor requirements 2. Initiative: Contributions exceed assignments and demonstrate resourcefulness 3. Cooperation: Leader in group activities; constant and spontaneous 4. Individual Improvement: Marked and growing

To receive a grade of B (Above Average): 1. Scholarship/Research: Accurate and complete, meets all instructor requirements 2. Initiative: Good when stimulated by some desirable achievement 3. Cooperation: Good in group activities 4. Individual Improvement: Shows marks of improvement; responds to stimulation

To receive a grade of C (Average): 1. Scholarship/Research: Barely meets assignments; needs encouragement 2. Initiative: Uncertain and apparent only at times 3. Cooperation: Not effective and very irregular 4. Individual Improvement: Ordinary, lacking in noticeable benchmarks

To receive a grade of D (Below Average, but Passing): 1. Scholarship/Research: Not meeting all instructor requirements and assignments 2. Initiative: Lacking 3. Cooperation: Fair at times - lacking at other times 4. Individual Improvement: Not noticeable

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification Course builds on a basic working knowledge of studio techniques and concepts in the discipline. Individual student input, directions and personal goals are stressed with an emphasis on teaching, learning, and creative growth. Critical thinking is addressed through contemporary issues and practices of art education.

VI. Outline A. Rationale for teaching art B. Introduction to art education C. Child development and art D. Cognition and the arts E. Curriculum theory: An overview F. Art, culture and environment G. Special education H. Assessment & evaluation in the visual arts I. Art education and technology J. Museum education K. Field observation and museum visit L. Presentation of final paper

36 VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Demonstrate an understanding of the foundations of art education in K-12 and museum setting 2. Give rationales for teaching art for various age levels and settings 3. Provide introductory field experiences in K-12 art classrooms and museums 4. Discuss different contexts for teaching and learning in art

B. Student Learning Outcomes. Student will be able to:

Student Learning Outcomes Assessment Demonstrate rationale for teaching art in K-12 Written papers and assignments and/or museum settings Describe child’s developmental and cognitive Written papers and assignments skills in art Examine current journals and online resources Written assignments relevant to art and museum education Summarize reasons for teaching art and how In-class discussions and written assignments experience shapes the role of an art educator

VIII. Suggested Texts Instructor will select text appropriate to the class such as:

Abbs, P. Against the Flow: The Arts, Postmodern Culture and Education. London, UK: Routledge Falmer, 2006. Addison, N. Issues in Art and Design Teaching. London, UK: Routledge Falmer, 2003. Bach, P.B., Dissanayake, E., Hine, T. & Lippard, L. New Land Marks: Public Art, Community and the Meaning of Place. Washington, DC: Grayson Publishing, 2000.

IX. Bibliography and Resources

Abbs, P. Against the Flow: The Arts, Postmodern Culture and Education. London, UK: Routledge Falmer, 2006. Addison, N. Issues in Art and Design Teaching. London, UK: Routledge Falmer, 2003. Albert, G., et al, “Foundations of Experiential Education.” NSEE Quarterly 23.3 (1998): 18-22. Bach, P.B., Dissanayake, E., Hine, T. & Lippard, L. New Land Marks: Public Art, Community and the Meaning of Place. Washington, DC: Grayson Publishing, 2000. Burgess, L. Learning to Teach Art and Design in the Secondary School. London, UK: Routledge Falmer, 2000. Burnham, L.F. & Durland, S., eds. The Citizen Artist, 20 Years of Art in the Public Arena. Amherst, PA: Critical Press Inc, 1998. Chapman, L. Approaches to Art in Education. New York, NY: Harcourt Brace, 1998. Congdon, K.G, Blandy, D. & Bolin, P. Histories of Community-Based Art Education. Reston, VA: National Art Education Association, 1998.

37 Dalton, P. The Gendering of Art Education: Modernism, Art Education And Critical Feminism. London, UK: Open University Press, 2001. Davis, J., ed. The Wheel in Motion: The Co-Arts Assessment Plan from Theory to Practice. Cambridge, MA: Harvard University, 1996. Dewey, J. Experience and Education. New York, NY: Free Press, 1967. Eglinton, K. Art in the Early Years: Teaching and Learning in the Early Years. London, UK: Routledge Falmer, 2003. Eisner, E. Educating Artistic Vision. New York, NY: The MacMillan Company, 1997. Eisner, E. W. and Day, M. D., eds. Handbook of Research and Policy in Art Education. Mahwah, NJ: Lawrence Erlbaum Associates, 2004. Fineberg, C. Creating Islands of Excellence: Arts Education as a Partner in School Reform. Portsmouth, NH.: Heinemann, 2004. Freedman, K. Teaching Visual Culture: Curriculum, Aesthetics, and the Social Life of Art. New York, NY: Teachers College Press, 2003. Gaudelius, Y. & Speirs, P. Contemporary Issues in Art Education. Upper Saddle River, NJ: Prentice Hall, 2001. Isbell, R. T. and Raines, S. C. Creativity and the Arts with Young Children. Belmont. CA: Thomson Delmar Learning, 2002. Levi, A. and Smith, R. A. Art Education: A Critical Necessity. Champaign-Urbana, IL: University of Illinois Press, 1991. Lowenfeld, V. and Lambert B. Creative and Mental Growth. 8th ed. New York, NY: The MacMillian Company, 1998. Maffesoli, M. The Time of Tribes: The Decline of Individualism in Mass Society. London, UK: Sage, 1996. Michael, J. A. Art and Adolescence: Teaching Art at the Secondary Level. New York, NY: Teachers College Press, 1983. Rabkin, N. Putting the Arts in the Picture: Reframing Education in the 21st Century. Chicago, IL: Columbia College, 2004. Rowe, M. K. Arts Education Partnerships: Lessons Learned From One School District Experience. San Diego, CA: RAND Corporation, 2004. Smith, R. A, ed. Aesthetics and Arts Education. Champaign-Urbana, IL: University of Illinois Press, 1991. Stankiewicz, M. A. Roots of Art: Education Practice. Worcester, MA: Davis, 2001. Stewart, M. G. Using the Art Museum. Worcester, MA: Davis, 2001. Wiske, M. S. Teaching for Understanding: Linking Research with Practice. Hoboken, NJ: Jossey-Bass, 1997. Xanthoudakis, M., Tickle, L. and Sekules V., eds. Researching Visual Arts Education in Museums and Galleries: An International Reader. New York, NY: Springer, 2003.

38 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A204 NA 3 (3+0) 6. Complete Course Title History and Philosophy of Art Education Hist. and Phil of Art Ed Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART Courtesy Coordination 11/11/11 Mariano Gonzales 2. BFA ART Courtesy Coordination 11/11/11 Mariano Gonzales

3. Minor, Art Education 96 11/11/11 Mariano Gonzales Initiator Name (typed): Deborah Tharp Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 11/11/11 13c. Coordination with Library Liaison Date: 11/11/11 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A203 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations and deletion of a registration restriction that is no longer applicable.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

39 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History and Philosophy of Art Education C. Course Subject/Number: ART A204 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Overview of the history and philosophical foundations of art education in the United States and implications in Alaska. Examines the theories and practices of teaching art in the public schools, cultural centers, and museums. H. Status of course relative to degree or certificate program: Elective course for BA or BFA in Art degrees I. Lab Fees: Yes J. Coordination: Yes K. Course Prerequisites: ART A203 and (ENGL A111 with minimum grade of C)

III. Course Activities Lecture course. Reading and written work as assigned and brief research papers.

Criteria for Grading

To receive a grade of A (superior): 1. Scholarship/Research: Strong, exceeding all instructor requirements 2. Initiative: Contributions exceed assignments and demonstrate resourcefulness. 3. Cooperation: Leader in group activities; constant and spontaneous 4. Individual Improvement: Marked and growing

40 To receive a grade of B (Above Average): 1. Scholarship/Research: Accurate and complete, meets all instructor requirements 2. Initiative: Good when stimulated by some desirable achievement 3. Cooperation: Good in group activities 4. Individual Improvement: Shows marks of improvement; responds to stimulation

To receive a grade of C (Average): 1. Scholarship/Research: Barely meets assignments; needs encouragement. 2. Initiative: Uncertain and apparent only at times 3. Cooperation: Not effective and very irregular 4. Individual Improvement: Ordinary, lacking in noticeable benchmarks

To receive a grade of D (Below Average, but Passing): 1. Scholarship/Research: Not meeting all instructor requirements and assignments 2. Initiative: Lacking 3. Cooperation: Fair at times – lacking at other times 4. Individual Improvement: Not noticeable

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification Course builds on a basic working knowledge developed in ART A203. Individual student input, directions and personal goals are stressed with an emphasis on teaching, learning, and creative growth. Critical thinking is addressed through contemporary issues and practices of art education.

VI. Outline A. Art education in the twentieth century: A history of ideas B. Art education from World War II to the present C. History of the theory and practice of teaching art in the public schools D. Historic trends in art reflecting human themes and cultural meaning E. Human growth and development as related to art education F. Values, beliefs, and intuition as artistic influences

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Summarize the history and philosophy of art education and implications in the State of Alaska 2. Discuss the history of art education and examine the theories and practices of teaching art in the public schools, cultural centers, and museums

41 B. Student Learning Outcomes. Student will be able to:

Student Learning Outcomes Assessment Review the rationales for teaching art, Written papers and assignments historically and philosophically Summarize the historical bases in the field of Written papers and assignments art education that have influenced contemporary art education theories and practices Discuss the issues that have shaped the field of In-class discussions and written assignments art education

VIII. Suggested Texts Instructor will select text appropriate to the class such as:

Freedman, Kerry. Teaching Visual Culture: Curriculum, Aesthetics, and the Social Life of Art. New York, NY: Teacher’s College Press, 2004. MacDonald, Stuart. History and Philosophy of Art Education. Cambridge, MA: James Clarke and Company, 2004.

IX. Bibliography and Resources

Beyond the School: Community and Institutional Partnerships in Art Education. Reston, VA: National Art Education Association, 2003. Brown, N. “Commentary: Are We Entering a Post-Critical Age in Visual Arts Education?” In Studies in Art Education 44.3 (2003): 283-289. Clark, G.; Day, M.; & Greer, W.D. “Discipline-Based Art Education: Becoming Students of Art.” In R.A. Smith (Ed.), Readings in Discipline-Based Art Education: Literature of Educational Reform, 27-34. Reston, VA: National Art Education Association, 2000. Efland, A. “Art Education in the Twentieth Century: A History of Ideas.” In D. Soucy & M.A. Stankiewicz, eds. Framing the Past: Essays on Art Education, 116-136. Reston, VA: National Art Education Association, 1990. ______. A History of Art Education. New York, NY: Teachers College Press, 1990. Eisner, E. Educating Artistic Vision. New York, NY: The MacMillan Company, 1972. ______. “What is discipline-based art education?” In R.A. Smith, ed. Readings in Discipline-Based Art Education: A Literature of Educational Reform, 35-45. Reston, VA: National Art Education Association, 2000. Freedman, K. “The Importance of Modern Art and Art Education in the Creation of a National Culture.” In K. Freedman & F. Hernandez, eds. Curriculum, Culture, and Art Education: Comparative Perspectives, 77-90. Albany, NY: SUNY, 1998. Gallucci, T. “Has Art Education Changed its Face(s)? Answering Vincent Lanier's Challenge.” In A. Anderson, Jr. & P. Bolin, eds. History of Art Education: Proceedings of the Third Penn State International Symposium October 12-15, 1995, 570-576. University Park, PA: Penn State University, 1997.

42 Gaudelius, Y. & Spiers, P. Contemporary Issues in Art Education. Upper Saddle River, NJ: Prentice-Hall, 2002. MacDonald, Stuart. History and Philosophy of Art Education. Cambridge, MA: James Clarke and Company, 2004. Michael, J.A. “Viktor Lowenfeld: Some Misconceptions, Some Insights.” Art Education, 39.3 (1986): 36-39. Ott, Robert W. & Hurwitz, A., eds. Art in Education: An International Perspective. University Park, PA: The Pennsylvania State University Press, 1984. Saunders, R. “The Contributions of Viktor Lowenfeld to Art Education; Part I: Early Influences on his Thought.” In Studies in Art Education 2.1 (1961): 6-15. ______. “The Contributions of Viktor Lowenfeld to Art Education; Part II: Creative and Mental Growth.” In Studies in Art Education 2.2 (1962): 7-13. Smith, P. “Lowenfeld Teaching Art: A European Theory and American Experience at Hampton Institute.” In Studies in Art Education 29.1 (1987): 30-36. Stankiewicz, M.A. Roots of Art Education Practice. Worcester, MA: Davis, 2001. Stout, C. J. The Flower Teachers: Stories for a New Generation. New York, NY: National Art Education Association, 2002. Vallance, E. “The Multicultural World of Art Museums: Visible and Programmatic Choices for Art Education.” In D. Boughton & R. Mason, eds. Beyond Multicultural Education: International Perspectives 33-48. New York, NY & Berlin, 1999. Yokley, S.H. “Embracing a Critical Pedagogy in Art Education.” Art Education (September, 1999): 18-24.

43 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts Art

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A209 NA 3 (0+6) 6. Complete Course Title Beginning Metalsmithing and Jewelry Beg Metalsmithing & Jewelry Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status Yes # of Repeats 1 Max Credits 6

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with ART A309, ART A409 Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A105 NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course description better reflects repeat status expectations and course description.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

44 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Beginning Metalsmithing and Jewelry C. Course Subject/Number: ART A209 D. Credit Hours: 3.0 Credits E. Contact Time: 0+6 Contact Time F. Grading Information: A-F G. Course Description: Introduction to the basic techniques, tools and materials and application of design principles. Includes historical considerations. Special Notes: May be stacked with ART A309 and ART A409 May be repeated once for credit with substantive changes in media or emphasis H. Status of course relative to degree or certificate program: Course applies to the BA in Art and BFA in Art Degrees I. Lab Fees: YES J. Coordination: YES K. Course Prerequisites ART A105 Beginning Drawing

III. Course Activities Studio course. Demonstrations and lectures by instructor. Work in class daily, sketchbook/journal, projects, readings as assigned.

Criteria for Grading

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification Course is entry level and skills based. Builds on department’s core curriculum to provide a working knowledge of basic techniques and concepts.

VI. Outline A. The messages of jewelry 1. The uses and values placed on jewelry 2. The jewel and the jeweler 3. Jewelry forms in relation to the body a. Basic forms b. Functional considerations in jewelry concepts B. Working environment, facilities, and implements 1. The basic work area 2. General workshop requirements 3. Tools C. Basic techniques of fabrication 1. Measuring and marking 2. Sawing 3. Piercing 4. Filing 5. Buffing 6. Soldering

46 VII. Instruction Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Demonstrate practices and uses of introductory metalsmithing and jewelry skills 2. Illustrate how to examine and manipulate various properties of metals 3. Introduce aesthetics and history of contemporary metalsmithing design

B. Student Learning Outcomes. Student will be able to:

Student Learning Outcomes Assessment Demonstrate skills and principles related to Studio project current design theory and practice Solve introductory level design and technical Studio projects problems Examine and demonstrate personal design Studio project sensibility in finished projects Demonstrate competency in integrating design Final portfolio and technique Critically evaluate personal projects Class critiques

VIII. Suggested Texts

McCreight, Tim. Jewelry. Fundamentals of Metalsmithing. Madison,Wisconsin: Hand Books Press, 1997. Seppa, Heikki. Form Emphasis for Metalsmiths. Kent, Ohio: The Kent State University Press, 1978. Von Newman, Robert. The Design and Creation of Jewelry. Rev. ed. Radnor, Pennsylvania: Chilton Company, Book Division, 1972.

IX. Bibliography and Resources

Barber, Clifford W. Solder: Its Fundamentals and Usage. Chicago: Kester Solder Company, Third Division, 1965. Bovin, Murray. Silversmithing and Art Metal for Schools, Tradesmen, Craftsmen. Forest Hills, New York: Murray Bovin, 1963; Revised 1979. Choate, Sharr. Creative Casting: Jewelry, Silverware, Sculpture. New York: Crown Publishers, 1966. McGrath, Jinks. The New Encyclopedia of Jewelry-Making Techniques: A Comprehensive Visual Guide to Traditional and Contemporary Techniques. Philadelphia, PA: Running Press 2010 Morton, Philip. Contemporary Jewelry: A Studio Handbook. Rev. ed. New York: Holt, Rinehart & Winston, 1976. Seppa, Heikki. Form Emphasis for Metalsmiths. Kent, Ohio: The Kent State University Press, 1978.

47 Young, Anastasia. The Workbench Guide to Jewelry Techniques. Loveland, CO: Interweave Press 2010. ______. Jewelry Techniques: The Essential Guide to Choosing and Using Materials, Stones, and Settings. New York, NY: Potter Craft, 2008.

48 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts Art

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A212 NA 3 (0+6) 6. Complete Course Title Beginning Watercolor

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with ART A312, ART A412 Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/2011 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A105 NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisite to better reflect course level expectations and course description.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

49 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Beginning Watercolor C. Course Subject/Number: ART A212 D. Credit Hours: 3.0 Credits E. Contact Hours: 0+6 Contact Time F. Grading Information: A-F G. Course Description: Exploration of aquarelle techniques. Emphasizes composition as affected by color, value, stylistic considerations, and individual expression; exhibition procedures are included. Special Note: May be stacked with ART A312 and ART A412 H. Status of course relative to a degree or certificate program: Applies to BA and BFA in Art degrees I. Lab Fee: Yes J. Coordination: Yes K. Course Prerequisites: ART A105 Beginning Drawing

III. Course Activities Art Studio Course. Students will paint daily in class and may keep a sketchbook/journal. Demonstrations and lectures by instructor. Formal group critiques and informal individual critiques. Homework as required.

Criteria for Grading

50 To receive a grade of B (Above Average): 1. Scholarship/Research: Accurate and complete, meets all instructor requirements 2. Initiative: Good when stimulated by some desirable achievement 3. Cooperation: Good in group activities 4. Individual Improvement: Shows marks of improvement; responds to stimulation

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification Course is entry level, skills based, building upon, or in conjunction with, department’s core curriculum developing a working knowledge of basic techniques and concepts in the discipline.

VI. Outline A. Introduction of Materials 1. Traditional Watercolor Painting Supports and Formats 2. Brushes, Airbrush and other Watercolor Tools/ Supplies 3. Sketchbook 4. Studio Use, Health and Safety Issues B. Watercolor Painting Palette 1. Color Theory 2. Value Organization 3. Selection of Color Systems 4. Organization and Storage of Palette C. Selection of Subject Matter may include 1. Still Life, Self Portrait, Interior, Figurative 2. Exterior: Landscape, Urban, Micro/Macro Views, etc. 3. Working from Sketches 4. Interpreting Historical and Contemporary Models D. Watercolor and Painting Techniques/ Methodologies 1. Composition/ Design 2. Stretching, and Sketching on, Watercolor Paper 3. The Watercolor Palette: opaque and transparent colors.

51 4. Brushstroke and Structuring Space 5. Brushstroke as Texture/ Mark-making 6. Picture Plane 7. Implied (Western) Space in Painting 8. Value: Keys, Chiaroscuro, Light and Value, Value Organization, Value as Expression 9. Color Systems and Organization 10. Symbolic and Emotive Color 11. Blocking In 12. Under Painting 13. The Painterly Edge: Building through process, the pulled edge, edge interrelationships, edge variety/contrast, etc. 14. Traditional Watercolor Techniques may include a. Washes and Building Luminosity b. Line vs. Shape c. Limited Strokes and Structure d. Masking, Resists (wax, stencils/templates, tape, etc.) e. Corrections f. Building Luminosity through Reserving the Whites g. Transparency vs. Opacity h. Wet into Wet i. Graduations of Color j. Charged Color (color added to existing color) k. Bleeding: Wet Paper l. Wet into Dry m. Drybrush: Scumbling, Stippling, etc. n. Glazing: and Staining/ and Lifting o. Scrubbing p. Subtractive Painting: Scraping (S'Graffito)/ Sanding q. Effects: Bleach, Salt, Water-Soluble Pencils, Splatter and Pour effects, Blotting, etc. r. Using non-traditional tools: toothbrush, sponges, rubbings, twigs, hairdryers, fingers, string, stamping, etc. s. Impasto/ Palette Knife Technique t. Airbrush Techniques E. Initiate Development of Artistic Personal Language, Problem-Solving and Self-Critical Abilities in Watercolor/Painting 1. Employ conceptual concerns including critical-thinking processes based on exercises in image-construction 2. Developing a Focus 3. Understanding the interconnections between idea, approach, composition, surface, media, etc. 4. Introduce History of Watercolor, Historic & Contemporary Painting Modes & Research

52 VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Apply competency levels in essential watercolor painting skills and principles 2. Explore solutions to watercolor painting problems 3. Distinguish style and personal iconography in watercolor painting 4. Identify the historical/contemporary significance of watercolor painting

B. Student Learning Outcomes. Student will be able to:

Student Learning Outcomes Assessment Demonstrate basic watercolor and painting Studio projects skills/principles Construct solutions to watercolor painting Studio projects problems Incorporate the possibilities and limitations of Studio projects watercolor media Practice the skills to work from concept to Studio projects finished project Demonstrate knowledge of the history of Class discussions watercolor painting Demonstrate personal progress in technical & Studio projects expressive watercolor painting skills

VIII. Suggested Texts

Meyer, Ralph. The Artist’s Handbook of Materials and Techniques. New York, NY: Viking Press, 2000.

IX. Bibliography and Resources

Arthur, John. Realist Drawing and Watercolors. Boston, MA: New York Graphic Society, 1980. Bayles, David and Ted Orland. Art and Fear. New York, NY: Image Continuum Press, 2001. Chomicky, Yar. Watercolor Painting. Englewood Cliffs, NJ: Prentice-Hall, 1968. Derkatsch, Innessa. Transparent Watercolors: Painting, Methods and Materials. Englewood Cliffs, NJ: Prentice-Hall, 1980. Gottsegan, Mark. Manual of Painting Materials and Techniques. New York, NY: Watson-Guptill, 1993. Hart, Jan. Watercolor Artist’s Guide to Exceptional Color. Minneapolis, MN: Walter Foster 2007 Holman, Karlyn. Watercolor Without Boundaries. Cincinnati, OH: North Light Books, 2010.

53 Meyer, Ralph. The Artist’s Handbook of Materials and Techniques. New York, NY: Viking Press, 2000. Rodwell, Jenny. Watercolor Guide to Mixing Colors. Cincinnati, OH: North Light Books, 1997. Soan, Hazel. The Essence of Watercolor. London, UK: Batsford 2011. Tedeschi, Martha. John Marin’s Watercolors: A Medium for Modernism. Chicago, IL: Art Institute, 2011. Whitney, Edgar. Complete Guide to Watercolor Painting. New York, NY: Watson- Guptill, 1974. Whyte, Mary. Painting Portraits and Figures in Watercolor. New York, NY: Watson- Guptill 2011.

54 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A261 NA 3 (3+0) 6. Complete Course Title History of Western Art I

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. See Attachment 2.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

55 ART A261: History of Western Art I Impacted Course and Programs Supplemental Table Catalop Page(s) Impacted Program/Course Impacted Date of Coordination Chair/Coordinator Contacted Bachelor of Arts, Art 94 11/11/2011 Mariano Gonzales Bachelor of Fine Arts, Art 96 11/11/2011 Mariano Gonzales Minor, Art 96 11/11/2011 Mariano Gonzales AAS Digital Art (KPC) 97 Jayne Jones, Celia Anderson BA Computer Science 241 Kenrick Mock BS Computer Science 242 Kenrick Mock ART A228 341 11/11/2011 Mariano Gonzales ART A360A 343 11/11/2011 Mariano Gonzales ART A360B 343 11/11/2011 Mariano Gonzales ART A366 344 11/11/2011 Mariano Gonzales ART A492 345 11/11/2011 Mariano Gonzales

56 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History of Western Art I C. Course Subject/Number: ART A261 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Origins and development of painting, sculpture, and architecture. Covers the history of art from prehistory through the Medieval Period of the Western World. H. Status of course relative to degree or certificate program: Course required for the BA and BFA in Art and applies to GER Humanities and Fine Arts Requirements I. Lab Fees: YES J. Coordination: YES K. Course Prerequisites: ENGL A111 with minimum grade of C

III. Course Activities Students attend lectures on a weekly basis. Various lectures and videos pertinent to the subject matter are presented to the students. Take-home examinations, in-class testing and brief research papers are assigned.

IV. Evaluation Evaluation is based on various pedagogical approaches depending on the instructor but will generally include in-class testing and/or take home examinations and papers on various topics discussed with the professor. Students are graded on their ability to comprehend the chronological development of Art History within the social, economic, political and historical setting from which the artwork emerged. Interpretative analysis is also expected to be mastered focusing on the formal and contextual aspects of works of art.

Criteria for Grading

57 To receive a grade of B (Above Average): 1. Scholarship/Research: Accurate and complete, meets all instructor requirements 2. Initiative: Good when stimulated by some desirable achievement 3. Cooperation: Good in group activities 4. Individual Improvement: Shows marks of improvement; responds to stimulation

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification A 200 level course with one prerequisite: ENGL A111 with minimum grade of C. This course meets General Educational Requirements and the Core Requirements for a BA and BFA in Art.

VI. Outline A. Introductory comments 1. The Study of the History of Art 2. The Western Tradition 3. The Artistic Impulse 4. The Value of Art a. Material Value b. Intrinsic Value c. Religious Value d. Nationalistic Value 5. Art and Illusion a. Images and Words b. Traditions Equating Artists with Gods 6. Art and Identification a. Legends of How Art Began b. Image Magic 7. Architecture 8. Art Collecting 9. Archaeology and Art History 10. The Methodologies of Art History a. Formalism

58 b. Iconography and Iconology c. Marxism d. Feminism e. Biography and Autobiography f. Semiology g. Deconstruction h. Psychoanalysis 11. The Language of Art a. Form b. Plane c. Line d. Shape e. Light and Color f. Texture 12. Stylistic Terminology B. Prehistoric Art 1. Western Europe: The Stone Age 2. Upper Paleolithic a. Upper Paleolithic Sculpture b. Carving c. Categories of Sculpture d. Pigment e. Modeling f. Upper Paleolithic Painting in Spain and France g. Dating and Meaning of the Cave Paintings: Changing Interpretations 3. Mesolithic 4. Neolithic a. Malta b. Northern Europe c. The Celts d. Post-and-Lintel Construction 5. Rock Paintings of Australia C. Ancient Near East 1. The Neolithic Era a. Chronology of the Ancient Near East and Principal Sites b. Jericho c. Catal Hüyük 2. Mesopotamia a. Mesopotamian Religion b. The Uruk Period 3. From Pictures to Words: Gilgamesh 4. Sumer: Early Dynastic Period a. Tell Asmar 5. Akkad: Sargon of Akkad 6. Neo-Sumerian Culture a. Lagash and the Stele of Ur-Nammu

59 7. Babylon a. Old Babylonian Period 8. Anatolia: The Hittites 9. Assyria 10. The Neo-Babylonian Empire 11. The Scythians 12. Achaemenid Persia D. Ancient Egypt 1. The Gift of the Nile: Environmental Concerns 2. Religion and the Pharoahs 3. The Egyptian Concept of Kingship 4. The Egyptian /View of Death and the Afterlife 5. The Old Kingdom 6. The New Kingdom 7. Tutankhamon’s Tomb 8. Egypt and Nubia E. The Aegean 1. Cycladic Civilization 2. Minoan Civilization 3. Discoveries at Thera 4. Mycenaean Civilization F. The Art of Ancient Greece 1. Cultural Identity 2. Government and Philosophy a. Women in Ancient Greece b. Plato’s Distrust of Artists c. Socrates d. Greek Gods and its equivalents to the Roman Pantheon 3. Literature and Drama 4. Painting and Pottery 5. Sculpture 6. The Development of Greek Architecture and Architectural Sculpture 7. Hellenistic Period G. Etruscan Art 1. Architecture 2. Pottery and Sculpture 3. Women in Etruscan Art 4. Funerary Art H. Ancient Rome 1. Background a. Virgil, Ovid, Chronology of Roman Periods b. The Goths c. Roman Architecture and Building Materials 2. Architectural Types 3. Sculptural Types

60 4. Mosaic and Mural Painting 5. Cross-Cultural Trends I. Early Christian and Byzantine Art 1. A New Religion 2. The Divergence of East and West 3. Early Christian Art 4. Centrally Planned Buildings 5. Justinian and the Byzantine Style 6. The Development of the Codex 7. Later Byzantine tine Developments J. The Early Middles Ages 1. Islam 2. Northern European Art 3. Hiberno-Saxon Art 4. Carolingian Period 5. Ottonian Period K. Romanesque Art 1. Historical Background 2. Pilgrimage Roads 3. Romanesque Pilgrimage Churches 4. Developments at Autun 5. The Stave Church of Norway and Stone Interlace 6. The Italian Romanesque Cathedral Complex at Pisa 7. Mural Paintings 8. The Bayeux Tapestry L. Gothic Art 1. The Origins of the Gothic Style in France 2. Early Gothic Architecture 3. Romanesque Precursors of Gothic 4. The Age of Cathedrals 5. Later Developments of the French Gothic Style 6. Gothic Architecture and Scholasticism 7. English Gothic 8. The Spread of Gothic M. Proto-Renaissance Developments 1. Thirteenth-Century Italy 2. Fourteenth-Century Italy 3. The International Gothic Style

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Develop and examine the contextual background from which art works emerge within their historical and cultural settings. 2. Prepare and have the student employ the appropriate writing and communication skills in relation to the subject matter taught in this course.

61 3. Instruct the students in various art historical methodologies for assessing and interpreting works of art by means of application, classification and reasoned argumentation.

B. Student Learning Outcomes. The student will be able to:

Student Learning Outcomes Assessment Demonstrate written and oral skills Tests, papers, and in-class presentations Relate, classify and illustrate the stylistic, Tests, papers, and slide identification aesthetic, formal and historical contexts underlying the meaning and interpretation of works of art from the Prehistoric period through the Proto-Renaissance period

Demonstrate an understanding of the various Tests and papers methodologies, significant texts, and theoretical approaches used to assess and interpret works of art

VIII. Suggested Texts Instructor will select text appropriate to his or her teaching style.

Adams, Laurie Schneider. Methodologies of Art: An Introduction. New York, NY: Harper Collins, 1996. Janson, H. W. History of Art, 8th ed. rev. by Penelope J.E. Davies, Walter B. Denny, Frima Fox Hofrichter, Joseph F. Jacobs, David L. Simon, Ann M. Roberts, Anthony F. Janson. Englewood Cliffs, NJ: Prentice Hall, 2010. Stokstad, Marilyn, and David Cateforis. Art History, 4th ed. New York, NY: H. N. Abrams, 2010.

IX. Bibliography and Resources

Adams, Laurie Schneider. A History of Western Art. Boston, MA: McGraw- Hill Humanities, 2010. Barasch, Moshe. Giotto and the Language of Gesture. Cambridge, UK: Cambridge University Press, 1988. Barnet, Sylvan. A Short Guide to Writing About Art. Boston, MA: Wadsworth Publishing 2008. Boardman, John. Greek Art. New rev. ed. New York, NY: Thames and Hudson, 1985. Boethius, Axel, and John B. Ward-Perkins. Etruscan and Early Roman Architecture. Pelican History of Art. Baltimore, MD: Penguin, 1970. Bryson, Norman, Visual Theory: Painting and Interpretation. New York, NY: Cambridge University Press, 1991. Bussagli, Mario. Oriental Architecture. 2 vols. New York. NY: Electra/Rizzoli, 1989. Conant, Kenneth J. Carolingian and Romanesque Architecture, 800-1200. 3rd ed. Pelican History of Art. Harmondsworth, UK: Penguin, 1973. Coomaraswamy, Ananda K. History of Indian and Indonesian Art. New York, NY:

62 Dover, 1985. D’Ambra, Eve. Roman Art. New York, NY: Cambridge University Press, 1999. Dodwell, Charles Reginald. Pictorial Art of the West 800-1200. Pelican History of Art. New Haven, CT: Yale University Press, 1993. Erlande-Brandenburg, Alain. Gothic Art. New York, NY: Harry N. Abrams, 1989. Francis, Eric David. Image and Idea in Fifth-Century Greece: Art and Literature after the Persian Wars. London, UK: Routledge, 1990. Frankfort, Henri. The Art and Architecture of the Ancient Orient. Rev. ed. Pelican History of Art. Baltimore, MD: Penguin, 1971. Grape, Wolfgang. The Bayeux Tapestry: Monument to a Norman Triumph. New York, NY: Prestel, 1994. Hall, James. Subjects and Symbols in Art, 2nd ed. New York, NY: Harper Collins, 1994. Hood, Sinclair. The Art of Prehistoric Greece. Pelican History of Art. Harmondsworth, UK: Penguin, 1978. Kleinbauer, Walter E. Modern Perspectives in Western Art History: An Anthology of Twentieth-Century Writings on the Visual Arts. Toronto, CA : University of Toronto Press, 1989. Kleiner, Fred S. Gardner’s Art Through the Ages: Global History, Vol. 1. Boston, MA: Wadsworth Publishing 2010. Krautheimer, Richard. Early Christian and Byzantine Architecture. 4th ed. Pelican History of Art. Baltimore, MD: Penguin, 1986. Kubler, George. The Art and Architecture of Ancient America. 3rd ed. Pelican History of Art. New Haven, CT: Yale University Press, 1990. Kultermannn, Udo. The History of Art History. New York, NY: Abaris Books, 1993. Lee, Sherman E. A History of Far Eastern Art. 5th ed. New York, NY: Harry N. Abrams, 1994. Maranci, Christina. A Survival Gujide for Art History Students. Upper Saddle River, NJ: Prentice Hall, 2004. Mason, Penelope. History of Japanese Art. New York. NY: Harry N. Abrams, 1993. Mylonas, George E. Mycenae and the Mycenaean Age. Princeton: Princeton University Press, 1966. Paine, Robert T., and Alexander Soper. Art and Architecture of Japan. 3rd ed. Pelican History of Art. Harmondsworth, UK: Penguin, 1981. Petzold, Andreas. Romanesque Art. New York: Harry N. Abrams, 1995. Radding, Charles M., and William W. Clark. Medieval Architecture, Medieval Learning; Builders and Masters in the Age of the Romanesque and Gothic. New Haven, CT: Yale University Press, 1992. Rosenberg, Charles M. Art and Politics in Late Medieval and Early Renaissance Italy: 1250-1500. South Bend, IN: University of Notre Dame Press, 1990. Rowland, Benjamin. Art and Architecture of India: Buddhist, Hindu, Jain. Pelican History of Art. Harmondsworth, UK: Penguin, 1977. Sandars, Nancy K. Prehistoric Art in Europe, 2nd ed. Pelican History of Art. New Haven, CT: Yale University Press, 1985. Sickman, Lawrence, and Alexander Soper. Art and Architecture of China. Pelican History of Art. Harmondsworth: Penguin, 1972. Von Simson, Otto G. The Gothic Cathedral: Origins of Gothic Architecture and the Medieval Concept of Order. 3rd ed. Princeton, NJ: Princeton University Press,

63 1988. Smith, William Stevenson, and W. Kelly Simpson. The Art and Architecture of Ancient Egypt. Rev. ed. New York, NY: Viking, 1981. Wolff, Janet. The Social Production of Art, 2nd ed. New York, NY: New York University Press, 1993. Zwalf, W., ed. Buddhism: Art and Faith. London, UK: British Museum Press, 1985.

64 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A262 NA 3 (3+0) 6. Complete Course Title History of Western Art II

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Springl/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. See attachment 2.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

65 ART A262: History of Western Art II Impacted Course and Programs Supplemental Table Catalop Page(s) Impacted Program/Course Impacted Date of Coordination Chair/Coordinator Contacted Bachelor of Arts, Art 94 11/11/2011 Mariano Gonzales Bachelor of Fine Arts, Art 96 11/11/2011 Mariano Gonzales Minor, Art 96 11/11/2011 Mariano Gonzales AAS Digital Art (KPC) 97 Jayne Jones, Celia Anderson BA International Studies 111 Dorn Van Dommelent BA Computer Science 241 Kenrick Mock BS Computer Science 242 Kenrick Mock ART A228 341 11/11/2011 Mariano Gonzales ART A360A 343 11/11/2011 Mariano Gonzales ART A360B 343 11/11/2011 Mariano Gonzales ART A361 343 11/11/2011 Mariano Gonzales ART A362 343 11/11/2011 Mariano Gonzales ART A363 343 11/11/2011 Mariano Gonzales ART A364 343 11/11/2011 Mariano Gonzales ART A366 344 11/11/2011 Mariano Gonzales ART A367 344 11/11/2011 Mariano Gonzales ART A491 345 11/11/2011 Mariano Gonzales ART A492 345 11/11/2011 Mariano Gonzales

66 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History of Western Art II C. Course Subject/Number: ART A262 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Origins and development of painting, sculpture, and architecture. Covers the history of art from the Renaissance through the modern period with an emphasis on the art of the Western World. H. Status of course relative to degree or certificate program: Course required for BA and BFA in Art Degrees and applies to the GER Humanities and Fine Arts Requirements I. Lab Fees: YES J. Coordination: YES K. Course Prerequisites: ENGL A111 with minimum grade of C

Criteria for Grading

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

VI. Outline A. Introductory Comments 1. The Study of the History of Art 2. The Western Tradition 3. The Artistic Impulse 4. The Values of Art a. Material Value b. Intrinsic Value c. Religious Value d. Nationalistic Value 5. Art and Illusion a. Images and Words b. Traditions Equating Artists with Gods 6. Art and Identification a. Legends of How Art Began b. Image Magic 7. Architecture 8. Art Collecting 9. Archaeology and Art History

68 10. The Methodologies of Art History a. Formalism b. Iconography and Iconology c. Marxism d. Feminism e. Biography and Autobiography f. Semiology g. Deconstruction h. Psychoanalysis 11. The Language of Art a. Form b. Plane c. Line d. Shape e. Light and Color f. Texture 12. Stylistic Terminology B. Proto-Renaissance Developments 1. Thirteenth-Century Italy 2. Fourteenth-Century Italy 3. The International Gothic Style C. The Early Renaissance 1. Italy in the Fifteenth Century 2. Early Fifteenth-Century Painting 3. Early Fifteenth-Century Sculpture 4. Second-Generation Developments 5. Fifteenth-Century Painting in Flanders D. The Development of Perspective in the Far East E. The High Renaissance in Italy 1. Architecture 2. Painting and Sculpture 3. Developments in Venice F. Mannerism and the Later Sixteenth Century in Italy 1. Mannerism 2. Counter-Reformation Painting 3. Late Sixteenth-Century Architecture G. Sixteenth-Century Painting in Northern Europe 1. The Netherlands 2. Germany H. The Baroque Style in Western Europe 1. Developments in Politics and Science 2. Baroque Style 3. Architecture 4. Sculpture 5. Italian Baroque Painting 6. Baroque Painting in Northern Europe

69 7. Spanish Baroque Painting 8. French Baroque Painting I. Rococo and the Eighteenth Century 1. Political and Cultural Background 2. The Age of Enlightenment 3. Rococo Painting 4. Rococo Architecture 5. Architectural Revivals 6. European Painting 7. American Painting J. Neoclassicism: The Late Eighteenth and Early Nineteenth Centuries 1. The Neoclassical Style in France 2. Developments in America K. Romanticism: The Late Eighteenth and Early Nineteenth Centuries 1. The Romantic Movement 2. Architecture 3. Sculpture 4. Figurative Painting 5. Landscape Painting L. Nineteenth-Century Realism 1. Cultural and Political Context 2. French Realism 3. Photography 4. English Realism: The Pre-Raphaelites 5. American Realism 6. French Realism in the 1860s 7. Architecture and Sculpture M. Nineteenth-Century Impressionism 1. Urban Renewal during the Second Empire 2. Painting 3. Sculpture 4. American Painting at the Turn of the Century 5. “Art for Art’s Sake” N. Post-Impressionism and the Late Nineteenth Century 1. Post-Impressionist Painting 2. Symbolism 3. Fin-de-Siècle Developments O. Turn of the Century: Early Picasso, Fauvism, Expressionism and Matisse 1. Fauvism 2. Expressionism 3. Matisse after Fauvism P. Cubism, Futurism, and Related Twentieth-Century Styles 1. Cubism 2. Other Early Twentieth-Century Developments 3. Early Twentieth-Century Architecture

70 Q. Dada, Surrealism, Fantasy, and the United States between the Wars 1. Dada 2. Surrealism 3. Sculpture Derived from Surrealism 4. The United States: Regionalism and Social Realism 5. Mexico 6. Toward American Abstraction R. Abstract Expressionism 1. Hans Hofmann and Josef Albers and their Pedagogical Approaches 2. Abstract Expressionism and the The New York School 3. Figurative Abstraction in Europe 4. Sculpture S. Pop Art, Op Art, Minimalism, and Conceptualism 1. Pop Art in England: Richard Hamilton 2. Pop Art in the United States 3. Op Art 4. Minimalism 5. From Happenings to Action Sculpture: Alan Kaprow and Joseph Beuys 6. Conceptualism T. Postmodern Concerns 1. Art and Politics and its Surroundings in the 80s and 90s 2. Technological Concerns 3. A Focus on Vitaly Komar and Alexander Melamid 4. Multiculturalism and Global Developments

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The Instructor Will: 1. Develop and examine the contextual background from which works of art emerge within their historical and cultural settings. 2. Prepare and have the student employ the appropriate writing and communication skills in relation to the subject matter taught in this course. 3. Instruct the students in various art historical methodologies for assessing and interpreting works of art by means of application, classification and reasoned argumentation.

B. Student Learning Outcomes. Student will be able to:

71 Demonstrate an understanding of the various Tests and papers methodologies, significant texts, and theoretical approaches used to assess and interpret works of art

VIII. Suggested Texts Instructor will select text appropriate to his or her teaching style.

Adams, Laurie. Methodologies of Art: An Introduction. New York, NY: Harper Collins, 1996. Janson, H. W. History of Art, 8th ed. rev. by Penelope J.E. Davies, Walter B. Denny, Frima Fox Hofrichter, Joseph F. Jacobs, David L. Simon, Ann M. Roberts, Anthony F. Janson. Englewood Cliffs, NJ: Prentice Hall, 2010. Stokstad, Marilyn, and David Cateforis. Art History, 4th ed. New York, NY: H. N. Abrams, 2010.

IX. Bibliography and Resources

Adams, Laaurie Schneider. A History of Western Art. Boston, MA: McGraw-HJill Humanites, 2010. Barnet, Sylvan. A Short Guide to Writing About Art. Boston, MA: Wadsworth Publishing 2008. Bryson, Norman, et al., eds. Visual Theory: Painting and Interpretation. New York, NY: Cambridge University Press, 1991. Carrier, David. The Aesthete in the City. University Park, PA; Pennsylvania State University Press, 1994. Clark, Toby. Art and Propaganda in the Twentieth Century. New York, NY: Harry N. Abrams, 1997. Corbin, George A. Native Arts of North America, Africa, and the South Pacific. New York, NY: Harper & Row, 1988. Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent. New York, NY: Harry N. Abrams, 1996. Crow, Thomas E. Painters and Public Life in Eighteenth-Century Paris. New Haven: Yale University Press, 1985. Dachy, Marc. The Dada Movement, 1915-1923. New York: Skira/Rizzoli, 1990. Doss, Erika. Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism. Chicago:, IL University of Chicago Press, 1991. Eitner, Lorenz. Neoclassicism and Romanticism, 1750-1850: An Anthology of Sources and Documents. New York, NY: Harper & Row, 1989. Feest, Christian F. Native Arts of North America. rev. ed. London, UK: Thames & Hudson, 1992. Fried, Michael. Courbet’s Realism. Chicago, IL: University of Chicago Press, 1990. Garrard, Mary D. Artemesia Gentileschi. Princeton, NJ: Princeton University Press, 1989. Gilmour, John C. Fire on the Earth: Anselm Kiefer and the Postmodern World. Philadelphia, PA: Temple University Press, 1990.

72 Golding, John. Cubism: A History and an Analysis, 1907-1914. Cambridge, MA: Belknap, 1988. Gray, Camilla. Russian Experiment in Art, 1863-1922. New York, NY: Harry N. Abrams, 1970. Green, Christopher, ed. Picasso’s les Demoiselles d’Avignon. Cambridge, MA: Cambridge University Press, 2001. New Haven.CT: Yale University Press, 1993. Guth, Christine. Art of Edo Japan. New York, NY: Harry N. Abrams, 1996. Hanson, Allan, and Louise Hanson. Art and Identity in Oceania. Honolulu, HI: University of Hawaii Press, 1990. Harbison, Craig. The Mirror of the Artist: Northern Renaissance Art in its Historical Context. New York, NY: Abrams, 1995. Harrison, Charles, Francis Frascina, and Gill Perry. Primitivism, Cubism, Abstraction: The Early Twentieth Century. New Haven, CT: Yale University Press, 1993. Hartt, Frederick. A History of Italian Renaissance Art. 4th rev. ed. New York, NY: Thames & Hudson, 1994. Hauser, Arnold. Mannerism: The Crisis of the Renaissance and the Origin of Modern Art. Cambridge, MA: Belknap Press, 1986. Hayum, Andrée. The Isenheim Altarpiece: God’s Medicine and the Painter’s Vision. Princeton, NJ: Princeton University Press, 1989. Herbert, James D. Fauve Painting: The Making of Cultural Politics. New Haven, CT: Yale University Press, 1992. Herbert, Robert L. Impressionism: Art, Leisure and Parisian Society. New Haven: Yale University Press, 1988. Kemp, Martin, ed. Leonardo on Painting. Trans. (Martin Kemp and Margaret Walker.) New Haven, CT: Yale University Press, 1989. Kleiner, Fred S. Gardner’s Art Through the Ages: Global History, Vol. 1. Boston, MA: Wadsworth Publishing 2010. Lannoy, Richard. The Speaking Tree: A Study of Indian Culture and Society. Oxford, UK: Oxford University Press, 1971. Lippard, Lucy R. Mixed Blessings: New Art in a Multicultural America. New York, NY: Pantheon Books, 1990. Lloyd, Jill. German Expressionism: Primitivism and Modernity. New Haven, CT: Yale University Press, 1991. Maranci, Christina. A Survival Gujide for Art History Students. Upper Saddle River, NJ: Prentice Hall, 2004. Newland, Amy, and Chris Uhlenbveck eds. Ukiyo-e. The Art of Japanese Woodblock Prints. New York, NY: Smithmark Publishers, 1994. Nochlin, Linda. Realism and Tradition in Art, 1848-1900: Sources and Documents. Englewood Cliffs, NJ: Prentice Hall, 1966. Paulson, Ronald. The Age of Hogarth. London, UK: Phaidon, 1975. Perani, Judith, and Fred T. Smith. The Visual Arts of Africa: Gender, Power and Life Cycle Rituals. Upper Saddle River, NJ: Prentice-Hall, 1998. Powell, Richard J. Black Art and Culture in the 20th Century. London, UK: Thames & Hudson, 1997. Rewald, John. The History of Impressionism. 4th rev. ed. New York, NY: Graphic Society for the Museum of Modern Art, 1973.

73 Post-Impressionism from Van Gogh to Gauguin. 3rd ed. New York, NY: The Museum of Modern Art, 1978. Rosen, Randy, and Catherine C. Brawer, eds. Making Their Mark: Women Artists Move into the Mainstream, 1970-1985. New York, NY: Abbeville, 1989. Rosenblum, Robert, and Horst W. Janson. 19th-Century Art. New York, NY: Harry N. Abrams, 1984. Sandler, Irving. Art of the Postmodern Era. New York: Harper Collins, 1996. Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York, NY: Penguin, 1986. Shearman, John K. G. Mannerism. Baltimore, MD: Penguin, 1967. Silver, Kenneth E. Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War, 1914-1925. Princeton, NJ: Princeton University Press, 1989. Smith, Paul. Impressionism: Beneath the Surface. New York, NY: Harry N. Abrams, 1995. Stich, Sidra. Anxious Visions: Surrealist Art. New York, NY: Abbeville, 1990. Stubblebine, James H. Assisi and the Rise of Vernacular Art. New York, NY: Harper & Row, 1985. Tomkins, Calvin. Duchamp: A Biography. New York, NY: Henry Holt, 1996. Turner, A. Richard. Renaissance Florence: The Invention of a New Art. New York, NY: Harry N. Abrams, 1997. Vasari, Giorgio. The Lives of the Most Eminent Painters, Sculptors and Architects. Trans. Gaston du C. de Vere. New York, NY: Harry N. Abrams, 1979. Vaughn, William. Romanticism and Art. New York: Thames and Hudson, 1994. Weisberg, Gabriel P. The European Realist Tradition. Bloomington, IN: Indiana University Press, 1982. Wheeler, Daniel, Art Since Mid-Century: 1945 to the Present. New York, NY: Vendome, 1991. White, John. The Birth and Rebirth of Pictorial Space. 2nd ed. Boston, MA: Boston Book and Art Shop, 1967.

74 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A303 NA 3 (3+0) 6. Complete Course Title Curriculum Planning and Interpretation in Art Curr Plan & Interp in Art Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring /2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

3. Minor, Arts Education 96 11/11/11 Mariano Gonzales Initiator Name (typed): Deborah Tharp Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 11/11/11 13c. Coordination with Library Liaison Date: 11/11/11 submitted to Faculty Listserv: ([email protected])

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

75 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Curriculum Planning and Interpretation in Art C. Course Subject/Number: ART A303 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Introduce K-12 curriculum planning, teaching art criticism and aesthetics. Describe, analyze, interpret and evaluate the major characteristics of art forms, meanings and themes. H. Status of course relative to degree or certificate program: Elective course for BA or BFA in Art degrees I. Lab Fees: Yes J. Coordination: Yes K. Course Prerequisites: ART A203 and (ENGL A111 with minimum grade of C)

III. Course Activities Lecture course. Reading and written work as assigned and brief research papers.

Criteria for Grading

76 4. Individual Improvement: Shows marks of improvement; responds to stimulation

To receive a grade of D (Below Average, but Passing): 1. Scholarship/Research: Not meeting all instructor requirements and assignments 2. Initiative: Lacking 3. Cooperation: Fair at times – lacking at other times 4. Individual Improvement: Not noticeable

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification Course builds on a strong working knowledge of studio techniques and concepts in the discipline. Individual student input, directions and personal goals are stressed with an emphasis on teaching, learning, and creative growth. Critical thinking is addressed through contemporary issues and practices of art education.

VI. Outline A. Theory & art criticism: Why is art criticism not a studio critique? B. Describing art: Subject matter, medium and form C. Interpreting art: Principles of interpretation D. Talking and writing about art: Description and formal analysis E. Thinking through aesthetics F. Stages of aesthetic development and the aesthetic experience G. Curriculum planning for teaching art

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Demonstrate contemporary art critical methodologies 2. Develop critical thinking skills to reflect on the nature and meaning of the arts from varied philosophical points of view 3. Give rationales for teaching art criticism and aesthetics in varying levels and aspects

77 B. Student Learning Outcomes. Student will be able to:

Student Learning Outcomes Assessment Summarize contemporary art critical Written papers and assignments methodologies Describe the social and theoretical contexts for Written papers and assignments art criticism Demonstrate interpretive analytical skills based In-class discussions, written papers and on the use of critical and primary documents assignments Interpret the meanings and themes of art forms Written papers and assignments Examine art forms using appropriate criteria In-class discussions Develop art instructional lessons or units for Written papers and assignments different age levels

VIII. Suggested Texts Instructor will select appropriate text such as:

Addison, N. Issues in Art and Design Teaching (Issues in Subject Teaching), London, UK: Routledge Falmer, 2003. Draze, D. Design Studio: Integrating Art & Thinking. Austin, TX: Prufrock Press, 2005. Rose, G. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. Thousand Oaks, CA: Sage Publications Ltd., 2001.

IX. Bibliography and Resources

Addison, N. Issues in Art and Design Teaching (Issues in Subject Teaching), London, UK: Routledge Falmer, 2003. Andrus, L. E. Art Projects for Educators and Students, 7th ed. Fort Worth, TX: Harcourt College Publishers, 2001. Armstrong, T. (1994). Multiple Intelligences in the Classroom. Alexandria, VA: Association for Supervision and Curriculum Development, 1994. Barrett, T. “A Comparison of the Goals of Studio Professors Conducting Critiques and Art Education Goals for Teaching Criticism.” In Studies in Art Education 30.1 (1988): 22-27. Barrett, T. Criticizing Photographs: An Introduction to Understanding Images. Mountain View, CA: Mayfield, 2011. Barrett, T. Criticizing Art: Understanding the Contemporary. Mountain View, CA: Mayfield, 2011. Barrett, T., ed. Lessons for Teaching Art Criticism. Bloomington, IN: Social Studies Development Center, 1995. Bates, J. K. Becoming an Art Teacher. Belmont, CA: Wadsworth, 2000. Battin, Margaret P., John Fisher, Ronald Moore, and Anita Silvers. Puzzles about Art: An Aesthetics Casebook. New York, NY: Bedford/St. Martin’s Press, 1989. Bellanca Maes and Ron Brandt. 21st Century Skills: Rethinking How Students Learn. Bloomington, IN: Solution Tree, 2010.

Belton, B. J. The World's Greatest Art. London, UK: Flame Tree Publishing Co Ltd., 2004. Bolin, P. “We are What We Ask.” Art Education 49.5 (1996): 6-10. Bransford, J., Brown, A.L., and Cocking, R. R., eds. How People Learn: Brain, Mind, Experience and School: Expanded Edition. 1st ed., Washington, D.C.: National Research Council, 2000. Brite, J. F. and Jaglinski, M. Art After School. Community Arts Consultants, 2001. Burgess, L. Learning to Teach Art and Design in the Secondary School. London, UK: Routledge Falmer, 2000. Burnaford, G. E., Weiss, C., and Aprill, A., eds. Renaissance in the Classroom: Arts Integration and Meaningful Learning. Philadelphia, PA: Laurence Earlbaum Inc., 2001. Calkins, L. The Art of Teaching Reading. New York, NY: Longman, 2001. Carrier, D. Museum Skepticism: A History of the Display of Art in Public Galleries. Durham, NC: Duke University Press, 2006. Catterall, J. S. Arts and the Transfer of Learning in Critical Links: Learning in the Arts and Student Academic and Social Development. Washington, DC: Arts Education Partnership, 2002. Chapman, L. H. Instant Art Instant Culture: The Unspoken Policy for American Schools. New York, NY: Teachers College, Columbia University, 1982. Collins, Allan and Halverson. Richard. Rethinking Education in the Age of Technology. New York, NY: Teachers College Press, 2009. Congdon, K.G. “Multi-cultural Approaches to Art Criticism.” Studies in Art Education 30.3 (1989): 176-184, Congdon, K.S. “The Meaning and Use of Folk Speech in Art Criticism.” Studies in Art Education 27.3 (1986): 140-148, Cornett, C. E. and Smithrim, K. The Arts as Meaning Makers: Integrating Literature and the Arts Throughout the Curriculum, Toronto, CA: Prentice Hall, 2000. Cowdery, J. R., Ingling, L., Morrow, L. E., and Wilson, V.A. Building on Student Diversity: Profiles and Activities. Thousand Oaks, CA: Sage Publications, Inc., 2006. Crawford, D.W. “Aesthetics in Discipline-Based Art Education.” Journal of Aesthetic Education 21.2 (1987): 229-239. Cromer, J. Criticism: History, Theory and Practice of Art Criticism in Art Education. Reston, VA: NAEA, 1990. Davidman, L. Teaching with a Multicultural Perspective: A Practical Guide. New York: Longman, 1994. Dayton, E. Art and Interpretation. Calgary, CA: Broadview Press, 1999. Dewey, J. Democracy and Education. New York, NY: Macmillan, 1916. Draze, D. Design Studio: Integrating Art & Thinking. Austin TX: Prufrock Press, 2005. Dunn, P. Creating Curriculum in Art. Reston, VA: The National Art Education Association, 1995. Eaton, M.M. Defining the Issues: An Overview. Basic Issues in Aesthetics. Belmont, CA: Wadsworth, 1995.

79 Edwards, B. Drawing on the Artist Within. New York, NY: Simon & Schuster, 1986. Eisner, E., ed. Reading, the Arts, and the Creation of Meaning. Reston, VA: The National Art Education Association, 1976. Eisner, E.W. Educating Artistic Vision. New York, NY: Macmillan, 1972. Erikson, M. “Teaching Aesthetics K-12.” In S.M. Dobbs (Ed.) Research Readings in Discipline-Based Art Education: A Journey Beyond Creating. Reston, VA: National Art Education Association, 1988. Frueh, J. “Towards a Feminist Theory of Art Criticism.” In A. Raven, C.L. Langer & J. Frueh, eds. Feminist Art Criticism: An Anthology. Ann Arbor, MI: UMI Research Press., 1988. Galbraith, L., ed. Preservice Art Education: Issues and Practice. Reston, VA: National Art Education Association, 1995. Gardner, H. Art, Mind and Brain: A Cognitive Approach to Creativity, New York, NY: Basic Books Inc, 1982. Gardner, H. (Multiple Intelligence: The Theory in Practice. New York, NY: Basic Books, 1993. Goleman, D. Emotional Intelligence. New York, NY: Bantam Books, 1995. Gottner-Abendroth, H. “Nine Principles of a Matriarchal Aesthetic.” In G. Ecker, ed. Feminist Aesthetics. Boston, MA: Beacon Press, 1986. Groebner, P. With Art in Mind: A Collection of Sixty Art Lessons. Greenville, NC: BJU Press, 2001. Gronlund, N. E. How to Make Achievement Tests and Assessments. 5th ed. Boston: Allyn & Bacon, 1993. Gronlund, N. E., & Linn, R.L., MA Measurement and Evaluation in Teaching, 6th ed. New York, NY: Macmillan., 1990. Hamblen, K. “Don't You Think Some Brighter Colors Would Improve Your Painting: - or, Constructing Questions for Art Dialogues.” Art Education 37.1 (1984): 12- 14, 1984. Hamblen, K. “Instructional Options for Aesthetics: Exploring the Possibilities.” Art Education 44. (1991): 12-24. Hobbs, J., & Salome, R. The Visual Experience. Worcester, MA: Davis, 1995. Hooper-Greenhil, H. Museums and the Interpretation of Visual Culture, London, UK: Routledge, 2000. Hume, H. D. Survival Kit for the Secondary School Art Teacher. Endicott, NY: Center for Applied Research in Education, 1990. Jacobs, Heidi Hayes. Curriculum 21: Essential Education for a Changing World. Alexandria, VA: Association for Supervision & Curriculum Development, 2010. Jenkins, N., et al. “Clarity and Distance that does not Exclude Love: Four Prominent Critics Talk about their Close Encounters with Art. ARTnews, Sept., 84-89, 1992. Kauppinen, H., & Diket, R., eds. Trends in art education from diverse cultures. Reston, VA: The National Art Education Association, 1995. Langer, S. “The Cultural Importance of the Arts.” In R. Smith, ed. Aesthetics and Problems of Education. Urbana, IL: University of Illinois Press, 1971. Lanier, V. The World of Art Education. Reston, VA: The National Art Education Association, 1991.

80 Lankford, L. Aesthetics: Issues and Inquiry. Reston, VA: National Art Education Association, 1992. Lansing, K. Art, Artists, and Art Education. New York, NY: McGraw-Hill Book Co, 1973. Linderman, E. Teaching Secondary School Art. Dubuque, IA: Wm. C. Brown Co. Publishers, 1976. Lipman, Matthew. “Guiding a Philosophical Discussion.” In Philosophy in the Classroom, 2nd ed. Philadelphia, PA: Temple University Press, 1985. Lipman, M., Sharp, A.M., & Oscanyon, F.S. “Teaching Methodology: Value Considerations and Standards of Practice.” In Philosophy in the classroom, 2nd ed. Philadelphia, PA: Temple University Press, 1985. Little, B., ed. Secondary Art Education: An Anthology of Issues. Reston, VA: The National Art Education Association, 1990. Mager, R. F. Preparing Instructional Objectives: A Critical Tool in the Development of Effective Instruction, 3rd ed. Atlanta, GA: The Center for Effective Performance, Inc., 1997. McFee, J., & Egge, R. Art, Culture, and Environment: A Catalyst for Teaching. Dubuque, IA: Kendall/Hunt Publishing Co, 1977. Michel, J. Art and Adolescence: Teaching Art at the Secondary Level. New York, NY: Teachers College Press, 1983. Moore, R., ed. Aesthetics for Young People. Reston, VA: National Art Education Association, 1995. Neill, A. & Ridley, A. Arguing About Art: Contemporary Philosophical Debates. New York, NY: McGraw-Hill, 1995. Noddings, N. The Challenge to Care in Schools: An Alternate Approach to Education. New York, NY: Teachers College Press, 1992. Parkay, F. W. and Hass, C. G. Curriculum Planning: A Contemporary Approach, 7th ed. Upper Saddle, NJ: Allyn & Bacon, 1999. Prince, E. S. Art Matters: Strategies, Ideas, and Activities to Strengthen Learning Across the Curriculum, Tucson, AZ: Zephyr Press, 2002. Qualley, C. A. Safety in the Art Room, Worcester, MA: Davis Publications, 1986. Ragans, R. Arttalk, 2nd ed. New York, NY: Glencoe/McGraw-Hill, 1995. Robinson, Ken. Out of Our Minds: Learning to be Creative. Bloomington. MN: Capstone, 2011. Rose, G. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. Thousand Oaks, CA: Sage Publications Ltd., 2001. Shedlock, M. L. The Art of The Story Teller. Whitefish, MT: Kessinger Publishing, 2004. Simpson, J., et al. Creating Meaning Through Art. Upper Saddle River, NJ: Prentice Hall, 1998. Stewart, M. G. Thinking Through Aesthetics. Worcester, MA: Davis, 1997. Szekely, G. Encouraging Creativity in Art Lessons. New York, NY: Teachers College Press, 1998. Tanner, D. and Tanner, L. Curriculum Development: Theory Into Practice, 3rd ed. Upper Saddle, NJ: Prentice Hall, 1994.

81 Tomlinson, C.A. The Differentiated Classroom: Responding to the Needs of All Learners, 2nd ed. Alexandria, VA: Association for Curriculum and Supervision, 2000. Tomlinson, C.A. How to Differentiate Instruction in Mixed-Ability Classrooms. Alexandria, VA: Association for Supervision and Curriculum Development, 2001. Tomlinson, C.A., & Allan, S.D. Leadership for Differentiating Schools & Classrooms. Alexandria, VA: Association for Supervision and Curriculum Development, 2000. Wenham, M. W. Understanding Art: A Guide for Teachers. Thousand Oaks, CA: Paul Chapman Educational Publishing, 2003. Wolff, T.F. & Geahigan, G. Art Criticism and Education. Urbana, IL: University of Illinois Press, 1997. Wyatt III, R. L., and White, J. E. Making Your First Year a Success: The Secondary Teacher's Survival Guide. Thousand Oaks, CA: Corwin Press, 2000. Yenawine, P. Key Art Terms for Beginners. New York, NY: H.N. Abrams, 1995.

82 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A304 NA 3 (3+0) 6. Complete Course Title Art Experience: Social, Cultural, and Educational Art Exper: Soc/Culture & Ed Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. Minor, Arts Education 96 11/11/11 Mariano Gonzales 2. BA, Art Courtesy Coordination 11/11/11 Mariano Gonzales

3. BFA, Art Courtesy Coordination 11/11/11 Mariano Gonzales Initiator Name (typed): Deborah Tharp Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 11/11/11 13c. Coordination with Library Liaison Date: 11/11/11 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A203 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites better reflect course level expectations and deletion of a registration restriction that is no longer applicable.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

83 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Art Experience: Social, Cultural, and Educational Perspectives C. Course Subject/Number: ART A304 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Examines shared human experiences involved in making and responding to visual images and artifacts from different cultural perspectives. Discusses how the understanding, appreciation and interaction of particular images and objects evolve and affect the fundamental processes of perception in different cultural settings. H. Status of course relative to degree or certificate program: Elective course for BA or BFA in Art degrees I. Lab Fees: Yes J. Coordination: Yes K. Course Prerequisites: ART A203 and (ENGL A111 with minimum grade of C)

III. Course Activities Lecture course. Reading and written work as assigned–including brief research papers.

Criteria for Grading

To receive a grade of D (Below Average, but Passing): 1. Scholarship/Research: Not meeting all instructor requirements and assignments 2. Initiative: Lacking 3. Cooperation: Fair at times – lacking at other times 4. Individual Improvement: Not noticeable

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

VI. Outline A. Basic purposes of art to humankind B. Human commonalities and concerns as motivations for themes in art C. Symbols, metaphors, and visual language D. Intrapersonal and interpersonal visual communication E. Human growth and development as related to art education F. Values, beliefs, and intuition as artistic influences G. Multiculturalism in art education H. Diversity in artists, artistic traditions, and students in the art classroom I. Aesthetics in various cultural contexts J. Ceremonies, celebrations and community building through art K. Historic trends in art reflecting human themes and cultural meaning L. Museums, public art and cultural events as extensions of the art classroom

85 VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Develop a critical awareness of internal and external influences upon the field of art and art education 2. Demonstrate an understanding of the role of art experiences 3. Summarize contemporary and classic studies of artistic development and aesthetic responses 4. Provide a critical understanding of contemporary writings, movements and issues regarding current practices in the field of art and art education

B. Student Learning Outcomes. Student will be able to:

Student Learning Outcomes Assessment Demonstrate an understanding and Written papers and assignments appreciation of particular images and objects within specific cultures and subcultures Describe fundamental processes of perception, Written papers and assignments cognition and interpretation of art Develop a personal portfolio that reflects art Portfolio experiences

VIII. Suggested Texts Instructor will select appropriate text such as:

Sullivan, G. Art Practice as Research: Inquiry in the Visual Arts. Thousand Oaks, CA: Sage Publications, Inc., 2004. Weintraub, Linda, et al. Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s. Litchfield, CT: Art Insights, Inc., 2003.

IX. Bibliography and Resources

Adams, L. S. The Methodologies of Art: An Introduction. New York, NY: HarperCollins Publishers, 1996. Barone, Thomas E. and Elliot W. Eisner. Arts Based Research. Thousand Oaks, CA: Sage Publications, 2011. Beal, N. and Miller, G. B. The Art of Teaching Art to Children: In School and at Home. New York, NY: Farrar, Straus and Giroux, 2001. Bolin, P. & Blandy, D. “Beyond Visual Culture.” Studies in Art Education, 44.3 (2003): 246-263. Bracey, T. “What Does it Mean to Know Art? An Institutional Account.” In P. Duncum & T. Bracey, eds. On Knowing: Art and Visual Culture, 47-65. Christchurch, NZ: Canterbury University, 2002. Brown, N. “Commentary: Are We Entering a Post-Critical Age in Visual Arts Education?” Studies in Art Education, 44.3 (2003): 283-289. Cahnmann-Taylor, Melissa and Richard Siegesmund. Arts-Based Research in Education: Foundations for Practice. London, UK: Routledge, 2007.

86 Carpenter, B.S. “Thoughts on Black Art and Stereotypes: Visualizing Racism.” Journal of Multicultural and Cross-cultural Research in Art Education 17 (1999): 103-115. Chalmers, F.G. “Culturally Based versus Universally Based Understanding of Art.” In D. Blandy & K. Congdon, eds. Art in a Democracy, 4-12.New York, NY: Teachers College, 1987. Chalmers, F.G. “Cultural Colonialism and Art Education. Eurocentric and Racist Roots of Art Education.” In D. Boughton & R. Mason, eds. Beyond Multicultural Art Education: International Perspectives, 173-183. New York, NY & Berlin, Germany: Waxmann, 1999. Department of Art & Media Zurich University of the Arts. Practices of Experimentation: Research and Teaching in the Arts Today (Verlag Schedegger & Spiess-Zurich University of the Arts Yearbook). Zurich, SW: Verlag Schedegger and Spiess, 2012. Desai, D. “Multicultural Art Education and the Heterosexual Imagination: A Question of Culture.” Studies in Art Education, 44.2 (2003): 147-161. Elkins, J. Why Art Cannot Be Taught: A Handbook for Art Students. Champaign, IL: University of Illinois Press, 2001. Evans, J. How to Teach Art to Children. Monterey, CA: Evan-Moor Educational Publisher, 2001. Fusco, C. “Passionate Irreverence: The Cultural Politics of Identity.” In E. Sussman et al. eds. In Whitney Biennial Exhibition. New York, NY: Whitney Museum of American Art, 1993. Hopkins, D. After Modern Art 1945-2000. New York, NY: Oxford University Press, 2000. Leavy, Patricia. Method Meets Art: Arts-Based Research Practice. New York, NY: The Guilford Press, 2008. Libby, W. M. L. Enriching the Curriculum with Art Experiences. Clifton Park, NY: Thomson Delmar Learning, 2001. Martin, F. D., Jacobus, L. A., and Jacobus, L. Humanities through The Arts, 6th ed. New York: McGraw-Hill Humanities/Social Sciences/Languages, 2003. Neperud, R. “Transitions in Art Education: A Search for Meaning.” In R. Neperud, ed. Context, Content, and Community in Art Education: Beyond Postmodernism, 1-22. New York, NY: Teachers College, 1995. Prince, E. S. Art Matters: Strategies, Ideas, and Activities to Strengthen Learning across the Curriculum. Tuscon, AZ: Zephyr Press, 2002. Schirrmacher, R. Art & Creative Development for Young Children. Clifton Park, NY: Thomson Delmar Learning, 2001. Squires, W. T. Art Experience and Criticism, 4th ed. Upper Saddle, NJ: Prentice Hall, 2003. Sullivan, G. Art Practice as Research: Inquiry in the Visual Arts. Thousand Oaks, CA: Sage Publications, Inc., 2009. Wallace, M. “The Culture War within the Culture Wars: Race.” In M. Wallace, C.M. Weems, & P. Yenawine, eds. Art Matters, 167-181. New York, NY: Whitney Museum of American Art, 1993. Weintraub, Linda, et al. Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s. Litchfield, CN: Art Insights, Inc., 2003.

87 Wilson, B. “The Parable of the Para-site that Ate Art Education.” Journal of Multicultural and Crosscultural Research in Art Education 18 (2000): 24-30.

88 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A360A NA 3 (3+0) 6. Complete Course Title History of Non-Western Art I

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

89 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History of Non-Western Art I C. Course Subject/Number: ART A360A D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Emphasis on a comparative approach to non- western civilizations including Indian Art, Tibetan and Southeastern Art, Chinese Art, and Japanese Art. H. Status of course relative to degree or certificate program: Meets course requirements for BA and BFA in Art and applies to the GER Fine Arts and Humanities Requirements I. Lab Fees: YES J. Coordination: YES K. Course Prerequisites: ENGL A111 with minimum grade of C

III. Course Activities Lecture course. Readings and written work as assigned including brief research papers.

IV. Evaluation Evaluation is based on various pedagogical approaches depending on the instructor but will generally include in-class testing and/or take home examinations and papers on various topics discussed with the professor. Students are graded on their ability to comprehend the chronological development of Art History within the social, economic, political and historical setting. Interpretative analysis focusing on the formal and contextual aspects of works of art based on a comparative approach.

Criteria for Grading

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification This course satisfies the need for a non-western art history class to meet the General Education requirements in the Fine Arts and Humanities as well as an art history requirement for a BA, BFA, or elective in the visual arts.

VI. Outline A. INDIAN ART 1. Indus Valley Civilization (Harappan Civilization) 2. The Vedic & Maurya Periods 3. The Period of the Shungas and Early Andhras: Stupas, Buddhist Rock-Cults, Buddhist Art, Early Buddhist Art & Figurative Buddhist Sculpture 4. The Kushan and Later Andhra Period, The Gandhara, Mathura, & Amaravati Schools 5. The Gupta & Post-Gupta Periods a. Buddhist Sculpture & Painting b. The Early Northern Temple c. Monumental Narrative Reliefs d. The Early Southern Temple 6. The Early Medieval Period a. The Monumental Northern Temple b. The Monumental Southern Temple c. The Bhakti Movement in Art 7. Architectural Elements: Stupas and Temples 8. Late Medieval Period a. Buddhist Art, Jain Art, Hindu Art b. Images of Hindu Deities c. The Hindu Temple 9. Mughal Period a. Mughal Painting & Architecture Indian Painting on Paper

91 b. Rajput Painting 10. Modern Period a. Colonialism, Extrication from the Colonial Yoke b. British and European Connections c. Contemporary Indian Identity in the Arts B. TIBETAN AND SOUTHEASTERN ASIAN ART 1. Tibet: Shamanism & The Tanka 2. Java: Buddhist Stupas: Borobudur 3. Cambodia: Khmer, Angor Thom and Angor Wat, & Hindu Connections 4. Thailand a. Buddhist Sculpture b. Hinayana & Mahayana Buddhism C. CHINESE ART BEFORE 1280 1. The Middle Kingdom 2. Neolithic Cultures: Painted Pottery & Beyond the Yellow River Valley 3. Bronze Age China: Shang & Zhou Dynasties 4. The Chinese Empire: Qin Dynasty 5. Han Dynasty a. Taoism and Confucianism b. Confucianism and the State c. Architecture 6. Six Dynasties: Painting, Calligraphy & Buddhism 7. Sui and Tang Dynasties: Buddhist Art and Architecture & Figure Painting 8. Song Dynasty: Neo-Confucianism, Landscape Painting, Southern Song, Northern Song 9. Materials and Processes a. Three-Dimensional Media: Ceramics, Bronze and Piece-Mold Casting, Wood & Jade b. Painting: Materials and Methods, Early Painting through the Tang Dynasty, Monochrome Ink Painting, Son through Qing c. Architecture: Pagodas 10. Mongol Invasions 11. Yuan Dynasty 12. Ming Dynasty a. Court and Professional Painting b. Gardens and Decorative Arts c. Architecture and City Planning d. Literati Painting 13. Classifications of Chinese Painting: handscrolls, hanging scrolls, albums 14. Qing Dynasty a. Orthodox Painting b. Individualists 15. The Modern Period a. European Connections and Western Influence b. Rise of Communism: Mao Tse Tung - Art in Service of the State c. Contemporary Art: Postmodern Developments

92 D. JAPANESE ART BEFORE 1392 1. Prehistory Japan; Jomon Period, Yayoi and Kofun Periods, & Shinto 2. Asuka Period 3. Nara Period 4. Buddhist Influences 5. Heian Period: Esoteric Buddhism, Pure Buddhism, Poetry and Calligraphy,Secular Painting 6. Kamakura Period a. Pure Land Buddhist Art b. Zen: Painting, The Arts of Tea c. Garden Design 7. Joined-wood Sculpture 8. Screen Painting 9. Woodblock Prints 10. Emperors and Warriors E. JAPANESE ART AFTER1392 1. Muromachi Period: Ink Painting & Ryoan-ji 2. Momoyama Period: Architecture, Decorative Painting & Tea 3. Edo: Tea, Rimpa School, Nanga School, Zen, Maruyama-Shijo School, & Ukiyo-e Pictures of the Floating World 4. The Meiji and Modern Periods a. Contact with Western Europeans b. Modernism c. Contemporary Art ( Postmodernism and Japanese Identity)

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Develop and examine the contextual background from which non-western art works emerge within their cultural and historical settings. 2. Develop student’s historical, critical, aesthetic, and analytical written and oral communication skills as they apply to non-western art. 3. Develop an understanding of the various historical approaches and methodologies allowing the student to effectively construct viable comparative paradigms, research techniques and interpretive approaches relevant to non-western art by using application, classification and reasoned argumentation.

B. Student Learning Outcomes. The student will be able to:

Student Learning Outcomes Assessment Analyze primary and secondary research Research paper. materials, theoretical approaches and interpretive models pertaining to non-western art Demonstrate analytical, written and oral skills Tests, papers, and in-class presentations

93 Demonstrate an understanding of the various Tests and papers methodologies, significant texts, and theoretical approaches presented in course material relevant to non-western art Demonstrate a body of concepts and ideas that Tests, papers, and in-class presentations will effectively embody non-western art course material Assess from a comparative perspective the Tests, papers, and in-class presentations similarities and differences across the non- western cultures presented

VIII. Suggested Texts

Adams, Laurie Schneider. World Views: Topics in Non-western Art. New York, NY: McGraw-Hill, 2003. Kampen-O’Riley, Michael. Art Beyond the West. Upper Saddle River, NJ: Prentice Hall, 2006.

IX. Bibliography and Resources

India: Before 1100 Behl, Benoy K. The Ajanta Caves: Ancient Paintings of Buddhist India. London, UK: Thames & Hudson, 2005. Berkson, Carmel. Elephanta: The Cave of Shiva. Princeton, NJ: Princeton University Press, 1983. Coomaraswamy, Ananda K. Yakhsas: Essays in the Water Cosmology. rev. ed. Ed. Paul Schroeder. New York, NY: Oxford University Press, 1993. Cummins, Joan. Indian Painting. Boston, MA: MFA Publications, 2006 Dehejia, Vidya. Early Buddhist Rock Temples. Ithaca, NY: Cornell University Press, 1972. Dehijia, Vidya. Indian Art. London, UK: Phaidon Press, 1997. Harle, James C. Art and Architecture of the Indian Subcontinent. Pelican History of Art. Harmondsworth, UK: Penguin, 1987. Knox, Robert. Amaravati: Buddhist Sculpture from the Great Stupa. London, UK: British Museum, 1992. Mitter, Partha. Indian Art. New York, NY: Oxford University Press, 2001. O’Flaherty, Wendy. Hindu Myth. Harmondsworth, UK: 1990. Possehl, Gregory, ed. Ancient Cities of the Indus. Durham, NC: Carolina Academic, 1979. Possehl, Gregory. Harappan Civilization: A Recent Perspective, 2nd ed. New Delhi, IN: American Institute Delhi: American Institute of Indian Studies, 1993. Rosenfeld, John M. The Dynastic Arts of the Kushans. California Studies in the History of Art. Berkeley, CA: University of California Press, 1967. Seth, Mira. Indian Painting; The Great Mural Tradition. New York, NY: Harry

94 N. Abrams, 2006. Thapar, Romila. Asoka and the Decline of the Mauryas, 2nd ed. Delhi, IN: Oxford, 1973. Thapar, Romila. History of India. Harmondsworth, UK: Penguin, 1972. Williams, Joanna G. Art of Gupta India, Empire and Province. Princeton, NJ: Princeton University Press, 1982. Zimmer, Heinrich Robert. Myth and Symbols in Indian Art and Civilization. Ed. Joseph Campbell. Bollingen Series. New York, NY: Pantheon, 1946.

India: After 1100 Asher, Catherine B. Architecture of Mughal India. New York, NY: Cambridge Press, 1992. Beach, Milo Cleveland. Grand Mogul: Imperial Painting in India, 1600-1660. Williamstown, MA: Sterling and Francine Clark Institute, 1978. Dalmia, Yashodhara. Contemporary Indian Art: Other Realities. Gettysburg, MD: Marg Foundation, 2007. Dehijia, Vidya. Indian Art. London, UK: Phaidon Press, 1997. Desai, Vishakha N. Life at Court: Art for India’s Rulers, 16th-19th Centuries. Boston, MA: Museum of Fine Arts, 1985. Jha, Radhika. New Delhi, New Wave. Bologna, IT: Daminai, 2008. Mapin Pujblishing. New Narratives: Contemporary Art from India. Ahmedabad, IN: Mapin Publishing, 2007 Mitter, Partha. Indian Art. New York, NY: Oxford University Press, 2001. Nou, Jean-Louis. Taj Mahal. Text by Amina Okada and M .C. Joshi. New York, NY: Abbeville, 1993. Sambrani, Chaitanya, Kajri Jain, Ashish Rajadhyaksha, eds. Edge of Desire: Recent Art in India. London, UK: Philip Wilson Publishers, 2005. Tillotson, G. H. R. The Tradition of Indian Architecture: Continuity, Controversy and Change Since 1850. New Haven: Yale University Press, 1989. Welch, Stuart Cary. India: Art and Culture 1300-1900. New York, NY: Metropolitan Museum of Art, 1985.

China Before 1280 Ackerman, Phyllis. Ritual Bronzes of Ancient China. New York, NY: Dryden, 1945. Barnhart, Richard, Yang Xin, Nie Chongzheng, James Cahill, Lang Shaojun, Hung Wu. Three Thousand Years of Chinese Painting. New Haven, CT: Yale University Press, 2002. Billeter, Jean François. The Chinese Art of Writing. New Haven, CT: Yale University Press, 1991. Cahill, James. Art of Southern Sung China. New York, NY: Asia Society, 1962. Chinese Painting. Treasures of Asia. Geneva, SW: Skira, 1960. Chinese Tomb Figurines. Hong Kong, CH: Oxford University Press, 1994. Index of Early Chinese Painters and Paintings: T’ang, Sung and Yuan. Berkeley, CA: University of California Press, 1980.

95 Clunas, Craig. Art in China. New York, NY: Oxford University Press, 2009. De Silva, Anil. The Art of Chinese Landscape Painting: In the Caves of Tun- huang. San Francisco, CA: Art of the World Press, 1980. Fong, Wen, ed. Beyond Presentation: Chinese Painting and Calligraphy, 8th- 14th Century. Princeton Monographs in Art and Archaeology. New York, NY: Metropolitan Museum of Art, 1992. Fong, Wen and Marilyn Fu. Sung and Yuan Paintings. New York, NY: New York Graphic Society, 1973. Hearn, Maxwell K. How to Read Chinese Paintings. New York, NY: Metropolitan Museum of Art, 2008. Juliano, Annette I. Art of the Six Dynasties: Centuries of Change and Innovation. New York. NY: China House Gallery, 1975. Lawton, Thomas. Chinese Art of the Warring State Period: Change and Continuity, 480-222 BC. Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1973 Paludan, Ann. Chinese Spirit Road: The Classical Tradition of Stone Tomb Sculpture. New Haven, CT: Yale University. New Haven: Yale University Press, 1994. Powers, Martin J. Art and Political Expression in Early China. New Haven, CT: Yale University Press, 1991. Sickman, Lawrence, and Alexander Soper. Art and Architecture of China. Pelican History of Art. Harmondsworth, UK: Penguin, 1971. Sullivan, Michael. The Arts of China, 5th ed. Berkeley, CA: University of California Press, 2009.

China After 1280 Andrews, Julia Frances. Painters and Politics in the People’s Republic of China, 1949-1979. Berkeley, CA: University of California Barnhart, Richard M. Painters of the Great Ming: the Imperial Court and the Zhe School. Dallas, TX: Dallas Museum of Art, 1993. Barnhart, Richard, Yang Xin, Nie Chongzheng, James Cahill, Lang Shaojun, Hung Wu. Three Thousand Years of Chinese Painting. New Haven, CT: Yale University Press, 2002. Bush, Susan and Hsui-yen Shih, eds. Early Chinese Texts on Painting. Cambridge, MA: Harvard University Press, 1985. Cahill, James. The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting. Charles Norton Lectures 1978-1979. Cambridge, MA: Harvard University Press, 1982. ______. Hills Beyond a River: Chinese Painting of the Yuan Dynasty, 1279-1368. New York, NY: Weatherhill, 1976. ______. The Distant Mountains: Chinese Painting in the Late Ming Dynasty, 1580-1644. New York, NY: Weatherhill, 1982. ______. Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty, 1368-1580. New York, NY: Weatherhill, 1978.

Clunas, Craig. Art in China. New York, NY: Oxford University Press, 2009. Gao, Minglu. Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art. Cambridge, MA: MIT Press, 2011. Hearn, Maxwell K. How to Read Chinese Paintings. New York, NY: Metropolitan Museum of Art, 2008. Hung, Wu amd Peggy Wang. Contemporary Chinese Art: Primary Documents. Durham, NC: Duke University Press Books, 2010 Lim, Lucy. Contemporary Chinese Painting: An Exhibition from the People’s Republic of China. San Francisco, CA: Chinese Culture Foundation, San Francisco, 1983. Peng, Lu. A History of Art in 20th Century China. Milan, IT and New York, NY: Charta, 2010. Sullivan, Michael. Symbols of Eternity: The Art of Landscape Painting in China. Stanford, CA: Stanford University Press, 1979. Sullivan, Michael. The Arts of China, 5th ed. Berkeley, CA: University of California Press, 2009. Tsu, Frances Ya-sing. Landscape Design in Chinese Gardens. New York, NY: McGraw-Hill, 1988. Vine, Richard. New China New Art. New York, NY: Prestel, 2011. Yu Zhuoyun, comp. Palaces of the Forbidden City. Trans. Ng Mau-Sang, Chan Sinwai, and Puwen Lee. New York, NY: Viking, 1984.

Japan: Before 1392 Egami, Namio. The Beginnings of Japanese Art. Trans. John Bester. Heibonsha Survey of Japanese Art. vol. 2. New York, NY: Weatherhill, 1973. Fukjioka, Ryoichi. Shino and Oribe Ceramics. Trans. Samuel Crowell Morse. Japanese Arts Library, vol 9. New York, NY: Kodansha International, 1977. Hayashi, Ryoichi. Silk Road and the Shoso-in. Trans. Richard L. Gage. Heibonsha Survey of Japanese Art, vol.10. New York. NY: Weatherhill, 1973. Harris, Victor and Jessica Harrison-Hall. Shinto Sacred Art of Ancient Japan. London, UK: British Museum Press, 2001. Kobayashi, Takeshi. Nara Buddhist Art. Toda-ji. Trans. and adapted by Richard L. Gage. Heibonsha Survey of Japanese Art, vol. 5. New York, NY: Weatherhill, 1975. Mason, Penelope E. History of Japanese Art. Upper Saddle River, NJ: Prentice Hall, 2004. Mizuno, Seiichi. Asuka Buddhist Art: Horyuji. Trans. Richard L. Gage. Heibonsha Survey of Japanese Art. New York, NY: Weatherhill, 1974. Murase, Miyeko. Iconography of the Tale of Genji. Genji Monogatari Ekotoba. New York, NY: Weatherhill, 1983. Pearson, Richard J. Ancient Japan. Washington, DC: Sackler Gallery, 1992. Sawa, Takaai. Art in Japanese Esoteric Buddhism. Trans. Richard L. Gage. Heibonsha Survey of Japanese Art, vol. 8. New York, NY: Weatherhill,

97 1972. Sharf, Robert and Elizabeth Sharf. Living Images: Japanese Buddhist Icons in Context. Palo Alto, CA: Stanford University Press, 2002. Swann, Peter. The Art of Japan: From the Jomon to the Tokugawa Period. Art of the World. New York, NY: Crown, 1966. Tanaka, Ichiatsu. Japanese Ink Painting: Shubun to Sesshu. Trans. Bruce Darling. Heibonsha Survey of Japanese Art, vol. 12. New York, NY: Weatherhill, 1972. Varley, H. Paul. Japanese Culture. 4th ed. Honolulu, HI: University of Hawaii Press, 2000. Watanabe, Yasutada. Shinto Art and Izumo Shrines. Trans. Robert Ricketts. Heibonsha Survey of Japanese Art, vol. 3. New York, NY: Weatherhill, 1974. Yamane, Yuzo. Momoyama Genre Painting. Trans. John M. Shields. Heibonsha Survey of Japanese Art. New York, NY: Weatherhill, 1973. Yamakage, Motohisa. The Essence of Shinto: Japan’s Spiritual Heart. New York, NY: Kodansha, 2007. Yonezawa, Yoshiho, and Chu Yoshizawa. Japanese Painting in the Literati Style. Trans. and adapted by Betty Iverson Monroe. Heibonsha Survey of Japanese Art, vol. 23. New York, NY: Weatherhill, 1974.

Japan After 1392 Addis, Stephen. The Art of Zen: Painting and Calligraphy by Japanese Monks: 1600-1925. New York, NY: Abrams, 1989. Davies, Roger J. and Osamu Ikeno. The Japanese Mind: Understanding Contemporary Japanese Culture. North Clarendon, VT:Tuttle Publishing, 2002. Favell, Adrian. Before and After Superflat: A Short History of Japanese Contemporary Art 1990-2011. London, UK: Blue Kingfisher Limited, 2012. Forrer, Mathi. Hokusai. New York, NY: Rizozoli, 1988. Glassman, Hank. The Face of Jizo: Image and Cult in Medieval Japanese Buddhism. Honolulu, HI: University of Hawaii Press, 2012. Graham, Patricia Jane. Faith and Power in Japanese Buddhist Art, 1600-2005. Honolulu, HI: University of Hawaii Press, 2008. Hayashiya, Tastsuburo, Masao Nakamura, and Seizo Hayashiya. Japanese Arts and the Tea Ceremony. Trans. and adapted by Joseph P. Macadam. Heibonsha Survey of Japanese Art, vol. 15. New York, NY: Weatherhill, 1974. Kanazawa, Hiroshi. Japanese Ink Painting: Early Zen Masterpieces. Trans. and adapted by Barbara Ford. Japanese Ar, 1974. Kawakita, Michiaki. Modern Currents in Japanese Art. Trans. and adapted by Charles S. Terry. Heibonsha Survey of Japanese Art, vol. 24. New York: Weatherhill, 1974. Mason, Penelope E. History of Japanese Art. Upper Saddle River, NJ: Prentice Hall, 2004.

Merritt, Helen. Modern Woodblock Prints. The Early Years. Honolulu: University of Hawaii Press, 1990. Michener, James A. The Floating World. New York: Random House, 1954. Mizuo, Hiroshi. Edo Painting: Sotatsu and Korin. Trans. John M. Shields. Heibonsha Survey of Japanese Art, vol. 18. New York: Weatherhill, 1973. Oka, Isaburo. Hiroshige: Japan’s Great Landscape Artist. Trans. Stanleigh H. Jones. Tokyo: Kodansha International, 1992. Okawa, Naoami. Edo Architecture: Katsura and Nikko. Trans. Alan Woodhull and Akito Miyamoto. Heibonsha Survey of Japanese Art, vol. 20. New York: Weatherhill, 1975. Takahashi, Seichiro. Traditional Woodblock Prints of Japan. Trans. Richard Stanley-Baker. Heibonsha Survey of Japanese Art. New York: Weatherhill, 1972. Terada, Toru. Japanese Art in World Perspective. Trans. Thomas Guerin. Heibonsha Survey of Japanese Art, vol. 25. New York: Weatherhill, 1976. Thompson, Sarah E. and H. D. Harootunian. Undercurrents in the Floating World: Censorship and Japanese Prints. New York: Asia Society Gallery, 1992. Wong, Yoke Sum. The Aesthetics of Cute in Contemporary Japanees Art. Houndmills , UK: Palgrave Macmillan, 2012 Yamane, Yuzo. Momoyama Genre Painting. Trans. John M. Shields. Heibonsha Survey of Japanese Art, vol. 17. New York: Heibonsha, 1973.

99 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A360B NA 3 (3+0) 6. Complete Course Title History of Non-Western Art II

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ENGL A111 with minimum grade of C NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisite to better reflect course level expectations and course description.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

100 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History of Non-Western Art II C. Course Subject/Number: ART A360B D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Emphasis on a comparative approach to non- western civilizations including Islamic Art, African Art, Art of Pacific Cultures, and Art of the Americas. H. Status of course relative to degree or certificate program: Course required for BA and BFA in Art and applies to the GER Fine Arts and Humanities Requirements I. Lab Fees: YES J. Coordination: YES K. Course Prerequisites: ENGL A111 with minimum grade of C

III. Course Activities Lecture course. Readings and written work as assigned including brief research papers.

IV. Evaluation Evaluation is based on various pedagogical approaches depending on the instructor but will generally include in-class testing and/or take home examinations and papers on various topics discussed with the professor. Students are graded on their ability to comprehend the chronological development of Art History within the social, economic, political and historical setting. Interpretative analysis focusing on the formal and contextual aspects of works of art based on a comparative approach.

Criteria for Grading

101 To receive a grade of C (Average): 1. Scholarship/Research: Barely meets assignments; needs encouragement 2. Initiative: Uncertain and apparent only at times 3. Cooperation: Not effective and very irregular 4. Individual Improvement: Ordinary, lacking in noticeable benchmarks

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

VI. Outline A. ISLAMIC ART: THE GATEWAY TO THE WEST AND EAST 1. Islam and Early Islamic Society 2. Art During the Early Caliphates: Architecture, Calligraphy, Ceramic and Textile Arts 3. Later Islamic Art: Architecture, Portable Arts, Manuscript, Illumination and Calligraphy 4. Technical and Architectural Developments: Carpet Making, Mosque Plans, Arches and Muqarnas 5. Contemporary Islamic Art: Politics and the Continuity of Life B. AFRICAN ART 1. Art of Ancient and Medieval Africa a. Saharan Rock Art b. Sub-Saharan Civilizations: Nok Culture, Ife, & Benin c. Nilotic Cultures d. Islamic Africa e. Urban Centers: Djenné, & Great Zimbabwe 2. Colonial Africa: Asanti, Yoruba, Dogon, Luba, Kuba, & Kota 3. Art of Africa: The Modern Era a. Traditional and Contemporary Africa b. Children and the Continuity of Life c. Initiation Rites d. the Spirit World e. concepts of Leadership f. Death and Ancestors g. Contemporary Art: Postmodernism and the African Diaspora

102 C. ART OF PACIFIC CULTURES 1. Australia: Australian Aboriginal Art 2. Melanesia: Papua New Guinea, Irian Jaya, & New Ireland 3. Micronesia: Nan Mandol 4. Polynesia: Easter Island, Marquesas Islands, Islands, New Zealand 5. Pacific Rim Contemporary Developments D. ART OF THE AMERICAS 1. Art of the Americas Before 1300 a. Mesoamerica: The Olmec, Teotihuacan, The Maya, & Western Mexican Ceramics b. Central America: Diquis Culture c. South America: The Central Andes 1.1 Chavin Culture: Sculpture 1.2 The Paracas Culture: Textiles 1.3 Nazca Culture 1.4 Moche Culture: Ceramics 1.5 Chimu Culture: Metals 1.6 Inka Culture: Inka masonry 2. Art of the Americas After 1300 a. Indigenous American Art b. Mexico and South America: The Aztec Empire, The Inka Empire 1.1 The Aftermath of the Spanish Conquest 1.2 Modernism and Postmodernism in Mexico and South America c. North America 1.1 Ancient Period, before first contact 1.2 Eastern Woodlands 1.3 Southwest: Basketry 1.4 Historic Period, after first contact 1.5 Northwest Coast, Eastern Woodlands, Great Plains & Southwest 1.6 Contemporary Native American Art

103 B. Student Learning Outcomes. The student will be able to:

Student Learning Outcomes Assessment Analyze primary and secondary research Research paper materials, theoretical approaches and interpretive models pertaining to non-western art Demonstrate analytical, written and oral skills Tests, papers, and in-class presentations Demonstrate an understanding of the various Tests and papers methodologies, significant text, and theoretical approaches presented in course materials relevant to non-western art Demonstrate a body of concepts and ideas that Tests, papers, and in-class presentations will effectively embody non-western art course material Assess from a comparative perspective the Tests, papers, and in-class presentations similarities and differences across the non- western cultures presented

VII. Suggested Texts

Adams, Laurie Schneider. World Views: Topics in Non-western Art. New York, NY: McGraw-Hill, 2003. Kampen-O’Riley, Michael. Art Beyond the West. Upper Saddle River, NJ: Prentice Hall, 2006,

IX. Bibliography and Resources

Islamic Art Akurgal, Ekrem, ed. The Art and Architecture of Turkey. New York, NY: Rizzoli, 1980. Al-Faruqi, Ismail R. and Lois Lamya’al Faruqi. Cultural Atlas of Islam. New York, NY: Macmillan Press, 1986. Atil, Esin. The Age of Sultan Suleyman the Magnificent. Washington, D.C.: National Gallery of Art, 1987. Atil, Esin. Art of the Arab World. Washington, DC: Smithsonian Institution, 1975. Blair, Sheila S., and Jonathan M. Brown. The Art and Architecture of Islam 1250-1800. New Haven: Yale University Press, 1991. Bloom, Jonathan and Sheila Blair. Islamic Arts. London, UK: Phaidon Press, 1997. Canby, Sheila, Maryam Ekhtiar, Priscilla Soucek, and Navina Najat Haidar. Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art. New York, NY: Metropolitan Museum of Art, 2011. Critchlow, Keith. Islamic Patterns: An Analytical and Cosmological Approach.

104 Rochester, VT: Inner Traditions, 1999. Ettinghausen, Richard, and Oleg Grabar. The Art and Architecture of Islam: 650-1250. Pelican History of Art. Harmondsworth, UK.: Penguin, 1987. Ferrier, R. W., ed. Arts of Persia. New Haven, CT: Yale University Press, 1989. Frishman, Martin, and Hasan-Uddin Khan. The Mosque: History, Architectural Development and Regional Diversity. London, UK: Thames and Hudson, 2002. Grabar, Oleg. Islamic Visual Culture, 1100-1800: Constructing the Study of Islamic Art. Surrey, UK: Ashgate Publishing Company, 2006 Grube, Ernest J. Architecture of the Islamic World: Its History and Social Meaning. Ed. George Mitchell. New York, NY: Morrow, 1978. Hillebrand, Robert. Islamic Architecture: Form, Function, and Meaning. New York, NY: Columbia University Press, 2004. Khatibi, Abdelkebir, and Mohammed Sijelmassi. The Splendour of Islamic Calligraphy. New York, NY: Rizzoli, 1977. Mozzati, Luca. Islamic Art. New York, NY: Prestel, 2010. Raby, Julian, ed. The Art of Syria and Jazira, 1100-1250. Oxford Studies in Islamic Art. Oxford, UK: Oxford University Press, Rizzoli, 1977. Ruggles, D. Fairchild. Islamic Art and Visual Culture: An Anthology of Sources. London, UK: Wiley-Blackwell, 2011. Schimmel, Annemaire. Calligraphy and Islamic Culture. New York, NY: New York University Press, 1983. Ward, R. M. Islamic Metalwork. New York, NY: Thames and Hudson, 1993.

African Art General and Nilotic Aldred, Cyril. Akhenaten and Nefertiti. New York, NY: Brooklyn Museum, 1973. Aldred, Cyril. Egyptian Art in the Days of the Pharoahs, 3100-320 BC. World of Art. London, UK: Thames and Hudson, 1980 Anderson, Richard I. Art in Small Scale Societies. 2nd ed. Englewood, Cliffs, N.J.: Prentice Hall, 1989. Berlo, Janet Catherine and Lee Ann Wilson. Arts of Africa, Oceania, and the Americas: Selected Readings. Englewood Cliffs, N.J.: Prentice Hall, 1993. Blocker, H. Gene. The Aesthetics of Primitive Art. Lantham, Md.: University Press of America, 1994. Breasted, James Henry. A History of Egypt from the Earliest times to the Persian Conquest. New York, NY: Scribner’s, 1983. Coote, Jeremy, and Anthony Shelton, eds. Anthropology, Art, and Aesthetics. New York, NY: Oxford University Press, 1992. D’Azevedao, Warren L. The Traditional Artist in African Societies. Bloomington, IN: Indiana University Press, 1989. Drewall, Henry, and John Pemberton III. Yoruba: Nine Centuries of African Art and Thought. New York, NY: Center for African Art, 1989.

105 Edwards, I. E. S. The Pyramids of Egypt. Rev. ed. Harmondsworth, UK: Penguin, 1985. ______. The Egyptian Book of the Dead: The Book of Going Forth by Day Being the Papyrus of Ani (Royal Scribe of the Divine Offerings). Trans. Raymond O. Faulkner. San Francisco, CA: Chronicle, 1994. Grimal, Nicolas. A History of Ancient Egypt. Trans. IanHall. Oxford, UK: Blackwell, 1992. Guidoni, Enrico. Primitive Architecture. Trans. Robert Eric Wolf, History of World Architecture. New York, NY: Rizzoli, 1987. James, T.G.H. Egyptian Painting. London, UK: British Museum, 1985. James. T.G.H. and W. V. Davies. Egyptian Sculpture. Cambridge, MA: Harvard University Press, 1983. Leiris, Michel, and Jacqueline Delange. African Art. London, UK: Thames and Hudson, 1968. Leuzinger, Elsy. Africa: The Art of the Negro Peoples. 2nd ed. Art of the World. New York, NY: Crown, 1967. Mannichel, Lise. City of the Dead: Thebes in Egypt. Chicago, IL: University of Chicago Press, 1987. Mbiti, John S. African Religions and Philosophy. 2nd ed. Oxford, UK: Heinemann, 1990. Montet, Pierre. Everyday Life in the Days of Rameses the Great. Trans. A. R. Maxwell-Hysop and Margaret S. Drower. Philadelphia, PA: University of Pennsylvania Press, 1981. Murray, Jocelyn, ed. Cultural Atlas of Africa. New York, NY: Facts on file, 1981. Price, Sally. Primitive Art in Civilized Places. Chicago, IL: University of Chicago Press, 1989. Strouhal, Eugene. Life of the Ancient Egyptians. Norman, OK: University of Oklahoma Press, 1992. Willett, Frank. African Art. An Introduction. Rev. ed. World of Art. New York, NY: Thames and Hudson, 1993. Woldering, Irmgad. The Art of Egypt: The Time of the Pharoahs. Trans. Ann E. Keep. Art of the World. New York, NY: Crown, 1963.

Ancient and Medieval Africa Bassani, Ezio and William Fagg. Africa and the Renaissance: Art in Ivory. New York, NY: Center for African Art, 1988. Ben-Amos, Paula. The Art of Benin. London, UK: Thames and Hudson, 1980. Ben-Amos, Paula and Arnold Rubin. The Art of Power, The Power of Art Studies in Benin Iconography. Monograph Series, no. 19. Los Angeles, CA: Museum of Cultural History, University of California, 1983. Berzock, Kathleen Bickford. Benin: Royal Arts of a West African Kingdom. Chicago, IL: Art Institute of Chicago, 2008. Cole, Herbert M. Iglo Arts: Community and Cosmos. Los Angeles, CA: Museum of Cultural History, University of California. 1984. Drewal. Henry John and Enid Schildkrout. Dynasty and Divinity: Ife Art in

106 Ancient Nigeria. Seattle, WA: Universitiy of Washington Press, 2010. Fagg, Bernard. Nok Terracottas. Lagos, NIG: Ethnographica, 1977. Huffman, Thomas N. Symbols in Stone: Unravelling the Mystery of Great Zimbabwe. Johannesburg, SA: Witwatersrand University Press, 1987. Lawal, Babatunde. Yoruba: Visions of Africa Series. Milan, IT: 5 Continents Editions, 2011. Lhote, Henri. The Search for the Tassili frescoes: The Story of the Prehistoric Rock Paintings of the Sahara. 2nd ed. Trans. Alan Houghton Brodrick. London, UK: Hutchinson, 1973. Mato, Daniel. Yoruba: An Art of Life: The Bennett-Luther Collection. Denver, CO: Africa Direct, 2004. Willett, Frank. Life in the History of West African Sculpture. New York, NY: McGraw Hill 1967. ______. African Art, 3rd ed. London, UK: Thames & Hudson, 2003.

Art of Africa: Modern Era Abiodun, Rowland, Henry J. Drewal, and John Pemberton III, eds. The Yoruba Artist: New Theoretical Perspectives on African Arts. Washington, DC: Smithsonian Institution, 1994. Adler, Peter, and Nicholas Barnard. African Majesty: The Textile Art of the Ashanti and Ewe. New York, NY: Thames and Hudson, 1992. Cole, Herbert M. Icons: Ideals and Power in the Art of Africa. Washington, DC: National Museum of African Art, Smithsonian Institution, 1989. Enwezor, Okwui and Chika Okeke-Agulu, contrib. Contemporary African Art Since 1980. Bologna, IT: Damiani, 2009. Kasfir, Sidney Littlefield. Contemporary African Art. London, UK: Thames & Hudson, 2000. Kennedy, Jean. New Currents, Ancient Rivers: Contemporary Artists in a Generation of Change. Washington, D.C.: Smithsonian Institution, 1992. Laude, Jean. African Art of the Dogon: The Myths of the Cliff Dwellers. Trans. Joachim Neugroschell. New York, NY: Brooklyn Museum, 1973. Neyt, François. Luba: To the Sources of the Zaire. Trans. Murray Wylie. Paris, FR: Editions Dapper, 1994. Sieber, Roy and Roslyn Adele Walker. African Art in the Cycle of Life. Washington, D.C.: National Museum of African Art, Smithsonian Institution, 1987. Thompson, Robert Farris, and Joseph Cornet. The Four Moments of the Sun: Kongo Art in Two Worlds. Washington, DC: National Gallery of Art, 1981.

Art of Pacific Cultures Allen, Louis. Time Before Morning: Art and Myth of the Australian Aborigines. New York, NY: Crowell, 1975. Barrow, Terrence. The Art of Tahiti and the Neighboring Society, Austral and Cook Islands. New York, NY: Thames and Hudson, 1979. Berlo, Janet Catherine and Lee Ann Wilson. Arts of Africa, Oceania, and the

107 Americas: Selected Readings. Englewood Cliffs, N.J.: Prentice Hall, 1993. Brown, Penny. Aboriginal Designs. Kent, UK: Search Press, 2007. Caruana, Wally. Aboriginal Art. New York, NY: Thames and Hudson, 2003. Craig, Robert D. Dictionary of Polynesian Mythology. New York, NY: Greenwood, 1989. Greub, Suzanne, ed. Art of Northwest New Guinea: From Geelvink Bay, Humboldt Bay, and Lake Sentani. New York, NY: Rizzoli, 1990. Hanson, Allan, and Louise Hanson. Art and Identity in Oceania. Honolulu, HI: University of Hawaii Press, 1990. Isaacs, Jennifer. Australian Aboriginal Paintings. New Holland, AUS: New Holland Australia, 2002. ______. Spirit Country: Contemporary Australian Aboriginal Art. Richmond, VIC: Hardie Grant Books, 2011. Kjellgren, Eric. Oceania: Art of the Pacific Islands in The Metropolitan Museum of Art. New York, NY: Metropolitan Museum of Art, 2007. McClusky, Pamela. Ancestral Modern: Australian Modern: Australian Aboriginal Art. Seattle, WA: Seattle Art Museum, 2012. Mead, Sydney Moko, ed. Te Maori: Maori Art from New Zealand Collections. New York, NY: Abrams, 1984. Meyer, J. P. Oceanic Art. New York, NY: Konemann, 2000. Morphy, Howard. Ancestral Connections. Art and an Aboriginal System of Knowledge. Chicago, IL: University of Chicago Press, 1991. ______. Aboriginal Art. London, UK: Phaidon,Press, 19989. Paama-Penmgelly, Julie. Maori Art and Design. London, UK: New Holland Publishers, 2010. Perkins, Hetti, Margie West and Theresa Willstead. One Sun One Moon: Aborignal Art in Australia. New South Wales, AUS: Art Gallery of New South Wales, 2007. Rabineau, Phyllis. Feather Arts: Beauty, Wealth, and Spirit from Five Continents. Chicago, IL: Field Museum of Natural History, 1979. Robley, Horatio Gordon. The Carver and the Artist: Maori Art in the Twentieth Century. Auckland, NZ: Auckland University Press, 2008. Scott, R. W. B. and Christopher Gotch. Art, Sex and Symbol: The Mystery of Tattooing. 2nd ed. New York: Cornell University Press, 1986. Starzecka, Doro. Maori: Art and Culture. Chicago, IL: Art Media Resources, Ltd., 1996. Toia, Roi. Kahui Whetu: Contemporary Maori Art-A Carver’s Perspective. Wellington, NZ: Reed New Zealand, 2006.

Art of the Americas: Before 1300 Abrams, Eliot Marc. How the Maya Built Their World: Energetics and Ancient Architecture. Austin, TX: University of Texas Press, 1994. Alcina, Franch, José. Pre-Columbian Art. Trans. I. Mark Paris, FR and New York, NY: Abrams,1983.

108 Berrin, Kathleen and Esther Pasztory. Teotihuacan: Art from the City of the Gods. New York, NY: Thames and Hudson, 1993. Clewlow, C. William. Colossal Heads of the Olmec Culture. Contributions of the University of California Archaeological Research Facility. Berkeley, CA: Archaeological Research Facility, University of California, 1967. Coe, Michael. The Jaguar’s Children: Pre-Classical Central Mexico. New York, NY: Museum of Primitive Art, 1965. ______. The Maya, 8th ed. London, UK: Thames & Hudson, 2011. Donnan, Christopher B. Ceramics of Ancient Peru. Los Angeles, CA: Fowler Museum of Cultural History, University of California, 1992. Fewkes, Jesse Walter. The Mimbres: Art and Archaeology. Albuquerque, NM: Avanyu Press, 1989. Frazier, Kendrick. People of Chaco: A Canyon and its Culture. New York,NY: Norton, 1986. Kubler, George. The Art and Architecture of Ancient America: The Mexican, Maya and Andean Peoples. 2nd ed. Pelican History of Art. Harmondsworth, UK: Penguin, 1975. Miller, Mary Ellen. The Art of Mesoamerica: From Olmec to Aztec. World of Art. New York, NY: Thames and Hudson, 2006. Miller, Mary Ellen and Karl Taube. The Gods and Symbols of Ancient Mexico and the Maya. An Illustrated Dictionary of Mesoamerican Religion. New York, NY: Thames and Hudson, 1993. Stone, Andrea Joyce and Andrea Stone and Marc Zander. Reading Maya Art: A Hieroglyphic Guide to Ancient Maya Painting and Sculpture. London, UK: Thames & Hudson, 2011. Stone, Rebecca. Art of the Andes: From Chavin to Inca. London, UK: Thames & Hudson, 2002. Townsend, Richard. The Aztecs. Ancient Peoples and Places. London, UK: Thames and Hudson, 1992.

Art of the Americas: After 1300 Bringhurst, Robert F. The Black Canoe: Bill Reid and the Spirit of Haida Gwaii. Seattle, WA: University of Washington Press, 1991. Coe, Ralph. Lost and Found Traditions: Native American Art 1965-1985. Ed. Irene Gordon. Seattle, WA: University of Washington Press, 1986. Conn, Richard. Circles of the World: Traditional Art of the Plains Indians. Denver, CO: Denver Art Museum, 1982. Cummings, Denise K. Visualities: Perspectives on Contemporary American Indian Film and Art. East Lansing, MI: Michigan State University Press, 2011. Emerson, Gloria. At the Hems of the Lowest Clouds: Meditations on Navajo Landscapes. Santa Fe, NM: School of American Research Press, 2003. Ewers, John C. Plains Indian Art: The Pioneering Work of John C. Ewers. Stillwater, OK: University of Oklahoma Press, 2011. Feest, Christian F. Native Arts of North America. Updated ed. World of Art. New York, NY: Hudson Hills, 1987.

109 Jonaitis, Aldona. Art of the Northern Tlingit. Seattle, WA: University of Washington Press, 1986. Kahlenberg, Mary Hunt, and Anthony Berlant. The Navajo Blanket. New York, NY: Praeger, 1972. Leaken, Kitty and Suzanne Deats. Contemporary Native American Artists. Layton, Utah: Gibbs Smith, 2012. McNair, Peter I., Alan I . Hoover and Kevin Neary. Legacy: Tradition and Innovation in Northwest Coast Indian Art. Vancouver, CA: Douglas and McIntyre, 1984. Nagy, Clinton. Splendid Heritage: Perspectives on American Indian Arts. Salt Lake, UT: John and Marva Warnock, 2009. (Exhibition catalogue Utah State Museum). Norris, Kaaren. Contemporary Art on the Northwest Coast: Salish, Nuu-chah- nulth, Makah. Alglen, PA: Schiffer Publishing, 2011. Pohl, John. The Aztec Pantheon and the Art of Empire. Los Angeles, CA: Getty Publications, 2010. Smith, Jaune Quick-to-See and Harmony Hammond. Women of Sweetgrass: Cedar and Sage. New York, NY: American Indian Center, 1984. Stierlin, Henri. Art of the Aztecs and Its Origins. New York, NY: Rizzoli, 1992. Thom, Ian M.. Challenging Traditions: Contemporary First Nations Art of the Northwest Coast. Seattle, WA: University of Washington Press, 2009. Touchette, Charleen and Suzanne Deats. NDN Art: Contemporary Native American Art. Fresno, CA: Fresno Fine Art Publication lLC, 2005 Wade, Edwin, and Carol Haralson, eds. The Arts of the North American Indian: Native Traditions in Evolution. New York, NY: Hudson Hills 1986. Walters, Anna Lee. Spirit of Native America: Beauty and Mysticism in American Indian Art. San Francisco, CA: Chronicle, 1989.

110 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A361 NA 3 (3+0) 6. Complete Course Title History of Graphic Design

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring /2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A262 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Instructor Permission College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

111 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History of Graphic Design C. Course Subject/Number: ART A361 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: History of Graphic Design emphasizing its beginnings to the present day including traditional and technological developments. H. Status of course relative to degree or certificate program: Applies to BA & BFA in ART I. Lab Fees: YES J. Coordination: YES K. Course Prerequisites: ART A262 History of Western Art II and (ENGL A111 with minimum grade of C) L. Registration Restrictions: Instructor Permission

III. Course Activities Lecture course. Readings and written work as assigned - including brief research papers

IV. Evaluation Evaluation procedures are at the discretion of the instructor and will be discussed at the first class meeting of the semester. Based on various pedagogical approaches depending on the instructor’s approach, generally evaluation will include in-class testing and/or take-home examinations and papers written by students on various topics. Evaluation will focus on the student's demonstrated ability to comprehend the development of Graphic Design history in their particular cultural contexts. A. Criteria for Grading 1.0 To receive a grade of A: 1.1 Scholarship/Research: Strong, exceeding all instructor requirements 1.2 Initiative: Contributions exceed expectations for the class 1.3 Attitude: Excellent interactive skills in the classroom 1.4 Cooperation: Excels in contributions to group activities 1.5 Individual Improvement: Demonstrates mastery of drawing techniques 2.0 To receive a grade of B: 2.1 Scholarship/Research: Meets all instructor requirements

112 2.2 Initiative: Contributions are above average for the class 2.3 Attitude: Above average interactive skills in the classroom 2.4 Cooperation: Above average contributions in group activities 2.5 Individual Improvement: Above average demonstration of drawing techniques 3.0 To receive a grade of C: 3.1 Scholarship/Research: Does required assignments 3.2 Initiative: Contributions are average for the class 3.3 Attitude: Average interactive skills in the classroom 3.4 Cooperation: Average contributions to group activities 3.5 Individual Improvement: Average demonstration of drawing techniques 4.0 To receive a grade of D: 4.1 Scholarship/Research: Below average assignments 4.2 Initiative: Contributions are below average for the class 4.3 Attitude: Below interactive skills in the classroom 4.4 Cooperation: Below average contributions to group activities 4.5 Individual Improvement: Below average demonstration of drawing techniques 5.0 To receive a grade of F: 5.1 Majority of work unacceptable or missing

V. Course Level Justification Provides opportunity for students in Art who are emphasizing Graphic Design as their major to be knowledgeable about their specific discipline in terms of its history, conceptual developments, and multicultural relationships pertinent to the current global situation. Requires 200 level prerequisite.

VI. Outline I. The Prologue to Graphic Design: The Visual Message from Prehistory through the Medieval Era a. The Invention of Writing b. The Asian Contribution c. Illuminated Manuscripts II. A Graphic Renaissance: The Origins of European Typography and Design for Printing. a. Printing in Europe b. The German Illustrated Book c. Renaissance Graphic Design d. Typographic Genius III. The Industrial Revolution: The Impact of Industrial Technology upon Visual Communications. a. Typography for an Industrial Age b. Photography

113 c. Graphics and the Victorian Era d. Art Nouveau IV. The Modernist Era: Graphic Design in the First Half of the Twentieth Century. a. 20th Century Design b. Modern Art c. Pictorial Modernism d. Language of Form e. Bauhaus and the New Typography V. The Age of Information: Graphic Design in the Global Village a. International Typographic Style b. The New York School c. Corporate Identity d. The Conceptual Image e. Postmodern Design f. The Digital Revolution g. Internet Art

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The Instructor Will: 1. Demonstrate how technology has been used in the past and is currently applied to express new ideas in graphic design. 2. Present a chronology and concepts-based approach illustrating the significant transformations in graphic design from the invention of visual language to contemporary visual design. 3. Demonstrate the impact of mass communication systems at the global level in the context of multicultural interactions.

B: Student Learning Outcomes. The student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Classify and illustrate the stylistic, formal and historical circumstances underlying graphic design from the Tests and written beginnings of the invention of writing to digitally based papers information systems

Demonstrate the requisite written, oral and Tests and written technological graphic design skills related to course papers work

Demonstrate a body of concepts and ideas that will Class discussions, effectively embody graphic design history from its written research, inception to the digital revolution papers and tests

114

VIII. Suggested Text Meggs, Philip, Miller A. A History of Graphic Design, New York NY: John Wiley and Sons, 2011.

IX. Bibliography and Resources

Armstrong, Helen. Graphic Design Theory: Readings from the Field. Princeton, NJ: Princeton Architectural Press, 2009. Balance, Georgette and Steven Heller. Graphic Design History. 2001. New York, NY: Allworth Press, 2001. Blackwell, Lewis. 20th Century Type. New York, NY: Rizzoli, 1992. Eskilson, Stephen. Graphic Design: A New History. New Haven, CT: Yale University Press, 2012. ______. Graphic Design. London, UK: Thames Hudson, 2012. Heller, Steven and Chwast, Seymour. Graphic Style from Victorian to Postmodern. New York, NY: Abrams, 1988. Hollis, Richard. Graphic Design: A Concise History. 2nd ed. London, UK: Thames & Hudson, 2002. Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students, 2nd rev. ed. Princeton, NJ: Princeton Architectural Press, 2010. Weill, Alain. Graphic Design: A History (Discoveries). New York, NY: Harry N. Abrams, 2004. White, Jan V. Graphic Design for the Electronic Age. New York, NY: Watson-Guptill, 1988. Whitford, Frank. Bauhaus. London, UK: Thames and Hudson, 1984. Wurman, Richard Saul, et al. Information Anxiety 2. New York, NY: Pearson Education, 2000. Wurman, Richard Saul. Information Anxiety. New York, NY: Doubleday, 1989.

115 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A362 NA 3 (3+0) 6. Complete Course Title History of Modern Art

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

3. BA International Studeies 111 Dorn Von Dommelent Initiator Name (typed): Deborah Tharp Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 11/11/11 13c. Coordination with Library Liaison Date: 11/11/11 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A262 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

116 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History of Modern Art C. Course Subject/Number: ART A362 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Historical development of art from the mid-19th century to the 1930s. Various visual arts are placed within the social and cultural contexts of this period. H. Status of course relative to degree or certificate program: Course applies to the BA in Art and BFA in Art Degrees I. Lab Fees: YES J. Coordination: None Required K. Course Prerequisites: ART A262 and (ENGL A111 with a minimum grade of C)

III. Course Activities Students attend lectures on a weekly basis. Lectures focus on required readings of course materials, reserve room readings as well as individual in-class presentations. A research paper based on the subject matter of the class is also essential to this course.

IV. Evaluation Evaluation procedures are at the discretion of the instructor and will be discussed at the first class meeting of the semester. Generally evaluation of the course is based on students’ in-class presentations, mid-term, final examination and an in-depth research paper.

V. Course Level Justification 300 level course requiring prerequisites at previous level.

VI. Outline A. Modernism, Modern, Modernisms? Terminological Nuances and other Issues 1. The Great Exhibition of 1851 (London) 2. Paris: The Capital of Modern Art 3. New Technology 4. The Beginnings of Modern Art B. Influences Shaping Modern Art: The Urban Condition and the Prevalence of 1. Paris and the Birth of the Modern City 2. Capitalist Society 3. The Commodification of Art 4. The Modern Condition C. Dismantling the French Connection: Conventional History and the “Ism Matter

117 1. Realism 2. Impressionism 3. Symbolism 4. Post-Impressionism 5. Neo-Impressionism 6. Synthetism 7. The Nabis D. Early Twentieth Century Developments: 1900-1915 1. The Fauves 2. Expressionism 3. Cubism 4. Orphism E. Early Twentieth Century Developments: 1915-1930 1. Vorticism 2. Supermatism/Constructivism 3. Neo-Plasticism 4. Dada 5. Surrealism 6. Purism F. The Role of the Art Museum, Lithography, and Photography 1. The Art Museum 2. The Museum as Mausoleum 3. The Museum as a Venue for Artistic Intervention G. Seeing: Artistic Responses to the Modern World I 1. The Human Eye, 2. Transparency and Unmediated Modernism, 3. Surface Fetishism and Unmediated Modernism 4. Photography and Unmediated Modernism, 5. Beyond the Oil Sketch H. Cubism as a Paradigmatic Art Movement: Interpretations 1. Frascina: Realism and Ideology /Semiotics and Cubism, a. Representation: Language, Signs, Realism b. Art and Semiotics c. Realism, Ideology and the “Discursive” in Cubism d. Artistic Subcultures: Signs and Meaning. I. Primitivism 1. Primitivism in Art-Historical Debate, “The 2. Brittany and Pont-Aven 3. Gauguin and Tahiti, 4. Primitivism and Kulturkritik: Worpswede in the 1890s 5. The Decorative and the “cult de la vie”: Matisse and Fauvism 6. The Expressive and the Expressionists J. Modernist Appropriative Gestures 1. The Pre-Raphaelite Brotherhood, 2. Puvis de Chavannes and Gustave Moreau 3. Image, Modernism Outside the Avant-Garde,

118 4. Fragmentation, Dislocation and Recombination K. Iconological Pursuits 1. Sexuality and the Body: Manet’s Bodies 2. Modern Art and Pornography 3. The Nude and the Modernist Cycle of Life 4. The Bathing Nude 5. The Allegorical or Non-Sexual Nude 6. Colonialism and the Nude 7. The Problem with Gauguin 8. The Bride Stripped Bare (Marcel Duchamp) 9. Body Parts and Fragments L. Society and Class Consciousness 1. Social Class and Class Consciousness 2. Seuart: La Grande Jatte 3. Modernist Culture Class Issues 4. Portraiture 5. Images of The Worker and Modern Art M. Nullifying Iconography-Eradicating the Subject 1. Landscape Painting 2. Text and Image N. Abstraction, Figuration and Representation 1. Harrison’s Interpretation of Abstraction 2. Autonomy 3. Kazimir Malevich 4. Piet Mondrian O. National and International Tendencies in Modern Art 1. National Identity, Time and Place 2. Abstract Art and Spiritualism 3. Internationalism, 4. Nationalist Landscape Painting 5. The Private Industrialization of Modern Art

VII. Instruction Goals and Student Learning Outcomes A. Instructional Goals. The Instructor Will: 1. Develop the student’s analytical skills at the historical, critical, and aesthetic levels. 2. Develop an understanding of the various methodologies allowing the student to discriminate and construct viable paradigms and research techniques.

B. Student Learning Outcomes. Student will be able to:

119

STUDENT LEARNING OUTCOMES ASSESSMENT Analyze primary and secondary research Research paper materials and use them effectively in writing a substantive research paper Demonstrate the requisite written and oral In-class presentations and tests skills related to course work Demonstrate a body of concepts and ideas that Tests will effectively embody the course material

VIII. Suggested Texts

Arnason, H. H and Elizabeth C. Mansfield. The History of Modern Art. 6th ed. New York, NY: Prentice-Hall, 2009. Baudelaire, Charles. The Painter of Modern Life, and Other Essays. Trans. and ed. Jonathan Mayne. London, UK: Phaidon, 1964. Chipp, Herschel B and Perter Selz. Theories of Modern Art: A Source Book by Artists . Berkeley, CA: University of California Press, 1984. Krauss, Rosalind, Hal Foster, Yves Alain Bois, and Benjamin H.D. Buchlah. Art Since 1900: Modernism, Anti-modernism, Postmodernism Vol. 1: 1900-1944. 2nd ed. London: Thames & Hudson, 2011.

IX. Bibliography and Resources

Ades, Dawn. Photomontage. Rev. ed. World of Art. New York, NY: Thames and Hudson, 1986. Alexandrian, Sarane. Surrealist Art. London, UK: Thames and Hudson, 1970. Ashton, Dore. Rosa Bonheur: A Life and a Legend. New York, NY: Viking, 1981. Baigell, Matthew. The American Scene: American Painting of the 1930’s. New York, NY: Praeger, 1974. Barr, Alfred H., Jr. Cubism and Abstract Art: Painting, Sculpture, Constructions, Photography, Architecture, Industrial Art, Theater, Films, Posters, Typography. New York, NY: Museum of Modern Art, 1974. ______. Cubism and Abstract Art. Cambridge, MA: Belknap Press, 1986. Barron, Stephanie, ed. Degenerate Art: The Fate of the Avant-garde in Nazi Germany. Los Angeles, CA: Los Angeles County Museum of Art, 1991. Baudelaire, Charles. The Painter of Modern Life and Other Essays. Trans. and ed. Jonathan Mayne. London: Phaidon, 1964. Boime, Albert. The Academy and French Painting in the Nineteenth Century. London: Phaidon, 1971. Brettell, Richard R. Modern Art, 1851-1929: Capitalism and Representation. Oxford, UK: Oxford University Press, 1999. Britt, David. Modern Art: Impressionism to Post-Modernism. London, UK: Thames & Hudson, 2008.

120 Brown, Milton. Story of the Armory Show: The 1913 Exhibition that Changed American Art. 2nd ed. New York, NY: Abbeville, 1988. Clark, T. J. The Absolute Bourgeois: Artists and Politics in France, 1848-1883. London: Thames and Hudson, 1973. ______. Image of the People. Gustave Courbet and the 1848 Revolution. London, UK: Thames and Hudson, 1973. Colquhon, Alan. Modern Architecture. New York, NY: Oxford University Press, 2002. Dachy, Marc. The Dada Movement, 1915-1923. New York, NY: Skira/Rizzoli, 1990. Denvir, Bernard. The Thames and Hudson Encylcopedia of Impressionism. New York, NY: Thames and Hudson, 1991. Denvier, Bernard. Post-Impressionism. World of Art. New York, NY: Thames and Hudson, 1992. Dube, Wolf-Dieter. Expressionism. Trans. Mary Whithall. World of Art. New York, NY: Praeger, 1973. Duncan, Alastair. Art Nouveau. New York, NY: Praeger, 1994. Faxon, Alicia Craig. Dante Gabriel Rossetti. Oxford, UK: Phaidon, 1989. Frampton, Kenneth. Modern Architecture: A Critical History, 4th ed. London, UK: Thames & Hudson, 2007. Gerdts, William H. American Impressionism. New York, NY: Abbeville, 1994. Golding, John. Cubism: A History and an Analysis, 1907-1914. Cambridge, MA: Belknap Press, 1988. Hamilton, George Heard. Painting and Sculpture in Europe, 1880-1940. 2nd ed. Pelican History of Art. Harmondsworth,UK: Penguin, 1981 Harding, James. Artistes Pompiers. French Academic Art in the 19th Century. New York, NY: Rizzoli, 1979. Harrison, Charles and Paul Wood, eds. Art in Theory 1900-2000: An Anthology of Changing Ideas. London: Blackwell Press, 2002. Harrison, Charles, Francis Frascina, and Gill Perry. Primtivism, Cubism, Abstraction: The Early Twentieth Century. New Haven, CT: Yale University Press, 1993. Herbert, James D. Fauve Painting: The Making of Cultural Politics. New Haven. CT: Yale University Press, 1992. Homer, William Innes. Thomas Eakins: His Life and Art. New York, NY: Abbeville, 1992. Hulten, Pontus. Futurism and Futurisms. New York, NY: Abbeville, 1986. Hunter, Sam. Modern Art, 3rd ed. Upper Saddle River, NJ: Prentice Hall, 2004. Kolocotroni, Vassiliki, Jane Goodman, Olga Taxidou. Modernism: An Anthology of Sources and Documents. Chicago, IL: The University of Chicago Press, 1998. Krauss, Rosalind, Hal Foster, Yves Alain Bois, and Benjamin H.D. Buchlohe. Art Since 1900: Modernism, Anti-modernism, Postmodernism Vol. 1: 1900-1944. 2nd ed. London: Thames & Hudson, 2011. Lloyd, Jill. German Expressionism: Primitivism and Modernity. New Haven, CT: Yale University Press, 1991. McKean, John. Crystal Palace: Joseph Paxton and Charles Fox. Architecture in Detail. London, UK: Phaidon, 1994. Milner, John. Vladimir Tatlin and the Russian Avant-Garde. New Haven, CT: Yale

121 University Press, 1983. Needham, Gerald. 19th-Century Realist Art. New York, NY: Harper and Row, 1988. Nochlin, Linda. Impressionism and Post-Impressionism, 1874-1904: Sources and Documents. Englewood Cliffs, N.J: Prentice-Hall, 1966. Nochlin, Linda. Realism and Tradition in Art, 1848-1900. Sources and Documents. Englewood Cliffs, N.J: Prentice-Hall, 1966. Rewald, John. The History of Impressionism. 4th rev. ed. New York: Museum of Modern Art, 1973. Rewald, John. Post-Impressionism. From Van Gogh to Gauguin. 3rd ed. New York, NY: Museum of Modern Art. 1976. Spate, Virginia. Orphism: The Evolution of Non-Figurative Painting in Paris, 1910-1914. Oxford Studies in the History of Art and Architecture. Oxford, UK: Clarendon, 1979. Stich, Sidra. Anxious Visions: Surrealist Art. New York, NY: Abbeville, 1990. Valkenier, Elizabeth Kridl. Ilya Repin and the World of Russian Art. New York, NY: Columbia University Press, 1990. Weisberg, Gabriel P. The European Realist Tradition. Bloomington: IN: University Press, 1982. Weiss, Jeffrey S. The Popular Culture of Modern Art: Picsaso, Duchamp, and Avant-Gardism. New Haven, CT: Yale University Press, 1994. Whitford, Frank. Bauhaus. London, UK: Thames and Hudson, 1984. Wilmerding, John et al. American Light: The Luminist Movement, 1850-1875: Paintings, Drawings, Photographs. Washington, DC: National Gallery of Art, 1980. Zhadova, Larissa A. Malevich: Suprematism and Revolution in Russian Art. Trans. Alexander Lieven. London, UK: Thames and Hudson, 1982.

122 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A363 NA 3 (3+0) 6. Complete Course Title History of Contemporary Art

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

3. BA International Studies 111 Dorn Von Dommelent Initiator Name (typed): Deborah Tharp Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 11/11/11 13c. Coordination with Library Liaison Date: 11/11/11 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A262 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

123 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History of Contemporary Art C. Course Subject/Number: ART A363 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Analysis of the work and thought of major artists in painting, sculpture, architecture, performance and installation art from post-World War II to the present. Examines the relationship of visual art to social and cultural trends during this period. H. Status of course relative to degree or certificate program: Course applies to the BA in Art and the BFA in Art. H. Lab Fees: YES I. Coordination: YES J. Course Prerequisites: ART A262 and (ENGL A111 with minimum grade of C)

IV. Evaluation Evaluation procedures are at the discretion of the instructor and will be discussed at the first class meeting of the semester. Generally evaluation of the course is based on the students’ in-class presentations, mid-term, final examination and an in-depth research paper.

V. Course Level Justification 300 level course requiring prerequisites at previous level. Junior level reading, writing and research skills expected.

VI. Outline A. Post World War II Developments: 1945-1960 1. The New Generation of European Artists of the Late Forties a. The Rise of Existentialism b. New York in the 1940s c. Euro-American Interconnections 2. International Tendencies of the Fifties a. The Beat Generation: The Fifties in America 3. Progressive Departures of the Later Fifties in Europe

124

B. The 1960s: America and Europe 1. American Pop Art 1960 to 1965 2. Looking at the Nature of Materials during the Later Sixties 3. The Rise of Multicultural Voices in the Arts: Europe, America and Global Developments 4. The Transition to the Seventies

C. The 1970s: American and European Art, The Role Of Commodification: The Corporate Influence During The Seventies 1. Surviving the Corporate Culture of America in the Seventies, 2. Alternatives to Modernism: the 1970s 3. Art within the Museum: the later 1980s

D. The 1980s: American, European and Global Developments 1. Politics and Postmodernism 2. Painting and Politics: 1976-90 3. Stolen Forms: Appropriative Gestures

E. The 1990s and Beyond: Some Thoughts On The Future Of Art 1. The Issue of Doubt during the Postmodern Period 2. The Eighties Till Now 3. What Constitutes an Artist’s Identity: To Say the Things That Are One’s Own

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The Instructor Will: 1. Develop the student's analytical skills at the historical, critical, and aesthetic levels as it pertains to contemporary art. 2. Develop an understanding of the various methodologies allowing the student to discriminate and construct viable paradigms and research techniques as it applies to contemporary art.

B. Student Learning Outcomes. The student will be able to:

125

STUDENT LEARNING OUTCOMES ASSESSMENT Analyze primary and secondary research Research paper materials and use them effectively in writing a substantive research paper on contemporary art Demonstrate the requisite written and oral In-class presentations and tests skills related to course work including in-class presentations related to contemporary art Demonstrate a body of concepts and ideas that Tests will effectively embody contemporary art course material

VIII. Suggested Texts

Fineberg, Jonathan. Art Since 1940. Strategies of Being. 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 2010. Krauss, Rosalind, Hal Foster, Yves Alain Bois, Benjamin H.D. Buchlah, and David Joslit. Art Since 1900: 1945 to the Present, Vol. 2. London: Thames & Hudson, 2011. Taylor, Brandon. Avant-Garde and After. Rethinking Art Now. New York, NY: Harry N. Abrams, Inc. 2003.

IX. Bibliography and Resources

Andersen, Wayne. American Sculpture in Process, 1930-1970. Boston, MA: : New York Graphic Society, 1975. Anfam, David. Abstract Expressionism. New York, NY: Thames and Hudson, 1990. Ashton, Dore. American Art Since 1945. New York, NY: Oxford University Press, 1982. Ashton, Dore. The New York School: A Cultural Reckoning. Harmondsworth, UK: Penguin, 1979. Baker, Kenneth. Minimalism: Art of Circumstance. New Significance. New York, NY: Icon Editions, 1992. Barrett, Terry. Why Is That Art?: Aesthetics and Criticism of Contemporary Art. New York, NY: Oxford University Press, 2007. Battcock, Gregory, and Robert Nickas. The Art of Performance: A Critical Anthology. New York, NY: Dutton, 1973. Beardsley, John. Earthworks and Beyond: Contemporary Art in the Landscape. New York, NY: Abbeville, 1984. Bolton, Richard, ed. Culture Wars: Documents from the Recent Controversies in the Arts. New York, NY: New, 1992. Broude, Norma, and Marry D. Garrard. The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York, NY: Abrams, 1994. Castleman, Riva, ed. Art of the Forties. New York, NY: Museum of Modern Art, 1994.

126 Cernuschi, Claude. Jackson Pollock: Meaning and Significance. New York, NY: Icon Editions, 1992 Chase, Linda. Hyperrealism. New York, NY: Rizzoli, 1975. Collins, Michael, and Andreas Papadakis. Post-Modern Design. New York, NY: Thames and Hudson, 1993. Deutsche, Rosalyn, et al. Hans Haacke, Unfinished Business. Cambridge. MA: MIT Press, 1986. Dormer, Peter. Design since 1945. New York: Thames and Hudson, 1993. Edwards, Steve and Wood, Paul, eds. Art of the Avant-Garde. New Haven, CT and London, UK: Yale University Press, 2004. Felshin, Nina, ed. But is it Art? The Spirit of Art as Activism. Seattle: Bay Press, 1995. Ferguson, Russell, ed. Discourses: Conversations in Postmodern Art and Culture: Documentary Sources in Contemporary Art. Cambridge, MA: MIT Press, 1990. Freeland, Cynthia. But Is It Art?: An Introduction to Art Theory. New York, NY: Oxford University Press, 2002. Gaiger, J., ed. Frameworks for Modern Art, New Haven, CT and London, UK: Yale University Press in association with The Open University, 2003. Goldberg, Rose Lee. Performance Art: From Futurism to the Present. Rev. ed. New York, NY: Abrams, 1988. Grundberg, Andy. Photography and Art: Interactions since 1945. New York, NY: Abbeville, 1987. Harrison, C. and Wood, P., eds. Art in Theory 1900-2000: An Anthology of Changing Ideas, Malden, MA and Oxford, UK: Blackwell, 2003. Heartney, Eleanor. Art & Today. London, UK: Phaidon Press, Inc., 2008. Henri, Adrian. Total Art: Environments, Happenings, and Performance. New York, NY: Oxford University Press, 1974. Hobbs, Robert Carleton, and Gail Levin. Abstract Expressionism: The Formative Years. Ithaca, NY: Cornell University Press, 1981. Hoffman, Katherine. Explorations: The Visual Arts Since 1945. New York, NY: Harper Collins, 1991. Horowitz, Noah. Art of the Deal: Contemporary Art in a Global Financial Market. Princeton, NJ: Princeton University Press, 2011. Jencks, Charles. Post-Modernism: The New Classicism in Art and Architecture. New York, NY: Rizzoli, 1987. Jencks, Charles. The Moderns from Late to Neo-Modernism. New York, NY: Rizzoli, 1990. Jencks, Charles. What is Post-Modernism? 3rd rev. ed. London, UK: Academy of Arts 1981. Kaprow, Allan. Assemblage, Environments & Happenings. New York, NY: Abrams, 1965. Kingsley, April. The Turning Point: The Abstract Expressionists and the Transformation of American Art. New York, NY: Simon & Schuster, 1992. Krauss, Rosalind, Hal Foster, Yves Alain Bois, Benjamin H.D. Buchlah, and David Joslit. Art Since 1900: 1945 to the Present, Vol. 2. London: Thames & Hudson,

127 2011. Kuspit, Donald B. Clement Greenberg, Art Critic. An Art Chronicle of 1956-1972. New York, NY: Farrar, Straus & Giroux, 1973. Livingstone, Marco. Pop Art: A Continuing History. New York, NY: Abrams, 1990. Lucie-Smith, Edward. Art in the Eighties. Oxford, UK: Phaidon, 1990. Lucie-Smith, Edward. Movements in Art since 1945. Rev. ed. London, UK: Thames and Hudson, 1984. Manhart, Marcia, and Tom Manhart, eds. The Eloquent Object: The Evolution of American Art in Craft Media since 1945. Tulsa, TX: Philbrook Museum of Art 1987. Morgan, Robert C. Conceptual Art: An American Perspective. Jefferson, NC: McFarland, 1994. Potts, A., The Sculptural Imagination. Figurative, Modernist, Minimalist. New Haven, CT and London, UK: Yale University Press, 2000. Risatti, Howard, ed. Postmodern Perspectives: Issues in Contemporary Art. Englewood Cliffs, N.J.: Prentice-Hall, 1990. Rosen, Randy, and Catherine C. Brawer, comps. Making Their Mark: Women Artists Move into the Mainstream, 1970-85. New York, NY: Abbeville, 1989. Sandler, Irving. American Art of the 1960’s. New York, NY: Harper and Row, 1988. Sayre, Henry M. The Object of Performance The American Avant-Garde since 1970. Chicago, IL: University of Chicago Press, 1989. Taylor, Paul, ed. Post-Pop Art. Cambridge, MA: MIT Press, 1989. Waldman, Diane. Collage, Assemblage, and the Found Object. New York, NY: Abrams, 1992. Waldman, Diane. Transformations in Sculpture: Four Decades of American and European Art. New York, NY: Solomon R. Guggenheim Foundation, 1985. Wallis, Brian. ed. Art After Modernism: Rethinking Representation. Documentary Sources in Contemporary Art. New York, NY: New Museum of Contemporary Art, 1984. Weintraub, Linda. In the Making, ed. New York, NY: Distributed Art Publishers, Inc., 2003. Wheeler, Daniel. Art since Mid-Century: 1945 to the Present. Englewood Cliffs, N.J.: Prentice-Hall, 1991. Word as Image: American Art, 1960-1990. Milwaukee, WI: Milwaukee Art Museum, 1990.

128 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A364 NA 3 (3+0) 6. Complete Course Title Italian Renaissance Art

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A262 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations and course description.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

129 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Italian Renaissance Art C. Course Subject/Number: ART A364 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Renaissance Art from the early Florentine period through the High Renaissance and Mannerism. H. Status of course relative to degree or certificate program: Course applies to the BA in Art and BFA in Art Degrees I. Lab Fees: YES J. Coordination: None required K. Course Prerequisites: ART A262 and (ENGL A111 with minimum grade of C)

IV. Evaluation Evaluation procedures are at the discretion of the instructor and will be discussed at the first class meeting of the semester. Generally evaluation of the course is based on the students in-class presentations, mid-term, final examination and an in-depth research paper.

V. Course Level Justification 300 level course requiring prerequisites at previous level.

VI. Outline A. THE LATE MIDDLE AGES 1. Italy and Italian Art /Introductory Comments I: Architectural Geographical Connections: Florence, Siena, Venice 2. Italy and Italian Art/Introductory Comments II: Andrea Pisano, Fra Angelico, Andrea Castagno 3. Dugento Art in Tuscany and Rome I: Sicilian, Greek and Early Italian Painting from the 1200s: School of Pisa , Berlinghiero and Bonaventura Berlinghieri, School of Florence, Coppo Di Marcovaldo, Guido da Siena 4. Dugento Art in Tuscany and Rome II: Cimabue, Pietro Cavallini, Nicolo Pisano, Giovanni Pisano

130 5. Dugento Art in Tuscany and Rome III: Santa Maria Novella, Santa Croce, Palazzo Vecchio 6. Early Trecento Art in Florence: Giotto, Master of the St. Francis Cycle, Maso di Banco, Bernaro Daddi, Taddeo Gaddi, Andrea Pisano, Master of St. Cecis of the Trecento 7. Early Trecento Art in Siena: Duccio, Simone Martini, Pietro Lorenzetti, Ambrogio Lorenzetti a. The Narrative Structures of Giotto and Duccio: by other storytellers “of the Trecento” 8. Later Gothic Art in Tuscany: Nardo Di Cione, Giovanni da Milano, Andrea Orcagna, Andrea Da Firenze, Barna da Siena, Francesco Traini, Agnolo Gaddi, Andrea Orcagna, Lorenzo Monaco

B. QUATTROCENTO ART 1. From Pisano to Titian 2. The Origins of Renaissance Architecture: Filippo Brunelleschi Michelozzo Di Bartolommeo 3. Gothic and Renaissance in Tuscan Sculpture: Filippo Brunelleschi, Lorenzo Ghiberti, Donatello, Nanni Di Banco, Jacopo Della Quercia 4. Gothic and Renaissance in Florentine Painting: Gentile Da Fabriano, Masaccio, Masolino, Fra Filippo Lippi, Fra Angelico 5. The Second Renaissance Style in Architecture and Sculpture: Leonbattista Alberti, Lorenzo Ghiberti, Luca Della Robbia, Donatello, Michelozzo 6. Painters of the Second Renaissance Style: Paolo Uccello, Domenico Veneziano, Andrea Del Castagno, Piero Della Francesca, Benozzo Gozzoli, Alesso Baldovinetti 7. Crisis and Cross-Currents: Donatello, Desiderio Da Settignano Antonio Rossellino, Benedetto Da Maiano, Giulio Da Sangallo, Benozzo Gozzoli, Alesso Baldovinetti 8. Science, Poand Prose: Antonio Del Pollaiuolo, Andrea Del Verrocchio, Sandro Botticelli, Filippino Lippi, Domenicho Del Ghirlandaio 9. The Renaissance in Central Italy: Sassetta, Giovanni Di Paolo, Domenico Di Bartolo, Matteo Di Giovanni, Francesco Di Giorgio, Perugino, Pintoricchio, Melozzo Da Forli, Benedetto Bonfigli, Francesco Laurana 10. Byzantine, Gothic and Renaissance in Venice and North Italy I: Paolo Veneziano, Jacopo Avanzo, Altichiero, Antonio Pisanello, Jacobello Del Fiore, Antonio Vivarini/Giovani D’Alemagna 11. Byzantine, Gothic and Renaissance in Venice and North Italy II: Jacopo Bellini, Andrea Mantegna, Antonello Da Messina, Giovanni Bellini, Vittore Carpaccio, Carlo Crivelli, Cosimo Tura, Francesco Del Cossa, Ercole De’ Roberti

C. CINQUECENTO ART 1. The High Renaissance in Florence I: Leonardo Da Vinci & Michelangelo 2. The High Renaissance in Florence II: Michelangelo

131 3. The High Renaissance in Florence III: Continuation of Michelangelo & Raphael 4. The High Renaissance in Florence III: Continuation of Michelangelo & Raphael 5. The High Renaissance in Florence IV: Fra Bartolommeo, Luca Signorelli, Piero Di Cosimo 6. The High Renaissance in Rome: Donato Bramante, Michelangelo and the Sistine Chapel, Raphael, Baldassare Peruzzi, Sebastiano Del Piombo, Sodoma, Sebastiano DelPiombo 7. High Renaissance and Mannerism: Michelangelo, Andrea Del Sarto, Pontormo, Rosso Fiorentino, Domenicho Beccafumi, Correggio, Parmigianino, Antonio Da Sangallo, Baldassare Peruzzi, Giulio Romano 8. High and Late Renaissance in Venice and the Mainland: Giorgione, Titian, Lorenzo Lotto, Dosso Dossi, Girolamo Savoldo, Tintoretto, Veronese, Jacopo Sansovino, Palladio 9. Michelangelo and the Maniera: Michelangelo, Antonio Da Sangallo the Younger, Benevenuto Cellini, Bartolommeo Ammanati, Giovanni Bologna, Agnolo Bronzino, Francesco Salviati, Giorgio Vasari, Allesandro Allori

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The Instructor Will: 1. Develop the student’s analytical skills at the historical, critical, and aesthetic levels as it pertains to the Italian Renaissance 2. Develop an understanding of the various methodologies allowing the student to develop and construct viable paradigms and research techniques applied to the Italian Renaissance

B. Student Learning Outcomes. The student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Analyze primary and secondary research Research paper materials and use them effectively in writing a substantive research paper on the Italian Renaissance Demonstrate the requisite written and oral In-class presentations and tests skills related to course work on the Italian Renaissance Demonstrate a body of concepts and ideas that Tests effectively embody Italian Renaissance course material

132 VIII. Suggested Texts

Adams, Laurie Schneider. Italian Renaissance Art. New York, NY: Westview Press, 2001. Baxandall, Michael. Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style. Oxford, UK: Oxford University Press, 1988. Baxandall, Michael. Patterns of Intention: On the Historical Explanation of Pictures. New Haven, CT: Yale University Press, 1985. Blunt, Sir Anthony. Artistic Theory in Italy 1450-1600. Oxford, UK: At the Clarendon Press, 1966 or later edition. Campbell. Stephen J.and Michael W. Cole. Italian Renaissance Art. London, UK: Thames & Hudson, 2011. Paoletti, John T. Art in Renaissance Italy. Upper Saddle River, NJ: Prentice Hall, 2011.

IX. Bibliography and Resources

Adams, Laurie Schneider. Italian Renaissance Art. New York, NY: Westview Press, 2001. Adams, Laurie Schneider. Methodologies of Art: An Introduction. New York, NY: HarperCollins, 1996. Alpers, Svetlana, and Michael Baxandall. Tiepolo and the Pictorial Intelligence. New Haven: Yale University Press, 1994. Baxandall, Michael. Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style. Oxford, UK: Oxford University Press, 1988. Baxandall, Michael. Patterns of Intention: On the Historical Explanation of Pictures. New Haven, CT: Yale University Press, 1985. Blunt, Sir Anthony. Artistic Theory in Italy 1450-1600. Oxford, UK: At the Clarendon Press, 1966 or later edition. Bradshaw, Marilyn. Italian Renaissance Art: A Source Book. Upper Saddle River, NJ: Prentice Hall, 2008. Campbell. Stephen J.and Michael W. Cole. Italian Renaissance Art. London, UK: Thames & Hudson, 2011. Cole, Bruce. The Renaissance Artist at Work: From Pisano to Titian. New York, NY: Harper and Row, Publishers, 1983. Debus, Allen G. Man and Nature in the Renaissance. Cambridge, MA: Cambridge University Press, 1978. Freedberg, Sidney. Painting in Italy, 1500-1600 (Pelican History of Art). New Haven, CT: Yale University Press. 1993. Gundersheimer, Werner L. ed. The Italian Renaissance. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1965 or later. Hauser, Arnold. Mannerism: The Crisis of the Renaissance and the Origin of Modern Art. Cambridge, MA: Belknap Press, 1986.

133 Holt, Elizabeth, ed., Literary Sources of Art History or A Documentary History of Art. Princeton, NJ: Princeton University Press, 1947 or later edition. Kemp, Martin, ed. Leonardo on Painting. Trans. Martin Kemp and Margaret Walker. New Haven, CT: Yale University Press, 1989. Klein, Robert and Zerner, Henri. Italian Art 1500-1600, Sources and Documents in the History of Art. Englewood Cliffs, NJ: Prentice-Hall, Inc. 1966. Munshower, Susan (ed). An Architectural Progress in the Renaissance and Baroque Sojourns in and Out of Italy. (Papers in Art History from the Pennsylvania State Univ, Vol 8). University Park, PA: Pennsylvania State University Press, 1992. Nagel, Alexander. The Controversy of Renaissance Art. Chicago, IL: University of Chicago Press, 2011. Paoletti, John T. Art in Renaissance Italy. Upper Saddle River, NJ: Prentice Hall, 2011. Shearman, John K. G. Mannerism. Baltimore, MD: Penguin, 1967. Stubblebine, James H., ed. Giotto: The Arena Chapel Frescoes. New York, NY: Norton, 1969. ______. Assisi and the Rise of Vernacular Art. New York, NY: Harper & Row, 1988 Toman, Rolf. The Art of Italian Renaissance: Architecture, Sculpture, Painting, Drawing. Potsdam, GER: hf Ulmann, 2011. Turner, Jane Shoaf. Encyclopedia of Italian Renaissance and Mannerist Art (Grove Encyclopedia of European Art). New York, NY: Oxford University Press, 2002. Turner, A. Richard. Renaissance Florence: The Invention of a New Art. New York, NY: Harry N. Abrams, 1997. Vasari, Giorgio. The Lives of the Artists. Trans. Julia Conway Bondanella and Peter Bondanella. New York, NY: Oxford University Press, 2008. Welch, Evelyn S. Art and Society in Italy 1350-1500. New York, NY: Oxford University Press, 2001. White, John. The Birth and Rebirth of Pictorial Space, 2nd ed. Boston, MA: Boston Book and Art Shop, 1967. Wickham, Archdale, K. The Italian Renaissance, An Anthology. New York: Oxford University Press, 1934 or later. Wilkins, David G. and Frederick Hartt. History of Italian Renaissance Art. Upper Saddle River, NJ: Prentice Hall, 2010.

134 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A366 NA 3 (3+0) 6. Complete Course Title Asian Art

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A262 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations and course description.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

135 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Asian Art C. Course Subject/Number: ART A366 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Visual arts of Asian culture, prehistoric to the present. H. Status of course relative to degree or certificate program: Course applies to the BA in Art and BFA in Art Degrees I. Lab Fees: YES J. Coordination: None required K. Course Prerequisites: ART A262 and (ENGL A111 with minimum grade of C)

IV. Evaluation Evaluation procedures are at the discretion of the instructor and will be discussed at the first class meeting of the semester. Generally students will be evaluated on in-class presentations, mid-term and final exams and an in-depth research paper.

V. Course Level Justification 300 level course requiring prerequisites at previous level.

VI. Outline A EARLY CULTURAL DEVELOPMENTS AND ART: THE STONE AGE, THE BRONZE AGE, AND THE EARLY IRON AGE 1. Urban Civilization and the Indus Valley; Neolithic and Pre-Shang China; Ban Chieng Culture 2. Chinese Art from the Shang through the Middle Zhou Period 3. The Late Zhou Period 4. The Growth and Expansion of Early Chinese Culture through the Han Dynasty; Korea and Japan B. THE INTERNATIONAL INFLUENCE OF BUDDHIST ART 1. Early Art in India 2. The International Gupta Style I 3. The International Gupta Style II a Style II 4. The Expansion of Buddhist Art to East Asia I 5. The Expansion of Buddhist Art to East Asia II

136 C. THE RISE OF NATIONAL INDIAN AND INDONESIAN STYLES 1. Early Hindu Art in India 2. Early Medieval Hindu Art in South and Central India I 3. Early Medieval Hindu Art in South and Central India II 4. Later Medieval Hindu Art I 5. Later Medieval Hindu Art II D. CHINESE, KOREAN, AND JAPANESE NATIONAL STYLES AND THEIR INTERCONNECTIONS 1. The Rise of the Arts of Painting and Ceramics in China 2. The Beginnings of Developed Japanese Art Styles I 3. The Beginnings of Developed Japanese Art Styles II 4. Chinese Art of the Song Dynasty and Korean Ceramics of Koryo I 5. Chinese Art of the Song Dynasty and Korean Ceramics of Koryo II 6. Japanese Art of the Kamakura Period I 7. Japanese Art of the Kamakura Period II 8. Japanese Art of the Muromachi Period I 9. Japanese Art of the Muromachi Period II 10. Later Chinese Art: The Yuan, Ming, and Qing Dynasties I 11. Later Chinese Art: The Yuan, Ming, and Qing Dynasties II. 12. Later Japanese Art: the Momoyama and Edo Periods E. ASIAN DEVELOPMENTS DURING THE 19TH CENTURY 1. India 2. China 3. Japan 4. Southeast Asia F. ASIAN DEVELOPMENTS DURING THE 20TH CENTURY: THE MODERN PEROID 1. India: The Modern Period 2. China: The Modern Period 3. Japan: The Modern Period 4. Speculations on Southeast Asia during the Modern Period G. BETWEEN THE WARS: 1920-1945 1. India 2. China 3. Japan 4. Southeast Asia 5. Asian Diaspora and Cultural Identity H. POST-1945 DEVELOPMENTS: 1945-1970 1. India 2. China 3. Japan 4. Southeast Asia 5. Asian Diaspora and Cultural Identity

I: POSTMODERN CONSIDERATIONS

137 1. India 2. China 3. Japan 4. Southeast Asia 5. Asian Diaspora and Cultural Identity

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The Instructor Will: 1. Develop the student's analytical skills at the historical, critical and aesthetic level that pertains to Asian art. 2. Develop an understanding of the various methodologies allowing the student to discriminate and construct viable paradigms and research techniques as it applies to Asian art.

B. Student Learning Outcomes. Student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Analyze primary and secondary research materials and use Research paper them effectively in writing a substantive research paper on Asian art Demonstrate the requisite written and oral skills of the In-class presentations and exams students related to Asian art course work Demonstrate a body of concepts and ideas that will Tests effectively embody Asian art course material

VIII. Suggested Text

Lee, Sherman E. A History of Far Eastern Art . 5th ed. New York, NY: Prentice Hall, Inc. and Harry N. Abrams, Inc., 2003.

IX. Bibliography and Resources

Akiyama, Tenukazu. Japanese Painting. Treasures of Asia. Geneva, SW: Skira, 1961. Arts of China. 3 vols. Tokyo, JP: Kodansha International, 1968-70. Andrews, Julia Frances. Painters and Politics in the People’s Republic of China, 1949-1979. Berkeley,CA: University of California Press, 1994. Barnhart, Richard, Yang Xin, Nie Chongzheng, James Cahill, Lang Shaojun, Hung Wu. Three Thousand Years of Chinese Painting. New Haven, CT: Yale University Press, 2002. Chang, Leon Long-Yien, and Peter Miller. Four Thousand Years of Chinese Calligraphy. Chicago, IL: University of Chicago Press, 1990. Chung-yuan, Chang. Creativity and Taosim: A Study of Chinese Philosophy, Art and Poetry. New York, NY: Harper Colophon Books, 1963. Clunas, Craig. Art in China. New York, NY: Oxford University Press, 2009.

138

Craven, Roy C. Indian Art: A Concise History. World of Art. New York, NY: Thames and Hudson, 1985. ______. Indian Art. London, UK: Thames & Hudson, 1997. Dehijia, Vidya. Indian Art. London, UK: Phaidon Press, 1997. Fisher, Robert E. Buddhist Art and Architecture. World of Art. New York, NY: Thames and Hudson, 1993. Harle, James C. Art and Architecture of the Indian Subcontinent. Pelican History of Art. Harmondsworth, UK.: Penguin, 1987. Hearn, Maxwell K. How to Read Chinese Paintings. New York, NY: Metropolitan Museum of Art, 2008. Kawakita, Michiaki. Modern Currents in Japanese Art. Trans. and adapted by Charles S. Terry. Heibonsha Survey of Japanese Art, vol. 24. New York, NY: Weatherhill, 1974. Kerioque, Fiona. Arts of Southeast Asia. London, UK: Thames & Hudson, 2004. Lee, Sherman E. A History of Far Eastern Art, 5th ed. New York, NY: Prentice Hall, Inc. and Harry N. Abrams, Inc., 2003. Lim, Lucy. Contemporary Chinese Painting: An Exhibition of from the People’s Republic of China. San Francisco, CA: Chinese Culture Foundation, San Francisco, 1983. Martynov, Anatoli Ivanovich. Ancient Art of Northern Asia. Urbana, IL: University of Illinois Press, 1991. Mason, Penelope E. History of Japanese Art. Upper Saddle River, NJ: Prentice Hall, 2004. Mitter, Partha. Indian Art. New York, NY: Oxford University Press, 2001. Nakata, Yujiro. Art of Japanese Calligraphy. Trans. Alan Woodhull. Heibonsha Survey of Japanese Art, vol. 27. New York, NY: Weatherhill, 1973. Paine, Robert Treat. The Art and Architecture of Japan. New Haven , CT: Yale University Press, 1992. Rowland, Benjamin. Art and Architecture of India, Buddhist, Hindu, Jain. Pelican History of Art. Harmondsworth, UK: Penguin, 1977. Seckel, Dietrich. Art of Buddhism. Art of the World. New York, NY: Crown, 1964. Sickman, Lawrence and Alexander Soper. Art and Architecture of China. Pelican History of Art. Harmondsworth, UK: Penguin, 1971. Speiser, Werner. The Art of China: Spirit and Society. Art of the World. New York, NY: Crown, 1961. Stanley-Baker, Joan. Japanese Art. London, UK: Thames & Hudson, 2000 Stutley, Margaret. Harper’s Dictionary of Hinduism: Its Mythology, Folklore, Philosophy, Literature and History. New York, NY: Harper and Row, 1977. Sullivan, Michael. The Arts of China, 5th ed. Berkeley, CA: University of California Press, 2009. Treager, Mary. Chinese Art. London, UK: Thames & Hudson, 1997. Varley, H. Paul. Japanese Culture. 3rd ed. Honolulu: University of Hawaii Press, 1984. Watanabe, Masako. Storytelling in Japanese Art. New York, NY: Metropolitan Museum of Art, 2011. Welch, Stuart Cary. India: Art and Culture 1300-1900. New York, NY: Metropolitan

139 Museum of Art, 1985. Yonezawa, Yoshiho, and Chu Yoshizawa. Japanese Painting in the Literati Style. Trans. and adapted by Betty Iverson Monroe. Heibonsha Survey of Japanese Art, vol. 23. New York, NY: Weatherhill, 1974 Yoshikawa, Itsuji. Major Themes in Japanese Art, vol. 1. New York, NY: Weatherhill, 1976.

140 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A367 NA 3 (3+0) 6. Complete Course Title History of Photography

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

3. AAS Digital Photography (KPC) 97 Jayne Jones, Celia Anderson Initiator Name (typed): Deborah Tharp Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 11/11/11 13c. Coordination with Library Liaison Date: 11/11/11 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A262 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

141 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: History of Photography C. Course Number: ART A367 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A - F G. Course Description: Investigates the history of photography; its origins, chronology, culture context, and the significant contributions of individual photographers. H. Status of course relative to a degree or certificate program: Applies to BA and BFA in Art degrees. I. Lab Fee: Yes J. Coordination: None required K. Course Prerequisite: ART A262 and (ENGL A111with minimum grade of C)

III. Course Activities Lectures to include slides, films, videos, and actual early historical examples of books, cameras and photographs. Gallery and museum photographic shows and visiting lecturers. Class discussions and presentations.

A. Criteria for Grading 1.0 To receive a grade of A: 1.1 Scholarship/Research: Strong, exceeding all instructor requirements 1.2 Initiative: Contributions exceed expectations for the class 1.3 Attitude: Excellent interactive skills in the classroom 1.4 Cooperation: Excels in contributions to group activities 1.5 Demonstrates mastery and knowledge of the History of Photography 2.0 To receive a grade of B: 2.1 Scholarship/Research: Meets all instructor requirements 2.2 Initiative: Contributions are above average for the class 2.3 Attitude: Above average interactive skills in the classroom 2.4 Cooperation: Above average contributions in group activities 2.5 Demonstrates mastery and knowledge of the History of Photography 3.0 To receive a grade of C:

142 3.1 Scholarship/Research: Does required assignments 3.2 Initiative: Contributions are average for the class 3.3 Attitude: Average interactive skills in the classroom 3.4 Cooperation: Average contributions to group activities 3.5 Demonstrates mastery and knowledge of the History of Photography 4.0 To receive a grade of D: 4.1 Scholarship/Research: Below average assignments 4.2 Initiative: Contributions are below average for the class 4.3 Attitude: Below interactive skills in the classroom 4.4 Cooperation: Below average contributions to group activities 4.5 Demonstrates mastery and knowledge of the History of Photography 5.0 To receive a grade of F: 5.1 Majority of work unacceptable or missing

V. Course Level Justification History of Photography is an upper division Art History course that teaches the evolution of photography from its invention to present day artistic contemporary photographic works and artists. The course surveys style, approach, content and form of the major trends in Europe and America.

VI. Outline 1.0 Historical, Technological and Cultural Perspectives 1.1 Antecedents to and the invention of photography from its earliest inception to digital photographic processes 1.2 Contemporary applications and issues relevant to traditional and digital photography 2.0 Photographic Analysis 2.1 Critical assessments pertaining to social, political, and economic photographic applications 2.2 Photographic impact on the visual arts from the nineteenth to the twenty-first centuries 3.0 Critical Issues pertinent to Photographers and Fine Artists 3.1 Early photographers during the nineteenth and twentieth century 3.2 Photography as fine art 3.3 Post World War II traditional and digital photographers

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals: Instructor Will: 1. Provide foundation for understanding photography's development as an art form. 2. Introduce the student to appropriate resource materials 3. Develop an understanding of Photography's impact on the world as an invention and as an expressive art discipline. 4. Establish a basis for a fundamental analytical evaluation of historical and contemporary photography.

143 B. Student Learning Outcomes: Student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Evaluate developments in the world that led to the Test, papers, and in-class presentations. invention of photography Demonstrate how photography changed our view of Test, papers, and in-class presentations. the world Evaluate the impact of photography on society and Test, papers, and in-class presentations. the visual arts

Demonstrate the use of contemporary applications to Test, papers, and in-class presentations. photography as an art form in a global context

Demonstrate how photography continues to be a Test, papers, and in-class presentations. powerful form of communication

VIII. Suggested Text

Rosenblum, Naomi. A World History of Photography. New York, NY: Abbeville Press, 2008.

IX. Bibliography and Resources

Barrett, Terry. Criticizing Photographs. New York, NY: McGraw-Hill, 2005. Barthes, Roland. Camera Lucida: Reflections on Photography. New York, NY: Hill and Wang, 2010. Cotton. Charlotte. The Photograph as Contemporary Art. London, UK: Thames & Hudson, 2009. Davenport, Alma. The History of Photography. Albuquerque: The University of New Mexico Press, 1997. Greenough, Sarah. On the Art of Fixing a Shadow: One Hundred & Fifty Years of Photography. National Gallery of Art/The Art Institute of Chicago. New York, NY: Bulfinch Press, Little Brown, 1989. Marien, Mary Warren. Photography Newhall, Beaumont. The History of Photography. New York: Museum of Modern Art, 1982. Rosenblum, Naomi. A History of Women Photographers. New York: Abbeville Press, 2000. Sontag, Susan. On Photography. New York, NY: Picador 2001. Trachtenberg, Alan. Critical Essays on Photography. Leete’s Island Books, 1981.

144 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A392 NA 1-3 (1-3+0) 6. Complete Course Title Selected Topics in Art Education Selected Topics in Art Ed Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status Yes # of Repeats 3 Max Credits 12

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA, Art Courtesy Coordination 11/11/11 Mariano Gonzales 2. BFA, Art Courtesy Coordination 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ENGL A111 with minimum grade of C NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Instructor Permission Prerequisites will vary depending upon topic College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations and course description.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

145 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Selected Topics in Art Education C. Course Subject/Number: ART A392 D. Credit Hours: 1.0 - 3.0 Credits E. Contact Time: 1-3+0 Contact Time F. Grading Information: A-F G. Course Description: Topics in selected areas of Art Education. Special Note: May be repeated for credit in different topics for a maximum of 12 credits H. Status of course relative to degree or certificate program: Applies to the BA in Art and BFA in Art Degrees I. Lab Fees: YES J. Coordination: None Required K. Course Prerequisites: As noted on specific course and ENGL A111 with minimum grade of C L. Registration Restriction: Instructor Permission Prerequisites will vary depending upon topic

III. Course Activities Lecture/discussion course. Writing, readings, research and technological applications as required.

IV. Evaluation Evaluation procedures are at the discretion of the instructor and will be discussed at the first class meeting of the semester. Students will be evaluated on class projects, homework assignments, sketchbook/journal/written work, technical and critical thinking skills, progress throughout semester, attendance and participation. Project evaluation will generally include content, problem solving, craftsmanship, creativity/ingenuity, and amount of effort, and ability to use technological applications. It is understood that progress will vary with individual students and is dependent upon entry-level skills, expertise, creativity, and/or amount of time devoted to each project.

146 1.5 Individual Improvement: Demonstrates mastery of advanced

2.0 To receive a grade of B: 2.1 Scholarship/Research: Meets all instructor requirements 2.2 Initiative: Contributions are above average for the class 2.3 Attitude: Above average interactive skills in the classroom 2.4 Cooperation: Above average contributions in group activities 2.5 Individual Improvement: Above average demonstration of 3.0 To receive a grade of C: 3.1 Scholarship/Research: Does required assignments 3.2 Initiative: Contributions are average for the class 3.3 Attitude: Average interactive skills in the classroom 3.4 Cooperation: Average contributions to group activities 3.5 Individual Improvement: Average demonstration of 4.0 To receive a grade of D: 4.1 Scholarship/Research: Below average assignments 4.2 Initiative: Contributions are below average for the class 4.3 Attitude: Below interactive skills in the classroom 4.4 Cooperation: Below average contributions to group activities 4.5 Individual Improvement: Below average demonstration of 5.0 To receive a grade of F: 5.1 Majority of work unacceptable or missing

V. Course Level Justification Expectations of previous studio work and background in art history fundamentals. Ability to utilize critical thinking skills.

VI. Outline (sample outline) An outline from an Art Education special topic offering is attached

TOPIC SUGGESTIONS Foundations in Art and Museum Education History and Philosophy of Art Education Arts Experience: Social, Cultural, and Educational Perspectives Art Education and Technology Curriculum Planning and Interpretation of Art Diversity and Visualization in Art Education

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The Instructor Will: 1. Introduce the student to the roles of technology in the classroom and art museums and its future development 2. Discuss critically, in written and verbal form, current issues and applications of technology in the classroom and art museums

3. Demonstrate the critical ideas and issues pertaining to the current developments in

147 digital communication and interactive learning in the classroom and art museums 4. Introduce various learning styles through instructional technology in the classroom and art museum settings 5. Develop criteria for research, planning and developing projects in their major areas of study pertinent to classroom pedagogy and art museum instruction 6. Demonstrate the applications of collaborative learning related to team based settings and problem solving context in the classroom and museums

B. Student Learning Outcomes. Student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Evaluate the role of technology in classroom and art Tests and papers museum settings and its potential for the future Discuss critically current issues and applications of In-class discussions and papers instructional technology in the classroom and art museum settings relevant to art education Evaluate basic technological requirements surrounding Technical reports rapidly evolving changes in interactive learning pertinent to the classroom and art museums Demonstrate different learning styles through the use of Projects instructional technology as it pertains to the classrooms and art museums Demonstrate a broader knowledge of various technological Projects applications in the classroom and art museums contexts Work collaboratively with others in team based learning and Group projects problem-solving in the classrooms and art museums

VIII. Suggested Text

Dewey, J. Experience and Education. Free Press; Reprint edition. 1997. Eisner, E. The Arts and the Creation of Mind. New Haven: Yale University Press, 2002. Kauppinen, Heta and Read Diket, (Eds). Trends in Art Education from Diverse Cultures. VA: National Art Education Association, 1995.

IX. Bibliography and Resources

Alexander, Janet E. and Tate, Marsha Ann T. Web Wisdom: How to Evaluate and Create Information Quality on the Web. Mahwah, New Jersey: Lawrence Erlbaum Associates Publishers, 1999. Besser, Howard and Trant, Jennifer. Introduction to Imaging: Issues in Constructing and Image Database. The Getty Art History Information Program, 1995. http://www.getty.edu/research/institute/standards/introimages/

148 Collections, Content and the Web. Council on Library and Information Resources, 2000. http://www.clir.org/pubs/abstract/pub88abst.html Dewey, J. Art as Experience. NY: Perigee Books, 1934 or most recent addition. Dinucce, Darcy, Guidice, Maria, and Stiles, Lynne. Elements of Web Design: The Designer's Guide to a New Medium. Peachpit Press, 1998. Eisner, E. The Arts and the Creation of Mind. New Haven: Yale University Press, 2002. Orna, Elizabeth and Pettitt, Charles. Information Management in Museums. Burlington, VT: Ashgate Publishers, 1998. Rosenfeld, Louis and Morville, Peter. Information Architecture for the World Wide Web. Sebastopol, CA: O'Reilly & Associates, Inc., 1998. The Virtual and the Real: Media in the Museum edited by Mintz, Ann and Thomas, Slema. Washington DC: American Association Museums, 2000. The Wired Museum: Emerging Technology and Changing Paradigms edited by Jones- Garmil, Katherine. Washington, DC: AAM, 1997. Weinman, Lynda. Designing Web Graphics. New Riders Publishing, 1999. Weinman, Lynda and Green, Garo. Dreamweaver 4: Hands-on Training (with CD- ROM). Peachpit Press, July 2000. Weinman, Lynda, Green, Garo, Norsworthy, Cary. Photoshop 6.0 and Image Ready 3.0: Hands-On Training (with CD-ROM.) Peachpit Press, 2000. Young, B. (Ed). Art Culture and Ethnicity. VA: NAEA, 1990.

149

Arts Experience: Social, Cultural, and Educational Perspectives Wednesdays, 1:00 -2:45 p.m. ARTS 311

Contact Information

Herminia Din, Ph.D. Assistant Professor of Art Education Office: Department of Art, Room 308 Phone: 907-786-1785 Email: [email protected] Office Hours: Wednesday 3-5 and Thursday 10-12 * I am also available by appointment or via e-mail for consultation or assistance with projects or any other aspect of the course work.

Course Description and Instructional Goals

Examine the shared human experience of making and responding to visual images and artifacts from different cultures and perspectives. Develop an understanding of the role of art experiences in their own lives and the lives of other. Discuss how understanding and appreciation of particular images and objects evolves, and how experience and learning interacts with fundamental processes of perception, and interpretation.

Student Goals and Outcomes

At the end of the course, the student will be able to

Understand and appreciate particular images and objects within specific cultures and subcultures • Understand fundamental processes of perception, cognition, and interpretation of art • Investigate personal reasons to teach art and understand how art experience has shaped personal conceptions of what it means to act as an art education and/or museum educator • Create a personal portfolio that reflects art experiences

Required Textbook

Dewey, J. (1997). Experience and Education. Free Press; Reprint edition. ISBN: 0684838281

Dewey, J. (1934). Art as Experience. NY: Perigee Books. ISBN: 0399500251

Eisner, E. (2002). The Arts and the Creation of Mind. New Haven: Yale University Press. ISBN: 0-300-09523-6 Kauppinen, Heta and Read Diket, (Eds.) (1995). Trends in Art Education from Diverse Cultures. VA: National Art Education Association. ISBN 0-937652-79-2 Young, B. (Ed.) (1990). Art, Culture and Ethnicity. VA: NAEA. ISBN 0-937652-54-7

150

Expected Computer/Technical Skills

Ability to use computer to write reports, finish online assignments, create a PowerPoint presentation, and find further resources and information on the Internet.

Expectations

It is expected that you will contribute your ideas, thoughts, and reflections to class discussions, and will listen respectfully to the contributions of others in the class. Please do not hesitate to ask questions during the class. You are here to learn and the attendance requirement is in place to reinforce the importance of the weekly interactions in class and the timely and thorough submissions of required assignments. It is expected that the final group project will reflect scholarly research, creativity, original thinking, and independent direction. It is expected that students will maintain standards of intellectual honesty in keeping with the academic policies of the University of Alaska Anchorage.

Academic dishonesty can refer to a range of inappropriate and unethical behaviors including but not limited to cheating on exams or attendance, falsification of sources, and so on. It is expected that students in this class to do your own work and conduct yourself in a fair, honest, and ethical manner.

Plagiarism is defined as any means by which a student uses unauthorized assistance to prepare materials submitted as their own. Refer to Academic Dishonesty in Chapter 5 of the UAA Course Catalog or to the Student Handbook for specifics.

Support Services

If you need disability related accommodations please notify Disability Support Services at 786- 4530 located at the Business Education Building, first floor. If you need assistance in writing your papers visit the Reading/Writing Center where the Learning Center is in the Sally Monsard Building.

Attendance (30 points)

Attendance is required at all class meetings.

Major Assignments (70 points)

Any assignment not turned in by the due date will receive 0 points. Late assignments will not be accepted.

1. Exhibition, Slide Lecture, or Community Arts Event Response Paper (20 points)

151 Attend an exhibition, a slide lecture, or a community arts event, and write a 3-4 pages of response paper that focus on the discussion of art experience. Remember to attach a photo, postcard, handout, or ticket of the event with your paper.

2. Electronic Art Portfolio (20 points) Use PowerPoint as a primary tool to create your electronic art portfolio to document your personal art experience. This project will include creating an electronic story or statement about “ART” by incorporating written texts, digital movie or images as well as sound and special visual effects if it is possible. This electronic art portfolio can be presented as an electronic storybook, an art diary, an electronic art exhibit, or a photo album with reflective text. This project will help you to gain valuable computer and presentation skills while creating or editing this electronic art journal. Remember, this electronic art journal is not a haphazard collection of artifacts (i.e., a digital scrapbook or a multimedia presentation) but rather a reflective tool that demonstrates growth over time. Submit your art journal on a CD or a disc.

3. Final Paper: A Book Review (30 points) Please select one of the required textbooks and write a book review about the book. Follow the following guidelines to complete this project, and write a review article of 10-12 pages.

http://www.utoronto.ca/writing/credits.html

An analytic or critical review of a book or article that is not primarily a summary; rather, it comments on and evaluates the work in the light of specific issues and theoretical concerns in a course. The literature review puts together a set of such commentaries to map out the current range of positions on a topic; then the writer can define his or her own position in the rest of the paper. Keep questions like these in mind as you read, make notes, and write the review.

1. What is the specific topic of the book or article? What overall purpose does it seem to have? For what readership is it written? (The preface, acknowledgements, bibliography and index can be helpful in answering these questions. Don't overlook facts about the author's background and the circumstances of the book's creation and publication.) 2. Does the author state an explicit thesis? Does he or she noticeably have an axe to grind? What are the theoretical assumptions? Are they discussed explicitly? (Again, look for statements in the preface, etc. and follow them up in the rest of the work.) 3. What exactly does the work contribute to the overall topic of your course? What general problems and concepts in your discipline and course does it engage with? 4. What kinds of material does the work present (e.g. primary documents or secondary material, literary analysis, personal observation, quantitative data, biographical or historical accounts)? 5. How is this material used to demonstrate and argue the thesis? (As well as indicating the overall structure of the work, your review could quote or summarize specific passages to show the characteristics of the author's presentation, including writing style and tone.) 6. Are there alternative ways of arguing from the same material? Does the author show awareness of them? In what respects does the author agree or disagree?

152 7. What theoretical issues and topics for further discussion does the work raise? 8. What are your own reactions and considered opinions regarding the work?

Paper Submission Guidelines • Your paper must be typed on 8½x11 plain paper, 12-pt. text, 1” margins, double spaced • Organization of your paper is to be clear, logical and meaningful. Please proofread your paper for correct spelling, grammar and punctuation. • All reference sources (books, articles, Web sites or interviews) must be cited. Citations must include author, title, publisher, date, page number and/or Web site address. For interviews, include name, title, topic, date, and place. (Who, What, When, Where) • Follow APA Style – http://www.apastyle.org/elecref.html

Calculation of Final Grade (100 points)

30 points Class participation and attendance 20 points Exhibition, slide lecture or arts event response paper 20 points Electronic Art Portfolio 30 points Final Book Review

Your attendance record and points of each assignment will be posted during each class meeting. Your grade depends solely on the sum of your assignment scores. It is your responsibility to check the progress weekly, and to notify the professor immediately if there is an error. Questions concerning grading (e.g., correction of a grading error) or attendance record must be submitted in writing within one week. No further adjustment will be made accordingly.

Grading Scale

A (90-100) Honor Grade – Indicates comprehensive mastery of required works B (80-89) – Indicates high level of performance in meeting course requirements C (70-79) – Indicates satisfactory level of performance D (60-69) – Indicates minimal level of performance F (0-59) – Indicates failure

Schedule of Classes

September 1 Introduction / Basic purposes of art to humankind

8 Human commonalities and concerns as motivations for and themes in art

15 Symbols, metaphors, and visual language

22 Intrapersonal and interpersonal visual communication • Kimura Gallery – This Movies, An Installation by Don Mohr, Sept 6-30

153 29 How do we plan art activities and experiences? How do we talk with students about art?

October 6 No Class • Museums Alaska Conference, Kodiak, AK, October 5-8

13 Ceremonies, celebrations and community building through art • Alaska Art Education Conference Oct. 14-16, Girdwood, AK • Kimura Gallery – What a Relief! An Exhibition of Prints by Susan Bremner, Scott Hansen, and Sara Tabbert, October 7-28

20 Aesthetics in various cultural contexts

27 Multiculturalism in art education • Diversity in artists, artistic traditions, and students in the art classroom

November 3 Museums, public art and cultural events as extensions of the art classroom • Required Field Trip – Anchorage Museum of History and Art (AMHA)- Meet at the Museum

10 Historic trends in art reflecting human themes and cultural meaning • Kimura Gallery – Architectonic Propositions and Pinhole Camera Excursions, Ceramics, Pinhole Photography / Digital Printing by Jeff Dalton and Red Bradly, November 7-27

17 Human growth and development as related to art education

24 Thanksgiving – No Class

December 1 Values, beliefs, and intuition as artistic influences

8 Final Presentation

15 Final Exam Week [Required Attendance]

154 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A403 NA 3 (3+0) 6. Complete Course Title Arts and Technology

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART Courtesy Coordination 11/11/11 Mariano Gonzales 2. BFA ART Courtesy Coordination 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A203 & (Engl A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites better reflect course level expectations and deletion of a registration restriction that is no longer applicable.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

155 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Arts and Technology C. Course Subject/Number: ART A403 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Surveys the growing use of technology in art classrooms and museums. Examines applications for information management in collections, digital imaging, and the use of technology in the service of art education, museum education, and university web-based courses. H. Status of course relative to degree or certificate program: Elective course for BA or BFA in Art degrees I. Lab Fees: Yes J. Coordination: Yes K. Course Prerequisites: ART A203 and (ENGL A111 with minimum grade of C)

III. Course Activities Lecture course. Reading and written work assigned including brief research papers. Computer-based training.

IV. Evaluation Evaluation procedures are at the discretion of the instructor and will be discussed at the first class meeting of the semester. Students will be evaluated on class projects, homework assignments, sketchbook/journal/written work, technical and critical thinking skills, computer-based expertise, progress throughout semester, attendance and participation. Project evaluation will generally include content, problem solving, craftsmanship, creativity/ingenuity, and amount of effort. It is understood that progress will vary with individual students and is dependent upon entry-level skills, expertise, creativity, and/or amount of time devoted to each project.

Criteria for Grading To receive a grade of A (superior): 1. Scholarship/Research: Strong, exceeding all instructor requirements 2. Initiative: Contributions exceed assignments and demonstrate resourcefulness 3. Cooperation: Leader in group activities; constant and spontaneous 4. Individual Improvement: Marked and growing

156 To receive a grade of B (Above Average): 1. Scholarship/Research: Accurate and complete, meets all instructor requirements 2. Initiative: Good when stimulated by some desirable achievement 3. Cooperation: Good in group activities 4. Individual Improvement: Shows marks of improvement; responds to stimulation

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification Course builds on an advanced working knowledge of studio techniques and concepts in the discipline as well as the mastery of computer-based skills needed in the field of art education. Individual student input, directions and personal goals are stressed with an emphasis on teaching, learning, and creative growth. Critical thinking is addressed through contemporary issues and practices of art education.

VI. Outline • Teaching art and technology • Classroom technology and the arts • Technology and art curriculum resources • The Internet and art education • Online resources and museum educational offerings • Design instructional applications in general art classroom and/or museums • Design educational Web site and multimedia programming • Graphic skills for teachers • PowerPoint as a presentation and a Web design tool • Interactivity and aesthetics • New Media and Web-artists - critical analysis of digital art work • Evaluation criteria for Web resources • Technology evolution and art education

157 VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Identify the role of technology in art classrooms and museums 2. Discuss current issues and applications of technology in art classrooms and museums 3. Provide various evaluation criteria for online educational resources and technological applications 4. Introduce various learning styles through instructional technology

B. Student Learning Outcomes. Student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Examine the role of technology in art Written assignments classrooms and museums Review the ideas, issues and basic Written papers and assignments technological requirements surrounding rapidly evolving changes in digital communication and interactive learning Demonstrate critical and analytical skills and Written papers and assignments practical experience related to digital art and online learning Demonstrate knowledge of different learning Electronic Design Portfolio styles through the use of instructional technology and online media Discuss problem solving techniques in In-class discussions and written assignments collaborative teaching environments

VIII. Suggested Text Instructor will select appropriate text such as:

Eyerdam, P. J. Using Internet Primary Sources to Teach Critical Thinking Skills in Visual Arts (Greenwood Professional Guides in School Librarianship). Westport, CT: Libraries Unlimited, 2003. Naidu, S. Learning and Teaching with Technology. London, UK: Routledge Falmer, 2005.

IX. Bibliography and Resources

Alexander, J. & Tate, M. Web Wisdom: How to Evaluate and Create Information Quality on the Web, Mahwah, NJ: Lawrence Erlbaum Associates Publishers, 1999. Animation III - UCR/California Museum of Photography. , 2003. Barone, C. A. and Hagner, P. R., eds. “Technology Enhanced Teaching and Learning: Leading and Supporting the Transformation on Your Campus.” In EDUCAUSE Leadership Strategies, Vol. 5. New York, NY: Jossey-Bass, 2001.

158 Besser, H. & Trant, J. Introduction to Imaging: Issues in Constructing and Image Database, , 1995. Betts, J. Art and Technology integration: Activity theory and after school multimedia education, College of Education, University of Arizona, , 2005. Britton, E., Long-Cotty, B. D., and Levenson, T., Bringing Technology Education Into K- 8 Classrooms: A Guide to Curricular Resources About the Designed World, Corwin Press, 2005. Din, Herminia & Phyllis Hecht. The Digital Museum. New York: American Association of Museums, 2007. Dinucce, D., Guidice, M. & Stiles, L. Elements of Web Design: The Designer's Guide to a New Medium, second edition, New York: Peachpit Press, 1998. Dockterman, D. A. Weaving Technology into Your Teaching, Tom Snyder Productions, 2002. Eyerdam, P. J. Using Internet Primary Sources to Teach Critical Thinking Skills in Visual Arts (Greenwood Professional Guides in School Librarianship), Libraries Unlimited, 2003. Gregory, D. New Technologies and Art Education: Implications for Theory, Research, and Practice, Reston, VA: National Art Education Association. 1997. Greh, D. New Technologies in the Art Room, Davis Publications; Loose Leaf Edition, 1999. Jones-Garmil, K. The Wired Museum: Emerging Technology and Changing Paradigms, Washington DC: American Association of Museums. 1997. Joseph, L. C. Copyright and Digital Content, 2001. Magid, L. J. Child Safety on the Information Highway, 1998. Maier, P. Integrating Technology in Learning and Teaching, London: Routledge, 2000. Matthews, J. C. Computers and Art Education. ERIC Digest, 1997. http://www.ed.gov/databases/ERIC_Digests/ed410180.html> McIntyre-Williams, R. 5 Basic Rules of Web Site Design and Layout, 2000. Meadows, M. Pause & Effect: The Art of Interactive Narrative. Upper Saddle, NJ: Pearson Education, 2002. Mintz, A. & Thomas, S., eds. The Virtual and the Real: Media in the Museum, Washington DC: American Association of Museums, 2000. Naidu, S. Learning and Teaching with Technology, London: RoutledgeFalmer, 2005. Newsome, C. A Teacher's Guide to Fair Use and Copyright, 1997. Nielsen, D. M. Teaching Young Children, Preschool-K: A Guide to Planning Your Curriculum, Teaching Through Learning Centers, and Just About Everything Else, 2nd ed. Corwin Press, 2006. Olejarz, H. Integrating Technology into the Art Curriculum, 1996. Ornstein, A. C., Lasley, T. J., Ornstein, A. and Lasley, T. Strategies for Effective Teaching, 4th ed. McGraw-Hill Humanities/Social Sciences/Languages, 2003.

159 Scaff, J. Art & Authenticity in the Age of Digital Reproduction, 2002. Payton, T. Empowering Student Learning with Web Publishing, 1999. Roland, C. Ethics and Computers: Implications for Teaching Art, 1996. Walker, J. Intellectual Property in the Information Age: A Classroom Guide to Copyright, 1997.

Online Resources Assey, Joan. The Future of Technology in K-12 Arts , 2000. (PDF file) Powerpoint 2000 Tutorial Powerpoint in the Classroom by Craig Roland, 1994. Richard, A. The Art of Information and Communications Technology for Teachers, David Fulton Publishers, Ltd., 2000. Rivers, David. Powerpoint 2007 Essential Training, lynda.com, Inc., 2007. Roland, Craig. The Role of Technology in Today’s Art Classrooms , 2001. Preparing Children for the 21st Century: A Rationale for Integrating New Technology into School Arts Program, 1994. Powerpoint in the Classroom, 1994. Rothstein, Edward. “ The Internet and the Culture of Copying.” New York Times, 6 Jan. 1997. Stein, G. Composition as Explanation, In CONTEXT No.8, A Forum for Literary Arts and Culture, Teaching Kids How to Create a Presentation: It's About the Story Teaching Multimedia Skills: Telling Stories in Words and Pictures Teaching Simple Animation: Fun With Thaumatropes and Other Big Words Tomei, L. A. Challenges of Teaching with Technology Across the Curriculum: Issues and Solutions. Information Science Publishing, 2002. Walling, Donovan R. Rethinking Visual Arts Education: A Convergence of Influences, 2001. Wardrip-Fruin, N. & Montfort, N. (2003). The New Media Reader (with CD-ROM), Connecticut: The MIT Press.

160 Weinman, L. & Green, G. Dreamweaver 4: Hands-on Training (with CD-ROM), New York: Peachpit Press, 2000. Weinman, L. Designing Web Graphics.3, third edition, New York: New Riders Publishing, 1999. Wolfe, C. R. Learning and Teaching on the World Wide Web, Academic Press, 2006.

161 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A404 NA 3 (3+0) 6. Complete Course Title Diversity and Visual Culture

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART Courtesy Coordination 11/11/11 Mariano Gonzales 2. BFA ART Courtesy Coordination 11/11/11 Mariano Gonzales

14. General Education Requirement Oral Communication Written Communication Quantitative Skills Humanities Mark appropriate box: Fine Arts Social Sciences Natural Sciences Integrative Capstone 15. Course Description (suggested length 20 to 50 words) Overview of the issues of diversity arising in art contexts, cultural institutions including museums, community arts organizations, and universities as well as visual culture, educational texts and history. Develop a theoretical foundation based on educational and cultural models of diversity addressing race, gender, class and pedagogical methodologies.

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A203 & (ENGL A111 with minimum grade of C) NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) NA College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites better reflect course level expectations and deletion of a registration restriction that is no longer applicable.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

162 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Diversity and Visual Culture C. Course Subject/Number: ART A404 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Overview of the issues of diversity arising in art contexts, cultural institutions including museums, community arts organizations, and universities as well as visual culture, educational texts and history. Develop a theoretical foundation based on educational and cultural models of diversity addressing race, gender, class and pedagogical methodologies. H. Status of course relative to degree or certificate program: Elective course for BA or BFA in Art degrees I. Lab Fees: Yes J. Coordination: Yes K. Course Prerequisites: ART A203 and (ENGL A111 with minimum grade of C)

III. Course Activities Lecture course. Reading and written work as assigned – including brief research papers.

163 To receive a grade of B (Above Average): 1. Scholarship/Research: Accurate and complete, meets all instructor requirements 2. Initiative: Good when stimulated by some desirable achievement 3. Cooperation: Good in group activities 4. Individual Improvement: Shows marks of improvement; responds to stimulation

To receive a grade of D (Below Average, but Passing): 1. Scholarship/Research: Not meeting all instructor requirements and assignments 2. Initiative: Lacking 3. Cooperation: Fair at times – lacking at other times 4. Individual Improvement: Not noticeable

To receive a grade of F (Failure): 1. Majority of work unacceptable or missing

V. Course Level Justification Course builds on a working knowledge of studio techniques and concepts in the discipline. Individual student input, directions and personal goals are stressed with an emphasis on teaching, learning, and creative growth. Critical thinking is addressed through contemporary issues and practices of art education.

VI. Outline (sample outline) • What is postmodernism? How has it affected art education? • Visual culture and art education • Multiculturalism and post-colonialism • Feminist perspectives and gender stereotypes • Art and activism in the classroom • Ecological pedagogy and art education • Computer technology and new media art • Integrated learning, pros and cons

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The instructor will: 1. Develop an understanding of diversity issues in art contexts, cultural institutions and universities. 2. Discuss the dynamics of diversity emphasizing race, gender, sex, class, and pedagogical methodologies 3. Demonstrate how digital visual art communicates in and across diverse cultures –by comparing similarities and differences in digital cultures 4. Examine rationales for teaching visual culture in various grade levels

164

B. Student Learning Outcomes. Student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Critically evaluate cultural texts In-class presentations and written assignments Articulate how the concepts of “difference” Written assignments and papers relate to culturally diverse bodies of knowledge

Discuss the major factors inherent in visual Written assignments and papers culture discourse that influence individual socio-cultural location, identity formation and interpretive voice Summarize the key elements of community Written assignments and papers practices in art and museum education

VIII. Suggested Text Instructor will select appropriate texts such as:

Barnard, M. Approaches to Understanding Visual Culture. NY: Palgrave, 2001. Bode, P. Multicultural Art Education: Voices of Art Teachers and Students in the Postmodern Era, Dissertation. Ann Arbor, MI: UMI Press, 2006. Mirzoeff, N. The Visual Culture Reader, 2nd ed. London: Routledge, 2003.

IX. Bibliography and Resources

Ballengee-Morris, C. “Cultures for Sale: Perspectives on Colonialism and Self- Determination and the Relationship to Authenticity and Tourism.”. Studies in Art Education 43.3 (2002): 232-245. Barnard, M. Approaches to Understanding Visual Culture. New York, NY: Palgrave, 2001. Bers, M. “ Kaleidostories: Sharing Stories Across the World in a Constructionist Virtual Community for Learning”. Convergence 9.2 (2003): 54-83. Blandy, D. “Art, Ecological Restoration, and Art Education.” Studies in Art Education 39.3 (1998): 230-243. Bode, P. Multicultural Art Education: Voices of Art Teachers and Students in the Postmodern Era, Dissertation. Ann Arbor, MI: UMI Press, 2006. Burton, J., Horowitz, R. & Abeles, H. “Learning In and Through the Arts: The Question of Transfer.” Studies in Art Education 41.3 (2000): 228-257. Chalmers, F. G. “Celebrating Pluralism Six Years Later: Visual Transculture’s, Education, and Critical Multiculturalism.” Studies in Art Education 43.4 (2002): 293- 306. Desai, D. “Imaging Difference: The Politics of Representation in Multicultural Art Art EducationEducation.” Studies in Art Education 41.2 (2000): 114-129. Duncum, P. “Visual Culture Art Education: Why, What and How.” International Journal of Art and Design Education 211 (2002): 14-23.

165 Efland, A., Freedman, K. & Stuhr, P. Postmodern Art Education: An Approach to Curriculum. Reston, VA: National Art Education Association, 1996. Efland, E. Art and Cognition: Integrating the Visual Arts in the Curriculum. NY: Teacher's College Press, 2002. Eisner, E. The Arts and the Creation of Mind. New Haven: Yale University Press, 2002. Emme, M. ”Visuality in Teaching and Research: Activist Art Education.” Studies in Art Education 43.1 (2001): 57-74. Finney, G. Visual Culture in Twentieth-Century Germany: Text As Spectacle. Indiana University Press, 2006. Freedman, K. & Hernandez, F., eds. Curriculum, Culture, and Art Education: Comparative Perspectives. Albany, NY: State University of New York Press, 1998. Freedman, K. “Social Perspectives on Art Education in the U.S.: Teaching Visual Culture in a Democracy.” Studies in Art Education 41.4 (2000): 314-329. Garoian, C. & Gaudelius, Y. “ Cyborg Pedagogy: Performing Resistance in the Digital Age.” Studies in Art Education 42.4 (2001): 333-347. Garoian, C. “Art Education and the Aesthetics of Land Use in the Age of Ecology.” Studies in Art Education 39.3 (1998): 244-261. Hocks, M & Kendrick, M. Eloquent Images: Word and Image in the Age of New Media. Cambridge: MIT Press, 2003. Howells, R. Visual Culture: An Introduction, Polity Press, 2003. Isbell, R. T. and Raines, S. C. Creativity and the Arts with Young Children, Thomson Delmar Learning, 2002. Joseph, D. & Nacu, D. “Designing Interesting Learning Environments When the Medium isn't Enough”. Convergence 9.2 (2003): 84-115. Kamhi, M. “Where's the Art in Today's Art Education?” Arts Education Policy Review 104.4 (2003): 9-12. Krug, D. & Cohen-Evron, N. “Curriculum Integration Positions and Practices in Art Education.” Studies in Art Education 41.3 (2000): 258-275. Lampela, L. “Lesbians and Gay Artists in the Curriculum: A Survey of Art Teachers' Knowledge and Attitudes.” Studies in Art Education 42(.2 (2001): 146-162. Lovejoy, M. Postmodern Currents: Art and Artists in the Age of Electronic Media, 2nd ed. Upper Saddle River, NJ: Prentice Hall, 1997. Manovich, L. The Language of New Media. Cambridge, MA: MIT Press, 2001. Mirzoeff, N. An Introduction to Visual Culture. New York and London: Routledge, 1999. The Visual Culture Reader, 2nd ed. London: Routledge, 2003. Neperud, R. W. Context, Content and Community in Art Education: Beyond Postmodernism. New York: Teacher's College Press, 1995. Parsons, M. “Integrated Curriculum and our Paradigm of Cognition in the Arts.” Studies in Art Education 39.2 (1998): 103-116. Phillion, J. Narrative Inquiry in a Multicultural Landscape: Multicultural Teaching and Learning. Ablex Publishing, 2002. Sleeter, C. E. and Grant, C. A. Making Choices for Multicultural Education: Five Approaches to Race, Class,and d Gender, 5th ed. John Wiley & Sons, 2006. Smith, P. “Visual Culture Studies versus Art Education.” Arts Education Policy Review 104.4 (2003): 3-8.

166 Spring, J. The Intersection of Cultures: Multicultural Education in the United States and the Global Economy, 3rd ed. Lawrence Erlbaum Associates, 2003. Stern, A. “Deeper Conversations with Interactive Art: Or Why Artists Must Program.” Convergence 7.1 (2001): 17-24. Sturken, M. & Cartwright, L. Practices of Looking: An Introduction to Visual Culture. New York: Oxford University Press, 2001. Tavin, K. “Wrestling with Angels, Searching for Ghosts: Toward a Critical Pedagogy of Visual Culture.” Studies in Art Education 44.3 (2003): 197-213. Taylor, P. ” Service-Learning as Postmodern Art and Pedagogy”. Studies in Art Education 43.2 (2002): 124-140. Tuman, D. “Gender Style as Form and Content: An Examination of Gender Stereotypes in the Subject Preference of Children's Drawing.” Studies in Art Education 41.1 (1999): 40-60. Van Eck, C. and Winters, E., eds. Dealing With The Visual: Art History, Aesthetics And Visual Culture, Ashgate Publishing, 2005. Wagner-Ott, A. (2002). “Analysis of Gender Identity through Doll and Action Figure Politics in Art Education.” Studies in Art Education 43.3 (2002): 246-263. Wallen, R. “Of Story and Place: Communicating Ecological Principles through Art.” Leonardo 36.3 (2003): 179-185. Wilson, B. “Of Diagrams and Rhizomes: Visual Culture, Contemporary Art, and the Impossibility of Mapping the Content of Art Education.” Studies in Art Education 44.3 (2003): 214-229.

167 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A491 NA 3 (3+0) 6. Complete Course Title Senior Seminar

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96-97 11/11/11 Mariano Gonzales

3. ART A499 346 11/11/11 Mariano Gonzales Initiator Name (typed): Deborah Tharp Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 11/11/11 13c. Coordination with Library Liaison Date: 11/11/11 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A261, ART A262 & (ENGL A111 with minimum NA NA grade of C) 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Instructor Permission, Senior Status, and completion of GER Tier 1 College Major Class Level (Basic-College Level Skills)

17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations and course description.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

168 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Senior Seminar C. Course Subject/Number: ART A491 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Lectures, discussions, workshops and projects integrating the knowledge of professional and technical practices for the artist. Develops effective communication skills to be a practicing artist. Demonstrates the art historical, aesthetic, and critical tools to resolve and assess creative problem solving approaches. H. Status of course relative to degree or certificate program: Required for Bachelor of Arts in Art and Bachelor of Fine Arts in Art degree and satisfies GER capstone requirement. I. Lab Fees: Yes J. Coordination: Yes K. Course Prerequisites: ART A261, ART A262 and (ENGL A111 with minimum grade of C) L. Registration Restrictions: Instructor Permission, Senior Status, and completion of GER Tier 1 (Basic-College Level Skills) III. Course Activities Lecture seminar course. Readings, class discussions, research, writing assignments, and workshop presentations. Proposals for artistic projects will be written during this course.

169

A. Criteria for Grading 1.0 To receive a grade of A: 1.1 Scholarship/Research: Strong, exceeding all instructor requirements 1.2 Initiative: Contributions exceed expectations for the class 1.3 Cooperation: Excels in contributions to group activities 1.4 Individual Improvement: Demonstrates mastery of professional practices and skills in the arts 2.0 To receive a grade of B: 2.1 Scholarship/Research: Meets all instructor requirements 2.2 Initiative: Contributions are above average for the class 2.3 Cooperation: Above average contributions in group activities 2.4 Individual Improvement: Above average demonstration of professional practices and skills in the arts 3.0 To receive a grade of C: 3.1 Scholarship/Research: Does required assignments 3.2 Initiative: Contributions are average for the class 3.3 Cooperation: Average contributions to group activities 3.4 Individual Improvement: Average demonstration of professional practices and skills in the arts 4.0 To receive a grade of D: 4.1 Scholarship/Research: Below average assignments 4.2 Initiative: Contributions are below average for the class 4.3 Cooperation: Below average contributions to group activities 4.4 Individual Improvement: Below average demonstration of professional practices and skills in the arts 5.0 To receive a grade of F: 5.1 Majority of work unacceptable or missing

V. Course Level Justification To fulfill the GER Capstone requirement for BA and BFA in Art and to prepare BFA students for thesis semester

VI. Outline A. Knowledge of Professional Practices for the Artist 1. Art Proposal Research 2. Proposal Development and Writing 3. Topic selection 4. Research 5. Development of the proposal 6. Historical and aesthetic influences on one’s art B. Exhibition/Presentation Planning Issues 1. Site development 2. Space usage in the gallery or museum 3. Information and signage in the gallery or museum

170 4. Publicity C. Business and Technical Applications to the Arts 1. Starting up the business 2. Fiscal and physical plant management 3. Advertising D. Professional Communication Skills 1. Resume preparation 2. Portfolio production 3. Documentation of artwork E. Creative Problem Solving in the Arts 1. Innovative use of materials in the production of artwork 2. Development of research methodologies to develop strategies for producing artwork 3. Long term planning in a globally challenging and changing environment F. Information Pertinent to Art Practices and Ethics 1. Copyright and patent issues pertaining to the arts 2. Ethical practices in business 3. Fair use issues pertaining to the appropriation of art images and objects

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The Instructor will: 1. Present the pertinent information regarding the integration and knowledge of professional practices for the artist 2. Develop the necessary professional communication skills needed to be an effective practicing artist 3. Foster critical thinking to address creative problem solving abilities in the arts 4. Facilitate understanding of the importance of ethics in business practices and their relevance to the arts B. Student Learning Outcomes. Student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Demonstrate the integration and knowledge necessary to Project designs and written be a practicing artist regarding research as it applies to assignments art proposals, exhibition and presentation planning concerns and the application of business and technical skills as they apply to the arts Exhibit the necessary communication skills to be a In-class discussions and written practicing professional artist assignments Practice creative problem solving as it pertains to the use Written assignments, in-class of materials, research and long term planning at a global discussions and presentations level Integrate the ethical aspects associated with art In-class discussions and written production in a business context assignments

171

VIII. Suggested Texts

Barrett, Terry. Criticizing Art. Mountain View, CA: Mayfield Publishing Co., 2000. Grant, Daniel. The Business of Being an Artist. New York, NY: Allworth Press, 2010.

IX. Bibliography and Resources

Abbott, Susan. Fine Art Publicity: The Complete Guide for Galleries and Artists. New York, NY: Allworth Press, 2005 Barrett, Terry, Interpreting Art. Boston, MA: McGraw Hill, 2003. Bayles, David & Orland, Ted. Art & Fear: Observations on the Perils and Rewards of Artmaking. Santa Barbara, CA: Capra Press, 1996. Berryman, Gregg. Designing Creative Resumes. Los Altos, CA: Crisp Publications, 1990. Blumenthal, Howard and Oliver Goodenough. The Business of Artist Management. New York, NY: Billboard Books, 1997. Calo, Carole Gold. Writings About Art. Upper Saddle, NJ: Prentice Hall, 1994. ______.Viewpoints Readings in Art History. Upper Saddle, NJ: Prentice Hall, 2001. Caplin, Lee. The Business of Art. Upper Saddle, NJ: Prentice Hall, 1998. Dickie, George & Sclafani, Richard. Aesthetics: A Critical Anthology. New York, NY: St. Martin's Press, 1989. DuBose, Mike, Anne Black, and Martha Davis. Developing Successful Grants: Where Ideas are Turned into Reality. Columbia, SC: Research Associates, 2005. Labus, Richard and Minimol Rajan. Book Grant Seeker Pro: Professional Edition: Government Grant Locating Tools on CD-ROM. Placentia, CA: Grant Seeker Pro, 2003. Lazzari, Margaret R. The Practical Handbook for the Emerging Artist. Fort Worth, TX: Harcourt College Publishers, 2002. Mayer, Ralph. The Artist's Handbook of Materials and Techniques. New York, NY: Viking Press, 1991. Michels, Caroll. How to Survive & Prosper as an Artist. New York, NY: Owl Books Henry Holt & Company, 2001. Miller, Patrick W. Grant Writing: Strategies for Developing Winning Proposals. Munster, IN: P. W. Miller, 2002. Siropolis, Nicholas C. Small Business Management, A Guide to Entrepreneurship. Boston, MA : Houghton Mifflin Company, 1997. Tucker, Amy. Visual Literacy Writing About Art. Boston, MA: McGraw Hill, 2002.

172 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A492 NA 3 (3+0) 6. Complete Course Title Art History Seminar

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status Yes # of Repeats 3 Max Credits 12

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BA ART 94 11/11/11 Mariano Gonzales 2. BFA ART 96 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A261 or ART A262 or ART A360A or ART A360B NA NA & (ENGL A111 with minimum grade of C) 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Instructor Permission College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Change in course prerequisites to better reflect course level expectations and course description.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

173 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Art History Seminar C. Course Subject/Number: ART A492 D. Credit Hours: 3.0 Credits E. Contact Time: 3+0 Contact Time F. Grading Information: A-F G. Course Description: Seminar in Art History Special Note: May be repeated 3 times for credit in different topics for a maximum of 12 credits H. Status of course relative to degree or certificate program: Applies to the BA in Art and BFA in Art Degrees I. Lab Fees: YES J. Coordination: None Required K. Course Prerequisites: ART A261 History of Western Art I OR ART A262 History of Western Art II OR ART A360A History of Non-Western Art I OR ART A360B History of Non-Western Art II AND (ENGL A111 with a minimum grade of C) L. Registration Restriction: Instructor Permission

III. Course Activities Lecture/discussion course. Readings, research, and writings as required.

174 1.5 Individual Improvement: Demonstrates mastery of drawing techniques 2.0 To receive a grade of B: 2.1 Scholarship/Research: Meets all instructor requirements 2.2 Initiative: Contributions are above average for the class 2.3 Attitude: Above average interactive skills in the classroom 2.4 Cooperation: Above average contributions in group activities 2.5 Individual Improvement: Above average demonstration of drawing techniques 3.0 To receive a grade of C: 3.1 Scholarship/Research: Does required assignments 3.2 Initiative: Contributions are average for the class 3.3 Attitude: Average interactive skills in the classroom 3.4 Cooperation: Average contributions to group activities 3.5 Individual Improvement: Average demonstration of drawing techniques 4.0 To receive a grade of D: 4.1 Scholarship/Research: Below average assignments 4.2 Initiative: Contributions are below average for the class 4.3 Attitude: Below interactive skills in the classroom 4.4 Cooperation: Below average contributions to group activities 4.5 Individual Improvement: Below average demonstration of drawing techniques 5.0 To receive a grade of F: 5.1 Majority of work unacceptable or missing

V. Course Level Justification Senior level course requiring a background in art history foundations. Appropriate writing and research skills are also expected.

VI. Outline (sample outline) An outline from an Art History special topics offering is attached

TOPIC SUGGESTIONS Mannerist Art African American Art Duchamp Japanese Art Latin American Art Artist's Vision 20th Century Russian Art

VII. Instructional Goals and Student Learning Outcomes Instructional goals and defined outcomes from a special topic course are attached. A. Instructional Goals. The Instructor Will: 1. Develop student’s historical, critical, and aesthetic analytical skills

175 2. Develop and understanding of the various methodologies allowing the student to discriminate and construct viable paradigms and research techniques. 3. Develop critical skills related to the assessment of formal characteristics of artwork, materials, process and media used for expressed purposes in various cultural contexts.

B. Student Learning Outcomes. Student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Analyze primary and secondary research materials Research paper

Demonstrate written and oral skills Tests, papers, and in-class presentations Demonstrate an understanding of the various Tests and papers methodologies presented in course material Articulate a body of concepts and ideas that will Tests, papers, and in-class presentations effectively embody course material Assess similarities and differences across the cultures Tests, papers, and in-class presentations presented Assess the formal qualities of art works, materials, Tests, papers, and in-class presentations processes and media as they apply to various cultural contexts usage

VIII. Suggested Text

Instructor will select text appropriate to his or her teaching style.

IX. Bibliography and Resources

A bibliography from a special topics course is attached.

176 DEPARTMENT OF ART SPECIAL TOPICS: ART 492

Course Title African American Art Course Description An historical and critical survey and analysis of African-American visual arts from the years of slavery through the Postmodern era. African-American literature and music will also be used to augment the visual arts material for this course. Course prerequisites Art 262 or permission by instructor Course Activities Students attend lectures on a weekly basis. Lectures focus on required readings of course materials, reserve room readings as well as individual In-class presentations. A research paper based on the subject matter of the class is also essential to the course. Evaluation Evaluation of the course is based on the student’s in-class presentations, mid-term, final examination and an in-depth research paper.

Course Outline I. Introduction: Issues pertinent to African American Studies in Academe A. African American Studies: Historical and Social Discussion 1. Afrocentrism, Black Cultural Nationalism B. Multicultural Studies and American Education 1. Corporate Multiculturalism 2. Integrationist Ethic 3. Liberal Multiculturalism 4. Cultural Particularism 5. Racial Essentialism 6. Radical Democratic Multiculturalism C. Black Women’s Studies 1. Black Feminism

II. African Slaves, the Fledgling Colonies and Republican Aspirations A. Africa and the Diaspora: America and Latin America 1. African History and Western Civilization 2. The Atlantic Slave Trade and Slavery a. Significance and Development in the United States and the Western World b. The Abolitionist Movement c. Middle Passage d. The Planter Class e. Rootlessness f. Underground Railroad g. White male suprematist ideology 3. The Black Woman’s Role in Slave Communities a. Black Matriarchy Myth

177 b. Sexual Domination of Slaves 4. Brazilian Africans a. Cafundó 5. The African American Experience and its Relationship to Afrocentric Philosophy

III. The Colonies in America and Republicanism: 1700-1820

IV. Nineteenth-Century America, the Civil War and Reconstruction

V. Twentieth–Century America and Modern Art 1900-60 A. Harlem Renaissance: Capitol of the Black World, and The New Negro 1. African AMerican culture, the New Negro and Art in the 1920s a. The Great Migration B. Black Expressive Culture: Music and Literature 1. The Blues and Jazz 2. The ParisiaN Connection: Expatriate African-Americans, The “Negro” colony 3. Photographic Developments 4. The New Negro Artist 5. Graphic Art 6. Painting C. The Patronage of the New Negro Artist D. Economic Matters: State funding and the Rise of African-American Art 1. The Federal Arts Project and its Impact 2. The New Negro Movement and its Legacy 3. Folk Art 4. American Scene Painting 5. WPA Workshops and community art centers 6. Social Realism 7. Abstract Art and Modernism in New York 8. Abstract Figurative Painting 9. Patronage and critical debate E. American Culture Post World War II 1. Folk Art 2. Painting; Expressionism and Surrealism F. Abstract Expressionism and African-American Art 1. Primitivism 2. Early Abstract Expressions: Bearden, Woodruff, and Alston 3. Abstract Expressionism 4. Second Generation of Abstract Expressionists 1955-61 VI. The Evolution of a Black Aesthetic: Identity and Solidarity 1960 to the Present A. Civil Rights and Black Nationalism B. Cultural Crisis: Black or American?

178 1. Black Identity and Ethnic Considerations 2. The Meaning of Black Identity 3. Spiral artists’ group 1963-6 4. Painting C. Evolving a Modern Black Aesthetic 1. Defining Black Art 2. Painting 3. Sculpture D. Art Institutions and Artist’s Groups 1. Mainstream Art Institutions 2. Black Art Aesthetics a. African Philosophy and black Psychology b. Double consciousness c. Identity Crisis d. Psychic Alienation e. Black Art and Black Power f. Black Artists’ Groups 3. Racism, Resistance and Radicalism 4. The Black Arts Movement

E. Towards a New Abstraction 1. When is “black” “black” 2. Painting 3. Sculpture

VII. The Postmodern Condition 1980-93 A. Painting B. Video Art C. Sculpture D. Photography E. Performance and Installation Art

VIII. Moving into the 21st Century A. Late 90s and New Developments B. Is there a new “black aesthetic” or has it been assimilated into mainstream art? C. Considerations for the Future

VIII. Suggested Texts

Harris, Michael D. Colored Pictures: Race and Visual Representation. Chapel Hill, NC: University of North Carolina Press, 2006. Huggins, Nathan. The Harlem Renaissance. New York, NY: Oxford University Press, 1971.

179 Lewis, David Levering. The Portable Harlem Renaissance Reader. New York, NY: Penguin, 1994. Patton, Sharon F. African-American Art. Oxford: Oxford University Press, 1998. Powell, Richard J. Black Art and Culture in the 20th Century. Oxford, UK: Thames and Hudson, 1997. ______. Black Art: A Cultural History. London, UK: Thames & Hudson, 2003.

IX. Bibliography/Resources Ames, Stanlie M. and Aabena P. A. Busia, eds. Theorizing Black Feminisms: The Visionary Pragmatism of Black Women. London, UK and New York, NY: 1993. Ater, Renée. Remaking Race and History: The Sculpture of Meta Warrick Fuller. Berekely, CA: University of California Press, 2011. Bearden, Romaire and Harry Henderson. A History of African-American Artists from 1792 to the Present. New York, NY: Pantheon Books, 1993. Benberry, Cuesta. Always There: The African-American Presence in American Quilts. Louisville, KY: Kentucky Quilt Project, 1992. Bennett, Lerone. Before the Maylflower: A History of Black America. New York, NY: Penguin Books, 1994. Berger, Maurice. Beat Culture and the New America, 1950-1965. New York, NY and Paris, FR: Whitney Museum of American Art with Flammarion, 1995. ______, ed. How Art Becomes History: Essays on Art, Society, and Culture in Post- New Deal America. New York, NY: 1992. Berlin, Ira. Slaves without Masters: The Free Negro in the Antebellum South. New York, NY: Pantheon Books, 1992. Blassingame, John, ed. Slave Testimony: Two Centuries of Letters, Speeches, Interviews and Autobiographies. Baton Rouge, LA: Louisiana State University Press, 1977. Boime, Albert. Magisterial Gaze: Manifest Destiny and the American Landscape Painting, c. 1830-1865. Washington, DC: Smithsonian Institution Press, 1991. Boime, Albert. The Art of Exclusion: Representing Blacks in the Nineteenth Century. Washington, DC.: Smithsonian Institution Press, 1990. Brown, Milton. American Art. New York, NY: 1979. Buffalo, Audreen. Explorations in the City of Light: African-American Artists in Paris, 1945-1965. New York, NY: Studio Museum in Harlem, 1996. Campbell, Edward D. C. Jr., ed. Before Freedom Came: African-American Life in the Antebellum South. Charlottesville, VA: University Press of Virginia, 1995. Campbell, Mary Schmidt. The Sixties: A Cultural Awakening Re-Evaluated, 1965-1975. Los Angeles, CA: California Afro-American Museum Foundation, 1989. Collins, Patricia. Black Feminist Thought: Knowledge, Consciousness and the Politics of Empowerment. New York, NY: Routledge, 2000. Conniff, Michael and Thomas J. Davies. Africans in the Americas: A History of the Black Diaspora. New York, NY: St. Martin’s Press, 1994. Connor, Steven. Postmodernist Culture: An Introduction to Theories of the Contemporary. New York, NY: B. Blackwell, 1989. Cooks, Bridget R. Exhibiting Blackness: African Americans and the American Art Museum. Amherst, MA: University of Massachusetts Press, 2011.

180 Dent, Gina, ed. Black Popular Culture. New York, NY: Anchor Books, 1995. Doty, Robert. Contemporary Black Artists in America. New York, NY: Whitney Museum of American Art, 1971. Drewal, Henry J. and David C. Driskell. Introspectives: Contemporary Art by Africans and Brazilians of African Descent. Los Angeles, CA: California Afro- American Museum, 1989. Driskell, David. C. Two Centuries of Black American Art. New York, NY: Knopf, 1976. ______ed. African American Visual Aesthetics: A Postmodernist View. Washington, D C: Smithsonian Institution Press, 1995. _____, ed. Harlem Renaissance: Art of Black America. New York, NY: Studio Museum of Harlem, 1987. Dubois, W.E. B. The Souls of Black Folk: Authoritative Text, Contents, Criticism. New York, NY: Modern Library, 1999. Fanon, Franz. Black Skin, White Masks (Peau noire, masques blancs). Trans. Charles Lam Markmann. New York, NY: Grove, 1952, 1967. Ferguson, Russell. Discourses: Conversations in Postmodern Art and Culture. Cambridge, MA: Mt Press, 1990. Fine, Elsa Honig. The Afro-American Artist: A Search for Identity. New York, NY: Hacker Art Books, 1982. Franklin, John Hope. From Slavery to Freedom: A History of African Americans. New York, NY: McGraw-Hill, 1994. Fry, Gladys-Marie. Stitched From the Soul: Slave Quilts from the Antebellum South. New York, NY: Dutton Studio Books, 1990. Gaither, Edmund Barry. Afro-American Artists. Boston, MA: The Museum School, 1970. Gayle, Addison Jr., ed. The Black Aesthetic. Garden City, NY: Doubleday, 1971. Gibson, Ann, Steve Cannon, Frank Bowlin, and Thomas McEviley. The Search for Freedom: African-American Abstract Painting 1945-1975. New York, NY: Kenkeleba House, 1991. Golden, Thelma, ed. Black Male: Representations of Masculinity in Contemporary Art. New York, NY: Whitney Museum of American Art, 1994. Gonzalez, Jennifer A. Subject to Display: Reframing Race in Contemporary Installation. Cambridge, MA: The MIT Press, 2011. Hall, Gwendolyn Midlo. Africans in Colonial Louisiana: The Development of Afro-Creole Culture in the Eighteenth Century. Baton Rouge, LA: Louisiana State University Press, 1992. Harris, Joseph H., ed. Global Dimensions of the African Diaspora. Washington, D.C.: Howard University Press, 1993. Henkes, Robert. The Art of Black American Women: Works of Twenty-Four Artists of the Twentieth Century. Jefferson, NC: McFarland, 1993. Henkes, Robert. Bearing Witness: Contemporary Works by African American Women Artists. New York, NY: Rizzoli Publications, 1996. Huggins, Nathan. The Harlem Renaissance. New York, NY: Oxford University Press, 1971.

181 Kaplan, Sidney. Black Presence in the Era of the American Revolution 1770-1800. Greenwich, CT: New York Graphic Society, 1973. Kasson, Joy. Marble Queens and Captives: Women in Nineteenth Century American Sculpture. New Haven, CT: Yale University Press, 1990. Ketner, Joseph D. The Emergence of the African American Artist: Roberts S. Duncanson 1821-1872. Columbia, MO: University of Missouri Press, 1993. King-Hammond, Leslie. Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists. New York, NY: Midmarch Arts Press, 1995. Leja, Michael. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. New Haven, CT: Yale University Press, 1993. Levine, Lawrence W. Black Culture and Black Consciousness:; Afro-American Folk Thought from Slavery to Freedom. New York, NY: Oxford University Press, 1977. Lewis, David Levering, ed. The Portable Harlem Renaissance Reader. New York, NY: Penguin, 1994. Lewis, David Levering. When Harlem Was in Vogue. New York, NY: Knopf, 1981. Lewis, Samella. Art: African American. Los Angeles: Handcraft Studios, 1990. Lippard, Lucy R. Mixed Blessings: New Art in a Multicultural America. New York, NY: Pantheon Books, 1990. MacGaffey, Wyatt and Michael D. Harris. Astonishment and Power: Kongo Minkisi and the Art of Ree Stout. Washington, DC: National Museum of African Art, 1993. Maresca, Frank and Roger Ricco. American Self-Taught: Paintings and Drawings by Outsider Artists. New York, NY: Knopf, 1993. Mercer, Koena. Welcome to the Jungle: New Positions in Black Cultural Studies. New York, NY: Routledge, 1994. Miller, Angela. The Empire of the Eye: Landscape Representation and American Cultural Politics, 1825-1875. Ithaca, NY: Cornell University Press, 1993. Miller, David C., ed. American Iconology: New Approaches to Nineteenth-Century Art and Literature. New Haven, CT: Yale University Press, 1993. Mosby, Dewey F. Henry Ossawa Tanner. New York, NY: Rizzoli International Publications, 1991. Novak, Barbara. American Painting of the Nineteenth Century: Realism, Idealism,and the American Experience. New York, NY: Harper and Row, 1979. ______. Nature and Culture: American Landscape and Painting 1825-1875. New York, NY: Oxford University Press, 1985. Parker, Rozsika and Griselda Pollack, eds. Framing Feminism: Art and the Women’s Movement, 1970-1985. London, UK: Routledge and Kegan Paul, 1987. Porter, James. Modern Negro Art. Washington, DC: Howard University Press, 1992. ______. Ten Afro-American Artists of the Nineteenth Century. Washington, DC: Howard University Press, 1967. Powell, Richard J. Black Art and Culture in the 20th Century. London:, UK: Thames and Hudson, 1997. ______. The Blues Aesthetic: Black Culture and Modernism. Washington, DC: Washington Project for the Arts, 1989.

182 Raven, Arlene, Cassandra Langer, and Joanna Frueh, eds. Feminist Art Criticism. Ann Arbor, 1988, repr., New York, NY: 1991. Sandler, Irving. The New York School: The Painters and Sculptors of the Fifties. New York, NY: Harper Row, 1978. ______. The Triumph of American Painting: A History of Abstract Expressionism. New York, NY: Praeger Publishers, 1970. Singleton, Theresa, ed. The Archaeology of Slavery and Plantation Life. Orlando, FL: Academic Press, 1985. Sobel, Mechal. The World They Made Together: Black and White Values in Eighteenth Century Virginia. Princeton, NJ: Princeton University Press, 1987. Stuckey, Sterling. Going Through the Storm: The Influence of African American Art in History. New York, NY: Oxford University Press, 1994. ______. The Decade Show: New Frameworks of Identity in the 1980s. New York, NY: Museum of Hispanic Art, 1989. (Exhibition Catalogue) Vlach, John M. Back of the Big House: The Architecture of Plantation Slavery. Chapel Hill, NC: University of North Carolina Press, 1993. _____. Plain Painters: Making Sense of American Folk Art. Washington, DC: Smithsonian Books, 1988. Wade, Richard. Slavery in the Cities, The South 1820-1860. New York, NY: Oxford University Press, 1964. Wahlman, Maude. Signs and Symbols: African Images in African American Quilts. Atlanta, GA: Tinwood Books, 2001. Wardlaw, Alvia, ed. Black Art, Ancestral Legacy: The African Impulse in African American Art. New York, NY: Harry N. Abrams, 1990. Willis-Thomas, Deborah. Black Photographers, 1840-1940: An Illustrated Bibliography. New York, NY: Taylor and Francis, 1985. Wood, Paul. Modernism in Dispute: Art Since the Forties. New Haven, CT: Yale University Press, 1993.

183 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AFAR Division of Fine Arts ART

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) ART A499 NA 3 (0+6) 6. Complete Course Title Thesis

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status No # of Repeats Max Credits

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: /9999 Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other Update CCG (please specify) Stacked with Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. BFA ART 96-97 11/11/11 Mariano Gonzales 2. BA ART Courtesy Coordination 11/11/11 Mariano Gonzales

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) ART A491 NA NA 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Declared major in BFA in ART and approval of BFA Committee College Major Class Level

17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Special Note added to Course Description to inform that Art A499 is only offered in Spring Semester.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

184 UNIVERSITY OF ALASKA ANCHORAGE COURSE CONTENT GUIDE

I. Initiation Date September 2012

II. Course Information A. College: College of Arts and Sciences B. Course Title: Thesis C. Course Subject/Number: ART A499 D. Credit Hours: 3.0 Credits E. Contact Time: 0+6 Contact Time F. Grading Information: Pass/No Pass G. Course Description: Student will produce and exhibit a body of work based on an approved thesis proposal. Exhibition of work will be in designated group show. Special Note: Offered Spring Semester only. H. Status of course relative to degree or certificate program: Required: BFA in Art I. Lab Fees: Yes J. Coordination: None K. Course Prerequisites: ART A491 L. Registration Restrictions: Declared BFA in Art and approval of BFA Committees

III. Course Activities See handbook attached. Independently directed studio course. Planning and execution of a body of work. Planning for a formal gallery exhibition.

IV. Evaluation See BFA Thesis Evaluation Format below

V. Course Level Justification Senior Thesis requiring substantive prerequisites, completion of primary studio concentration courses and approvals by BFA Committee

VI. Outline As directed by Thesis Proposal

VII. Instructional Goals and Student Learning Outcomes A. Instructional Goals. The Instructor will: 1. Guide the student through the development of expressive properties in group critiques with faculty. 2. Demonstrate application of conceptual properties to works of art in group critiques with faculty. 3. Engage students in the use of formal properties in group critiques with faculty.

B. Student Learning Outcomes. The student will be able to:

STUDENT LEARNING OUTCOMES ASSESSMENT Demonstrate the successful use of expressive Exhibition of art work

185 properties in the visual realization of the thesis proposal (See attached assessment form) Demonstrate the use of qualitative properties, Exhibition of art work originality and growth in ideas and thoughts as applied to the thesis proposal (See attached assessment form) Demonstrate the technical mastery of material Exhibition of art work and presentation as expressed by formal means (See attached assessment form)

VIII. Suggested Text Not applicable

IX. Bibliography and Resources As directed by Thesis Proposal

186

B.F.A. THESIS EVALUATION FORM UAA DEPARTMENT OF ART

BFA Candidate: ______Semester/Year: ______/______Faculty Reviewer: ______

Each member of the BFA Committee attending the final Thesis Evaluation Session will fill out this BFA Thesis Evaluation Form. Evaluation points will be awarded within each category (using decimal fractions ranging from 0 to10). The final Thesis Grade will be calculated by the BFA Chair as a percentage from the highest possible total of all evaluation points awarded by the BFA Committee. Award of the thesis grade will be based on the following percentages of evaluation scores. A grade of B( 80%) or better is considered a passing grade.

POINTS AWARDED BY THIS REVIEWER (For Example, 10 Points = 100%, 9.5 = 95%, 8.3 = 83%, etc.)

______1. EXPRESSIVE PROPERTIES Success in the visual realization of the Thesis Proposal. For specific comments, see other side or attached.

______2. CONCEPTUAL PROPERTIES Quality, originality and growth in ideas/thoughts. For specific comments, see other side or attached.

______3. FORMAL PROPERTIES Technical mastery of materials and presentation. For specific comments, see other side or attached. ______

BFA COMMITTEE COMBINED TOTAL SCORE Total number of evaluators: ______Highest possible score (10 x number of evaluators): ______

Total actual points awarded above by the BFA Committee: ______

Total Percentage: ______%

Thesis Grade: _____PASS ______NO PASS 80% or higher 79.99 % or lower

187 PROPOSAL OUTLINE

Introduction A written thesis proposal must be approved by the BFA Committee prior to enrolling in ART 499 Thesis. The proposal will describe a project that you will translate into a body of visual work sufficient to merit the award of 3 credits, as determined by the BFA Committee. A BFA thesis proposal may describe many different kinds of projects. In most instances, the thesis project will involve the completion of a focused body of visual work in your primary studio area. Thesis proposals that suggest a visual project outside your primary studio area may be approved at the discretion of the BFA Committee. The BFA thesis proposal is a formal document developed and written by you in consultation with your advisor and the BFA Committee. It is to be typewritten, display complete sentence structure, and use proper English grammar, spelling, and punctuation. The written proposal is not a research paper, but may incorporate footnotes, references, and a bibliography in developing the rationale for the suggested project. Every effort should be made to write in a style that uses clear and precise language. NOTE: The proposal is to be on white paper.

Purpose The purpose of the proposal is to inform the Committee of the intended outcome of your project. At minimum the Committee will want to know What, How, & When.

What do you intend the final result to be - including quantity and size How will you make the work - including media How will you use the media to achieve the outcome When will your project be done.

The Committee requires the information outlined below. However, do not overlook the importance of the mechanics of the project when considering the content and theme.

Outline Sections The suggested outline for the written thesis proposal is to divide the paper into several parts.

I. Introduction (1 paragraph) Write a focused overview of current interests, concerns, and activities that might serve as a theme or guide to the thesis work. Sometimes a quote of some sort is helpful here but is Not required ! !

II. Body of Proposal (1 - 2 paragraphs) Discuss what your artwork is about. Include your ideas and concepts. Discuss personal artistic directions of your ideas. Discuss the process/processes that you have chosen to use to create the work. Be clear and explain why and how you plan to achieve the end result.

III. Historical References (1 -2 paragraphs) Develop an explanation of how the proposed project relates to the work of other artists or to areas of special interest that influence you. Tell your reader how this information and knowledge has influenced you and supports your proposal.

IV. Proposed Project (1 -2 paragraphs) Describe the project you intend to complete and why. Be as specific as possible while allowing for the project’s own natural growth and change. Explain the logistics of the project.

V. Presentation ART 499 Thesis will culminate in a gallery exhibition or formal presentation. It is preferred by the Committee that all presentations occur in the Kimura Gallery during the BFA Group Show, which is scheduled at the end of each semester. Shorter individual time slots might be available.

VI. Summary paragraph

188 VII. Exhibition/Presentation A statement of your Exhibition//Presentation plans should be included here. As a reminder you will need to meet with the ACE Committee well in advance of writing your proposal to coordinate logistics for your Exhibition/Presentation. You need to think about the logistics of your presentation well before your semester of actual enrollment in ART 499 Thesis. It is preferred by the Committee that all presentations occur in the Kimura Gallery during the BFA Group Show scheduled at the end of each semester. Shorter individual time slots might be available for installation type exhibitions. As soon as you have developed an idea or direction for your Thesis Project you will need to meet with the ACE Committee about the Exhibition/Presentation logistics. The sooner you do this the better, however, as you will be discussing these issues with the BFA Committee when you present your Thesis Proposal you will need to have met with the ACE Committee just prior to writing the Proposal at the latest. Special requests must be, in writing on a separate page, and presented to the BFA and ACE Committee at the time your Thesis Proposal is presented for approval.

BFA THESIS MEETING

Introduction You and all the other students enrolled in ART 499 Thesis will meet twice during the semester with the BFA Committee to review progress. Meeting times will be available at the beginning of the semester. Contact the Art office for the latest schedule.

Attendance Required BFA Candidates enrolled in ART 499 Thesis are required to attend all BFA Meetings. The Committee Chair must be notified in advance in the case of an unavoidable absence. Failure to attend all scheduled BFA Thesis Meetings may result in a failing grade for ART 499 Thesis. This also applies to Candidates with a deferred grade who have not completed their thesis project as yet.

Satisfactory Progress If at any time during the Thesis semester the Committee determines that satisfactory progress is NOT being made you will be informed either by the committee or by your faculty advisor. Appropriate action will be recommended. In some cases this determination may be reached during business deliberations at a BFA Committee meeting. Appropriate recommendation might include the suggestion that you accept a deferred grade and continue the project in subsequent semesters. Should that be the case you have 2 years to complete the project and convert a deferred grade into a final grade. Please note that as long as you are enrolled in ART 499 Thesis all requirements must be met including attendance at all Thesis Meetings.

All BFA Candidates not yet enrolled in Thesis are also invited to attend these meetings.

First Meeting Presentation Unless otherwise instructed, you should come to the first meeting of the semester prepared to give a short presentation of your project. Generally about 10 minutes long. Remember, while the Committee has already reviewed and approved your proposal, there will be other students who have no idea what you will be working on. Therefore, while your presentation should be short and to the point, it should also be thorough.

Work in Progress In addition, you need to bring all work in progress relating to your project. Should logistics be a problem, discuss alternative methods with your advisor and/or the Committee Chair. A short video tape may be acceptable, but photographs are not ideal for evaluating work. If you require a VCR and monitor, please ask the department secretary, several days in advance, to reserve one for you.

Additional Information

189 Bring to the first BFA Thesis Meeting a typed page noting your intended production schedule for your project, which outlines where you expect to be in your work schedule for each of the scheduled thesis meeting dates. Be prepared to address general questions concerning your presentation.

Other Meetings At each subsequent BFA Thesis Meeting, you should continue to bring work in progress for discussion and critique. Also be prepared to ask any questions you might have about your work. This is open discussion time between all the students and the BFA Committee.

THESIS EVALUATION

Appropriate recommendations might include the suggestion that you accept a deferred grade and continue the project in subsequent semesters. Should that be the case you have 2 years to complete the project and convert a deferred grade into a final grade. Please note that as long as you are enrolled in ART 499 Thesis all requirements must be met including attendance at all Thesis Meetings each month.

Grading Procedure Upon completion of your project, and during the time of the formal presentation, you will be evaluated individually by the committee on a PASS/NO PASS basis. The members of the committee will pick up an evaluation form from the office at their convenience. When completed the form will be returned to the office, combined with the other evaluations, and the grade calculated.

Grading Criteria The BFA Thesis project evaluation includes 3 categories. Each of the 3 categories are awarded points from 1 - 10 by each BFA Committee member. The grade will be calculated as a percentage from the highest possible total of all evaluation points awarded by the BFA Committee.

I. Expressive Properties Success in the visual realization of the thesis proposal

II. Conceptual Properties Quality, originality, and growth of thoughts and ideas

III. Formal Properties Technical mastery of materials and the quality of presentation

Grading Points Award of the Thesis Grade will be based on the following points:

90 - 100 %= A 80 - 89.99% = B Pass 79.99% - below No Pass

190 Awarding the Grade You will receive notification of your grade and the Committee's comments by mail within 2 weeks of the end of the Exhibition. However, in addition to successfully completing the thesis requirement you must supply the Department of Art with several items before your final grade will be submitted to Enrollment Services as indicated below:

- A clean copy of your approved BFA Thesis Proposal - A minimum of 10 color slides of your thesis work, in a slide sheet, with top and front properly labeled. Include title, if any, and any other information needed - A clean copy of the artist’s statement, if generated - Optional: a copy of your invitation to the presentation - Hardcopy mailing list borrowed from the ACE Committee - Kimura Gallery & Storage Room Keys - Reimbursement for mailing cost for invitations - Gallery Manager's acceptance of clean up & repair

Gallery Clean up and Repair The post-exhibition condition of the Kimura Gallery must be acceptable to the Gallery Manager prior to awarding the grade. Failure to meet expectations may result in a Deferred Grade or possibly, in extreme cases, a Failing Grade. Expectations include, but are not limited to, removal of all art work from gallery, hall, lobby, and storage areas; filling all holes and patching walls, floor, and ceiling; repair and return of pedestals to storage area; return of all tools to storage. Refer to section on Exhibition for more information and coordinate with the Gallery Manager.

Artist's Statement It is understood that there will be some deviation from the thesis proposal as the project begins to grow in progress. If the project outcome moves significantly outside the scope of the proposal, you will need to prepare an Artist's Statement to discuss how the outcome is still related to the original proposal. This statement would be included in your formal presentation or exhibition and would be used by the BFA Committee to evaluate the end result. This should be succinct and articulate your ideas effectively.

EXHIBITION or FORMAL PRESENTATION

You need to think about the logistics of your Exhibition or Formal Presentation well before your semester of actual enrollment in ART 499 Thesis. It is preferred by the Committee that all presentations occur in the Kimura Gallery during the BFA Group Show. Time for this has been set aside at the end of each semester. Shorter individual time slots might be available for installation type exhibitions. As soon as you have developed an idea or direction for your Thesis Project you will need to meet with the ACE Committee about the Exhibition/Presentation logistics. The sooner you do this the better, however, as you will be discussing these issues with the BFA Committee when you present your Thesis Proposal you will need to have met with the ACE Committee just prior to writing the Proposal at the latest.

Kimura Gallery If you will be presenting your work in the Kimura Gallery you will want to coordinate with the ACE Committee, gallery managers. The members of the ACE Committee will be able to assist you in securing keys to the gallery and gaining access to hand tools and hardware. In addition they will be able to advise you on how the space can best be utilized. If you will be presenting your work in a group show you will also want to coordinate with the other members of the group.

Campus Center Gallery If you will be presenting your work in the Campus Center Gallery you will want to coordinate with the Gallery Manager. The manager will be able to assist you in securing keys to the gallery and gaining access to hand tools and hardware. In addition they will be able to advise you on how the space can best be utilized.

191 If you will be presenting your work in a group show you will also want to coordinate with the other members of the group.

Installation/Site-Specific Work, Performance and other Works of Art Your thesis project might be an installation either inside or outside of a venue or might be a performance piece. These are special circumstances that will have to be discussed during the thesis proposal review and approved by the faculty. Installation/Site-Specific Work and Performance Art must be located in the Anchorage area and be reasonable for the faculty to travel to. Getting the faculty together to witness a performance piece, or to visit an installation/site-specific piece necessitates co-ordination and a time frame that would be amenable to the faculty. The site must be approved by your BFA Thesis Committee. Permission for site usage is the responsibility of the student. To present work of this type on campus there are 2 possibilities. For a presentation in the Arts Building contact the Fine Arts Building Manager. He would be the contact for using areas like Music Recital (Arts 150) or the Dance Studio. For space in other areas of the campus contact Facilities and Planning. We will try to help you as best we can in these matters, but it is important that you confer with your advisor and be prepared to discuss them at the BFA Thesis meetings.

192

BFA thesis proposal

Urban Drone I have always been intrigued by the exchange that exists between sentient beings and the space they live in, particularly the occurrence of repeated behavior and the obsessive conduct we engage in. The tacit dialog of perception and reality when applied to the physical, figurative, and unconscious implications of this interaction are crucial concerns in developing my artistic direction. In pursuing this direction I want to explore the relationships that exist between the small repeated behaviors of atoms, insects, or humans to larger patterns of cells, hives and urban settings. To this end, I have chosen to use bees as my primary metaphor to address space as an architectural reference point to evolve solutions to urban problems. We are faced with an urgency to find creative solutions to complex and often abstract problems at the global level (e.g. population growth, food and energy resources and urban congestion). Throughout the 20th century various artists and architects have addressed space and its relationship to urban and rural contexts. Architects such as Antonio Gaudi, Bruno Taut, and Le Corbusier have actually used the bee metaphor as inspiration in their architectural enterprises. Their works are seminal in my own direction in terms of architectonic considerations. Artists with a motivating approach to space and perception such as Rachel Whiteread and Magdalena Jetelova′ are influential in my preoccupation with deliberate as well as oblivious interactions with space. Finally, the work of artists such as Mierle Ukeles, Robert Smithson and Peter Fend are especially informative for my own direction to find a means to integrate eco-art concerns in an urban setting.

193 Bees are incredibly efficient. They live in contained societies that I believe may offer some inspiration for current urban, spatial, and energy problems. People have been studying bees for centuries to offer models for utopian societies and other social concerns but I’d like to focus on what they may offer in the way of physical or engineering aspects of their systems. For my BFA Thesis show I plan to present a body of work that will focus on two different but interrelated formats expressing the above concerns. First, I will be producing a series of three to five boxes that will function as three-dimensional prototypes of urban visions offering potential solutions to the current urban dilemma. These boxes will be similar to my current body of work involving enclosed boxes that can be viewed through various devices. Second, I will use a sequence of three to five large sewn photographs drawing visual parallels between bees, architecture and people that will complement the three-dimensional objects. Again, these two-dimensional objects will be analogous to my current direction of using Xerox copies that are sewn onto canvas. Both of these approaches are meant to integrate, explain and investigate new perceptions of the urban world. My ideas will develop as my research on bees and specific urban problems unfold and possible creative solutions present themselves. The media used for my expressive needs will consist of wax, wood, electrical components, projection glasses, peepholes, canvas, photographs, and various sewn elements. In conclusion, my proposal will be aimed in two directions. One d ire c tio n will be to research the bee as metaphor. The other direction will use the structural implications in h e re n t in th urban relationships.

194 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AMSC Division of Math Science Geological Sciences

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) GEOL A490 none 1-4 (1-4+0) 6. Complete Course Title Advanced Topics in Geology

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status Yes # of Repeats 2 Max Credits 12

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: / Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other CCG (please specify) Stacked with GEOL A690 Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. 2.

3. Initiator Name (typed): Kristine J Crossen Initiator Signed Initials: ______Date:______13b. Coordination Email Date: 10-8-12 13c. Coordination with Library Liaison Date: 10-8-12 submitted to Faculty Listserv: ([email protected])

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) GEOL A221 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable)

College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Designed as 400-level undergraduate course. Course takes advantage of the expertise of resident faculty, visiting faculty and community professionals. Current issues and topics not normally taught on a scheduled basis will be offered under this heading.

 Approved ______Initiator (faculty only) Date  Disapproved Dean/Director of School/College Date Kristine J Crossen Initiator (TYPE NAME)  Approved  Approved ______Undergraduate/Graduate Academic Date  Disapproved Department Chairperson Date  Disapproved Board Chairperson

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

195 Course Content Guide University of Alaska Anchorage Department of Geological Sciences

GEOL A490 Advanced Topics in Geology

I. Date of Initiation: Spring 2013

II. Course Information: A. College or School: College of Arts and Sciences B. Course Title: Advanced Topics in Geology C. Course Subject/Number: GEOL A490 D. Credit Hours: 1-4 E. Contact time: (1-4 + 0) F. Grading Information: A-F G. Course Description: Detailed study of selected topics in geology. Special note: May be repeated twice for a maximum of 12 credits with change of topic. H. Status of course relative to degree program: May be used as upper-division elective to satisfy Geological Sciences major or minor. I. Course Attributes: Applies toward upper division requirement for Geological Sciences major or minor. J. Lab fees: yes K. Coordination: UAA faculty list serve L. Course Prerequisites: GEOL A221

III. Instructional Goals and Student Learning Outcomes: A. Instructional Goals. The instructor will: 1) Convey the geological concepts to the study of the particular topic. 2) Demonstrate the applications of the selected topic to solving geologic problems and problems related to environmental sciences or other areas of interest. 3) Guide students to utilize their problem solving skills to understand both the principles and applications of the selected geologic topic.

B. Student Learning Outcomes. The students will: 1) Apply the principles of the selected topic to geologic, environmental, and other appropriate fields of study. Assessment: exams. 2) Analyze recent literature and examples of modern applications of geological studies. Assessment: literature reviews. 3) Develop research skills by participating in original research projects with their peers. Assessment: professional presentation.

196

IV. Course Activities

The course consists of lectures, discussions, and small group collaboration facilitated by the instructor.

V. Methods of Assessment:

Students will be evaluated based on homework assignments, exams, presentations, reports, and analysis, discussion, and synthesis of professional literature and the design and completion of research projects. Grades will be determined according to the syllabus of the individual instructor.

VI. Course Level Justification

Designed for Geological Science majors as an elective undergraduate course comparable to 400-level offerings at other universities. Designed to provide flexibility to offer and teach innovative senior-level lecture courses on a developmental basis. Such courses are essential to the student’s ability to succeed and integrate content with other 400-level courses in geological sciences. .

VII. Topical Course Outline

Course outline will vary by topics selected.

Example from existing course - GEOL A465 - Isotope Geochemistry 1. Law of Radioactivity 2. Radioactive Decay Modes 3. Isotope geochronometers 4. Methods of Dating 5. Applications of Radioactive Isotopes to Environmental Problems 6. Principles of stable isotope geochemistry 7. Isotope fractionation 8. Equilibrium effects 9. Kinetic effects 10. Biological fractionation 11. Trace metal isotopes 12. Isotopes of other elements

197

VIII. Suggested Text(s)

Texts will vary depending on the topic of the course.

Example from Isotope Geochemistry above: Faure, G. and Mensing, 2010. Isotopes, Principles and Applications of 4th ed., Wiley, 897p.

Hoeffs, J., 1997. Stable Isotope Geochemistry. Springer, 201p.

IX. Bibliography

References will vary depending on the selected topic.

Example from Isotope Geochemistry above. Canfield, D.E., 2001. Biogeochemistry of Sulfur Isotopes in Stable Isotope Geochemistry, J.W. Valley and D.R. Cole eds. Mineralogical Society of America. pp. 607-626.

Cerling, T.E., Harris, J.M., 1999. Carbon isotope fractionation between diet and bioapatite in ungulate mammals and implications for ecological and paleoecological studies. Oecologia, 120, pp. 347-363.

Gee, A.K., and Bruland, K.W., 2002. Tracing Ni, Cu, and Zn kinetics and equilibrium partitioning between dissolved and particulate phases in South San Franscisco Bay, California, using stable isotopes and high-resolution inductively coupled plasma mass spectrometry. Geochemica et Cosmochimica Acta, vol 66, no. 17, pp. 3063-3083.

Gelinas, Y., and Schmit, J.P., 1997. Extending the use of stable lead isotope ratios as a tracer in bioavailability studies. Environmental Science and Technology, vol. 31, pp. 1968-1972.

Hobbie, E. A., Macko, S.A., Shugart, H.H., 1999. Interpretation of nitrogen isotope signatures using the NIFTE model. Oecologia, 120, pp. 405-415.

Monna, F., Othman, D.B., Luck, J.M., 1995. Pb isotopes and Pb, Zn, and Cd concentrations in rivers feeding a coastal pond (Thau, southern France): constraints on the origin(s) and flux(es) of metals. The Science of the Total Environment, 166, pp. 19- 34.

Sjostrom, D.J., et al., 2006. Stable isotopic evidence for a pre-late Miocene elevation gradient in the Great Plains-Rocky Mountain region, USA. Geological Society of America Special Paper 398, pp. 309-319.

198 Thompson, L.G., et al., 2002. Kilimanjaro Ice Core Records: Evidence of Holocene Climate Change in Tropical Africa. Science, vol 298, pp. 589-593.

199 Course Action Request University of Alaska Anchorage Proposal to Initiate, Add, Change, or Delete a Course

1a. School or College 1b. Division 1c. Department AS CAS AMSC Division of Math Science Geological Sciences

2. Course Prefix 3. Course Number 4. Previous Course Prefix & Number 5a. Credits/CEUs 5b. Contact Hours (Lecture + Lab) GEOL A690 none 1-4 (1-4+0) 6. Complete Course Title Graduate Topics in Geology

Abbreviated Title for Transcript (30 character)

7. Type of Course Academic Preparatory/Development Non-credit CEU Professional Development

8. Type of Action: Add or Change or Delete 9. Repeat Status Yes # of Repeats 2 Max Credits 12

If a change, mark appropriate boxes: Prefix Course Number 10. Grading Basis A-F P/NP NG Credits Contact Hours Title Repeat Status Grading Basis Cross-Listed/Stacked 11. Implementation Date semester/year Course Description Course Prerequisites From: Spring/2013 To: / Test Score Prerequisites Co-requisites Other Restrictions Registration Restrictions 12. Cross Listed with Class Level College Major Other CCG (please specify) Stacked with GEOL A490 Cross-Listed Coordination Signature 13a. Impacted Courses or Programs: List any programs or college requirements that require this course. Please type into fields provided in table. If more than three entries, submit a separate table. A template is available at www.uaa.alaska.edu/governance. Impacted Program/Course Catalog Page(s) Impacted Date of Coordination Chair/Coordinator Contacted 1. 2.

16a. Course Prerequisite(s) (list prefix and number) 16b. Test Score(s) 16c. Co-requisite(s) (concurrent enrollment required) Graduate status 16d. Other Restriction(s) 16e. Registration Restriction(s) (non-codable) Graduate Standing College Major Class Level 17. Mark if course has fees 18. Mark if course is a selected topic course 19. Justification for Action Designed as 600-level graduate course requiring independent research. Course takes advantage of the expertise of resident faculty, visiting faculty and community professionals. Current issues and topics not normally taught on a scheduled basis will be offered under this heading.

 Approved  Approved ______ Disapproved Curriculum Committee Chairperson Date  Disapproved Provost or Designee Date

200 Course Content Guide University of Alaska Anchorage Department of Geological Sciences

GEOL A690 Graduate Topics in Geology

I. Date of Initiation: Spring 2013

II. Course Information: A. College or School: College of Arts and Sciences B. Course Title: Graduate Topics in Geology C. Course Subject/Number: GEOL A690 D. Credit Hours: 1-4 E. Contact time: (1-4 + 0) F. Grading Information: A-F G. Course Description: Intensive study of narrowly defined topic in geology with emphasis on current problems. Independent research project required.. Special note: May be repeated twice for a maximum of 12 credits with change of topic. H. Status of course relative to degree program: Graduate level course to serve students in interdisciplinary studies, the AEST joint CAS/SOE master’s program, and other M.S. degree programs. I. Course Attributes: Applies toward graduate level degree programs in interdisciplinary studies, AEST and other M.S. programs. J. Lab fees: yes K. Coordination: UAA faculty list serve L. Registration restrictions: Graduate standing

201 3) Demonstrate research skills by participating in original research projects. Assessment: presentations and written papers. 4) Produce a professional quality presentation and a professional quality report at the conclusion of an individual research project. Improve their critical thinking skills through the analysis, discussion and synthesis of relevant professional literature. Assessment: professional quality presentations and written reports.

IV. Course Activities

The course consists of lectures, discussions, and small group collaboration facilitated by the instructor. Each student will initiate and complete a research project under the direction of the instructor.

VI Methods of Assessment:

Students will be evaluated based on homework assignments, exams, presentations, reports, and analysis, discussion, and synthesis of professional literature and the design and completion of professional quality research projects. Grades will be determined according to the syllabus of the individual instructor.

VI. Course Level Justification

Designed to be used as graduate level course to serve students in interdisciplinary studies, the AEST joint CAS/SOE master’s program, and other M.S. degree programs. Independent research, professional quality presentations and written reports required. .

VII. Topical Course Outline

Course outline will vary by topics selected.

Example from existing course - GEOL A665 - Isotope Geochemistry 1. Law of Radioactivity 2. Radioactive Decay Modes 3. Isotope geochronometers 4. Methods of Dating 5. Applications of Radioactive Isotopes to Environmental Problems 6. Principles of stable isotope geochemistry 7. Isotope fractionation 8. Equilibrium effects 9. Kinetic effects 10. Biological fractionation

202 11. Trace metal isotopes 12. Isotopes of other elements

VII. Suggested Text(s)

Texts will vary depending on the topic of the course.

Example from Isotope Geochemistry above: Faure, G. and Mensing, 2010. Isotopes, Principles and Applications of 4th ed., Wiley, 897p.

Hoeffs, J., 1997. Stable Isotope Geochemistry. Springer, 201p.

IX. Bibliography

References will vary depending on the selected topic.

Gelinas, Y., and Schmit, J.P., 1997. Extending the use of stable lead isotope ratios as a tracer in bioavailability studies. Environmental Science and Technology, vol. 31, pp. 1968-1972.

Hobbie, E. A., Macko, S.A., Shugart, H.H., 1999. Interpretation of nitrogen isotope signatures using the NIFTE model. Oecologia, 120, pp. 405-415.

203 Sjostrom, D.J., et al., 2006. Stable isotopic evidence for a pre-late Miocene elevation gradient in the Great Plains-Rocky Mountain region, USA. Geological Society of America Special Paper 398, pp. 309-319.

Thompson, L.G., et al., 2002. Kilimanjaro Ice Core Records: Evidence of Holocene Climate Change in Tropical Africa. Science, vol 298, pp. 589-593.

204