Antioch University Los Angeles 1

Art

ART 051. Independent Study: Art. 1-5 Unit. ART 250. Prior Learning: Art. 0 Units. ART 251. Independent Study: Art. 1-5 Unit. ART 253. Internship. 1-5 Unit. ART 257. Concepts in Art: Theory and Process I. 3 Units. ART 302. Cultural Currents in Art: Parallels and Intersections. 3 Units. This course explores major stylistic movements in the art of the Americas, Europe, Africa and the Far East, with an emphasis on cultural and historical context. Specific aspects include iconography, function, formal elements, sources of creativity, and the effects of geographical and historical forces. Particular attention is given to both culture-specific and universal themes, and to how the art of these diverse cultures has influenced the development of 20th century art. ART 303. Art, Politics, and Society. 1 Unit. This workshop examines the relationship of culture and politics, especially in the realm of social change. Students investigate the effects and limitations of artistic expression as a means of change and explore the motivations of artists working in this realm. Examples from various media are used spanning different cultures and historical eras, with the major focus on 20th Century United States. ART 304. The Mural Movement. 1 Unit. This workshop examines many examples of murals as a vibrant form of social criticism and political perspectives. The major focus is on the Mexican mural renaissance of the early 20th Century, the WPA murals in the United States during the 1930s, and the modern mural movement in America from the late ’60s to the present. Students attend the required guided tour of Judy Baca’s "Great Wall’ in Van Nuys. ART 305. Standup Comedy: Social-Political Perspectives. 1 Unit. ART 306. The Visual Arts: an Experiential and Analytic Approach. 3 Units. This course explores the aesthetic experience in the visual arts through the examination of conceptual and formal elements, expressive qualities, and the resulting content and meaning of specific works of art. Elements of style and its relationship to culture and historical development are explored in depth, through formal analysis and hands-on exploration of visual arts techniques. No prior studio experience is required. This course is designed to bridge the gap between the creative process and critical discourse. ART 307. The History of Women in Western Art. 3-4 Unit. This class surveys the history of women in western art and addresses such issues as the women’s images, the lack of arts education for women, and problems of attribution. Students trace the changes that have allowed women in the 20th Century to emerge competitively in the world of art. ART 308. A Quilter’s Workshop: Abstractions and Applications. 1 Unit. This workshop integrates lectures and demonstrations, classroom projects, quilt samples, and experiential learning. It provides an overview of the history and processes of quilting, techniques for selecting fabrics and designs, and various traditional and contemporary methods used by quilters. Mathematical applications include: scaling, graphing, techniques for precise measurement and overlays. ART 309. History Through Art: a Visual Exploration. 3-4 Unit. The visual arts from Paleolithic through Gothic are examined in this course. The material is considered from the standpoint of social, political, religious, mytholgical,and archetypal themes that have contributed to their formation. These are considered in the context of influece on later Western traditions. ART 310. Sources of Creativity: Theory and Process. 3-4 Unit. This class is designed to examine a variety of current psychological theories on creativity, as students apply this knowledge to music, art, writing, science, psychotherapy, and theatre. The course also focuses on creative blocks, burnout and breakdowns. The class includes discussion, reading and hands-on experience. ART 311. Fundamentals of Drawing in Pencil. 3-4 Unit. This is a studio course for developing fundamental drawing skills. Students learn about all the formal elements that create a successful drawing: line, value, texture, composition, light logic, spatial construction. ART 311A. LA Museums: Public Memory and the Urban Narrative. 3-4 Unit. ART 313. Psyche and Symbol: Archetypal Images of the Human Soul. 3-4 Unit. ART 314. Art and Inspiration: the Creative Impetus. 3-4 Unit. ART 316. Art in the Sixties: the L.A. Art World from Beach Bohemia to Wilshire Pop. 3-4 Unit. ART 317. Postmodern Art Practices. 3-4 Unit. This is a studio course for those who would like to discover their own style, materials, and methods for making authentic artworks. Use of traditional and non-traditional contemporary art practices and media are presented to encourage students to find their own visual language and approach. The nature and methods of various contemporary art movements and genres are examined. Students learn about contemporary art theory by completing projects that utilize various theories including mapping, constructing a personal lexicon, conceptual art, and installation. 2 Art

ART 318. Parallel Worlds: Renaissance to Modern Art Europe & the Americas. 3-4 Unit. Parallel Worlds examines art practices across the hemispheres from 1300 to 1950. The course will unpack the influence and stylistic variances within European (and later international) art during this period. Class sessions will be divided into two parts. One half of the class will be devoted to observing the art of Europe and its stylistic progressions starting with Giotto in Italy to survey art from the Renaissance, to Mannerism, to the Baroque, etc. The second half of the session will explore the colonial counterpart of these movements as seen in the artistic traditions of the Americas (San Miguel de Huejotzingo, the quilts of Gee’s Bend, Frida Kahlo, etc.). We will see how these styles mixed with the indigenous population and the African peoples, as seen in Mexico, Peru, and the United States. By the end of the course, we will examine how the Americas now export their artistic traditions eastward and across the globe. The course will utilize visual samples, theoretical writings, class discussion, and museum trips in order to enrich understanding of the art of these periods with visual sensation. ART 320. Chronology and Controversy in the Realms of Art and Religion. 3-4 Unit. ART 321. Documentary Photography: Image, Idea, And History. 3-4 Unit. This course introduces students to some of the most significant historical and contemporary documentary photographers. Students view and discuss photography projects focused on urban subjects and environments. Emphasis is placed on understanding the sociopolitical aspirations and stylistic approaches of the documentary genre. Photographers covered will include Margaret Bourke White, Walker Evans, Lauren Greenfield, Lewis Hine, Gordon Parks, Dorothea Lange, Mary Ellen Mark, Catherine Opie, Susan Meiselas, Sebastiao Salgado, and W. Eugene Smith. ART 322. : a Revolution in Creative Practice. 3-4 Unit. From the 1960s on, the has inspired pioneering new directions in visual art, as evidenced by recent significant survey exhibitions such as the WACK! show at the Museum of Contemporary Art, Los Angeles in 2007. What is feminist art and how can we learn from its accomplishments and innovations? Who were some of its most interesting and provocative practitioners? How can we incorporate feminist concerns into our art work, in ways that are personally and politically relevant?and aesthetically and conceptually exciting? These are some of the questions we? ll explore as we study a diversity of feminist artists and projects. Students will execute their own art projects in response to some of the core themes and strategies of feminist art, while being encouraged to update their approaches based on current issues and life experiences. We will begin by viewing some pre-cursors of feminist art, then study the critical accomplishments of artists of the 1960s and 70s, and finally move on to discuss contemporary artists. Students need no prior experience in art, and may create class projects based on their particular skill level, including painting, installation, craft- based forms, photography, video, text, performance, and internet-based projects. This class welcomes all genders, and students may address the projects themes as pertains to their experiences and interests. ART 323. Metropolitan Visions: Urban Life in the 20th and 21st Century American Art. 3-4 Unit. ART 324. Contemporary View of Prehistoric to Gothic Art. 3-4 Unit. ART 325. Photography, Collage & 20th Century Avant-Garde Art. 3-4 Unit. ART 326. Art & Community Engagement. 3-4 Unit. ART 326A. Los Angeles Art Now! Pacific Standard Time. 3-4 Unit. ART 327. Los Angeles Art Now! Special Topics. 3-4 Unit. ART 328. Collaborative Art. 3-4 Unit. ART 329. Ideals of Beauty and Creative Practice. 3 Units. This course examines the concept of beauty by studying the biases implicit in a variety of cultures’ definitions of the term. It is designed for students working in the visual arts, creative writing, songwriting, and dance. Following Crispin Sartwell’s book Six Names for Beauty students will create a matrix that compares different cultures’ understanding of what is beautiful and then create their own definition of beauty. Students will further explore cultural differences by creating work utilizing the values of the cultures we study. In Japan beauty is seen in the imperfections found in nature, in classical Greece beauty was rooted in a rigorous demand for perfection. How you define what is beautiful, defines who you are as an artist/creator. ART 330. High and Popular Culture in the L.A. Latina(o) Communities. 3 Units. This seminar explores the Latina/o artistic and cultural scene in Los Angeles both theoretically and practically. It examines the representation of transculturation, biculturality, class, gender, politics, nationality, religion and immigration in both high and popular cultures. Media studied include art, theatre, performance art, murals, television, poetry, literature, music, dance, comics and public or religious festivities. Students travel to offsite locations as part of the seminar’s requirements. ART 331. An Artist’s Lexicon: Developing a Visual Vocabulary. 3-4 Unit. There are two vital elements in developing an artistic voice; one is form and the other is content. This course focuses on identifying content that is meaningful to each student and helps students to translate that content into visual and textual signs. ART 332. Photographic Portraiture: the Soul and Skin. 3-4 Unit. This course explores themes in photographic portraiture from the 19th century to the present. A range of approaches to the portrait will be viewed and discussed: from traditional portraits that purport to depict the souls of revered individuals, to sociological portraits influenced by the work of August Sander, to postmodern portraits that address the machinations of the medium of photography itself. Students will learn aesthetic and critical tools with which to analyze photographs, and become familiar with several influential bodies of work in portraiture. ART 335. History of Philosophy: the Politics of Beauty From Plato to the Present. 3 Units. ART 336. Jung, Mandalas, & the Active Imagination. 3-4 Unit. Antioch University Los Angeles 3

ART 337. Self As Subject. 3-4 Unit. Students begin by identifying their many selves, how who they are is shaped by issues such as cultural identity, gender, and class. Using art students map the complex intersection of these selves. The art is designed to celebrate these identities and use irony and humor to turn around images/ideas, which are prejudicial. Turnarounds can be a powerful form of social criticism. Participants will also draw upon memories/their personal stories to make art. Students will be exposed to the work of artists such as Betye Saar, Linda Nishio and Felix Gonzalez-Torres. Group discussion about the ideas and dialog related to the work that is produced are important parts of the course. We will work from art critic, Lucy Lippard’s book Mixed Blessings to generate dialog and so that students can become familiar with artists who are working with identity. ART 338. Picasso: Life and Work. 3-4 Unit. This course studies Picasso as an original artist and Picasso, the person, in relation to his constructivism. Contributions to Cubism are emphasized. In addition, the work of other artists are compared and contrasted such as Rodin, Matisse, Rembrandt, and Michelangelo. ART 339. Art, Recycling, and Consumption. 3-4 Unit. In this course students collect the by-products of their day-to-day consumption and then make art work with those materials, beginning with mapping their own usage; collecting materials and measuring waste. Students examine issues of toxicity and the ethical questions of utilizing more traditional media in the face of our current ecological crisis. Students make use of the data and/or the actual materials collected in the making of their art work. As this is a studio class, students work during class making constructions in the form of mapping, assemblage, collage and sculpture. This course takes students beyond the early foundational skills of art making into the more conceptual challenges of art making. It is by examining why artists use the materials they use, the impact of those choices that students can come to a conceptual premise for their work. Students learn to integrate form and subject. ART 340. Pictures From Light: Understanding Photography. 3-4 Unit. This course is an introduction to the aesthetics of the photographic medium. Students view a wide range of photographic images from the genres of documentary, art photography, and portrait photography. Readings by artists, historians, theorists, and critics are assigned and discussed as they relate to the topics covered each week. Emphasis is placed on students developing an eye for photographic composition and an understanding of the aesthetic, ethical, and theoretical underpinnings of individual photographers’ work. Special emphasis is placed on introducing students to significant women photographers and photographers of color. ART 340A. Portfolio Development I. 3-4 Unit. ART 341. The Decisive Moment: A Creative and Critical Overview of Photography. 3-4 Unit. This is a weekly group in which students learn to develop a cohesive body of work through discussion and in class critiques. Students will learn the four basic elements in conducting a successful critique: description, interpretation, theory and judgment. This course can be taken as part of a yearlong mentoring program, which helps students learn about a broad spectrum of professional art practices from the creation of new work through to exhibition. ART 341A. Portfolio Development II. 3-4 Unit. This is a weekly group in which students learn to develop a cohesive body of work through discussion and in class critiques. Students will learn the four basic elements in conducting a successful critique: description, interpretation, theory and judgment. Students will learn to create a body of work that is cohesive and ready for exhibition, identify personal themes and philosophies used in the work, write an artist’s statement, prepare a packet that can be used for submission to galleries and curators, be able to have work critiqued in a constructive manner, and be able to critique the work of others in a constructive manner. ART 342. Questioning Art: Personal, Spiritual and Social. 3-4 Unit. This class takes a multidisciplinary approach-psychological, biographical, sociological, and metaphysical- in exploring the various purposes of the arts and their place in the social world. Among the topics discussed are aesthetic expression in the context of Western and non-Western cultures, and an investigation of both universalistic and relativist claims about the very nature of art. Examples will be drawn from the visual arts, literature, performance and music. ART 342A. Professional Art Practices. 3-4 Unit. The course assists students in preparing themselves and their work professionally. Students learn to prepare a body of work, create a proposal for an exhibition, find a space and create a group exhibition, design the exhibition, and promote the exhibition. They will learn everything from how to create a proposal through to exhibition design and hanging. Prerequisite: Professor’s approval required for admission to this course. ART 343. Los Angeles in Focus: a Photographic Journey. 3-4 Unit. By looking at Los Angeles material culture through photography, this course examines the connections among photographic language, representation, perception, sense of place, and cultural identity. The course introduces a cross-disciplinary approach to analyzing L.A’s ambiguous image; it both offers hands-on amateur photography and/or clipping, and an open discussion on Los Angeles as the recurrent target of either extreme rejection or allure. ART 344. Post-Studio Aesthetic. 3-4 Unit. ART 350. Prior Learning: Art. 0 Units. ART 351. Independent Study: Art. 1-5 Unit. ART 353. Internship. 1-5 Unit. ART 368. Ritual, Myth, and Art. 3 Units. ART 390A. The History of Women in the Visual Arts: Spec Topics in Art. 1 Unit. ART 390AA. A Story of Photography: the Marjorie and Leonard Vernon Collection. 1 Unit. 4 Art

ART 390AC. The Art of the Protest. 1 Unit. ART 390AD. Active Listening and Social Art Practice. 1 Unit. Developing our capacity to actively listen is critical to the art of social practice and helps us understand the politics of our various social positions. In this one-day workshop, we will actively consider some of the various ways artists and other social practitioners can use listening as strategies for effective community engagement. We will experiment with story telling, drawing, theater, and site-specific exercises on Antioch’s campus to challenge our inherited dominant systems of speaking, telling and informing. Through this experiential learning process, we will create applied strategies for our own practices, and collectively form a project proposal. ART 390AE. Appropriation & Subversion: the 1980S Art of Barbara Kruger, Sherrie Levine, & Adrian Piper. 1 Unit. Taking their cues from the conceptual and feminist art of the 1960s and 70s, postmodern artists Barbara Kruger and Sherrie Levine and pioneering conceptual artist Adrian Piper used radical strategies to undermine conventions of beauty and originality in visual art. Emulating the aesthetic of propaganda posters, Kruger’s work combined images borrowed from magazine advertisements with provocative statements to confront sexism and the ideologies of consumer culture. Sherry Levine reproduced works by masters of modernist photography and sculpture to challenge ideas about originality and genius in the art marketplace. Artist and philosopher Adrian Piper used her own mixed-race heritage as a springboard to confront racist assumptions and racial stereotypes in everyday social interactions. We will explore the careers of these three artists, as well as their influence upon a subsequent generation of contemporary artists. The workshop includes a visit to LACMA to view the exhibition "Ends and Exits: Contemporary Art from the Collections of LACMA and The Broad Art Foundation. ART 390B. and the Surrealist Movement: Spec Top in Art. 1 Unit. This workshop focuses on the work of Jill Ansel as a muralist and her process as an artist. Students explore the role of a visual artist in contemporary culture with an emphasis on staying true to one’s vision in the face of marketplace and making a political and social contribution through art. Students also visit a mural site and an artists’ studio. ART 390C. Muralism and the Muralist: Special Topics in Art. 1 Unit. ART 390D. Visual Arts in Multi-Cultural Los Angeles: Special Topics in Art. 1 Unit. In Los Angeles visual artists from every ethnic and racial community in the region have produced paintings, murals, sculptures, photographs, installations, and other works that reflect their identity and heritage, express their pride and dignity, and communicate their social and psychological problems. This workshop examines many examples of their work and introduces students to the vast array of alternative art galleries, museums, and other institutions. ART 390E. Monsters, Gargoyles and the Girl: Strategies of the Grotesque in the Visual Arts. 1 Unit. This one-day workshop explores the notion of the grotesque in a variety of artistic contexts, ranging from ancient Greek gorgons and Medieval gargoyles to the contemporary feminist work of Cindy Sherman and others. The workshop attempts to contexualize and understand the grotesque as a particularly gendered artistic category: historically, employed as the dominant marker of excessive female sensuality/sexuality and then later exaggerated and displayed as a subversive feminist strategy. ART 390F. The Unexpected Afterlives of Art and Architecture. 1 Unit. ART 390G. Art, Artists and Social Change. 1 Unit. In this workshop students explore art as a vehicle, which engages in civic discourse and social action. We will consider, among other notions, the role of art in a democratic society, the subversive imagination, the relationship between art activism and political activism, and the limit of activist art. ART 390H. Aesthetics and Theory of Photographic Portraiture. 1 Unit. Photographic portraits attempt to represent individual character, as well as some aspect of the human condition. But there is more to a photographic portrait than meets the eye. This workshop addresses examples of portraiture by a wide range of photographers, from the most unusual and celebrated historical practitioners to active contemporary artists. Students explore some of the aesthetic and conceptual underpinnings and assumptions behind the images, as well as the social and ethical issues surrounding representations of ethnicity, class and gender. No grade equivalent allowed. Founded in 1972 as an artists’ collective in Boyle Heights, Self-Help Graphics has been an instrumental player in the community’s cultural development, using art as a tool for social change and empowerment among young Chicana/o artists in the city. In a one-day workshop, students meet at Self-Help Graphics where they learn its remarkable history from those who helped make it. Artists affiliated with Self-Help Graphics speak about the organization’s relationship to the Chicana/o Movement, to the death of journalist and activist Ruben Salazar, and to the formation of the country’s first Dia De Los Muertos celebration. Students participate in a print-making workshop and learn about how Self-Help has been educating the city’s youth in various forms of artistic production. The afternoon includes a tour of the Boyle Heights area to consider the challenges it faces from forces committed to gentrification in Los Angeles. No grade equivalency allowed. ART 390J. The Origins of Archetypal Imagery: a Personal and Cultural Exploration. 1 Unit. This workshop defines the concepts of archetypes and delves into a visual exploration of images that portray various archetypal themes throughout word cultures. The course provides an oppurtunity for students to create art that focuses on these images within themselves. ART 390K. The Sensational Image: the Photography Of Weegee. 1 Unit. ART 390L. Self-Help Graphics: Community, Cultural Production and the Politics of Gentrification. 1 Unit. ART 390M. Archetypes of the Unconscious: An Exploration. 1 Unit. This class is an exploration of archetypes and symbols through the myths and visual imagery of multiple cultures. The human psyche as an archetype as Jung theorized is presented. Students experience and delve into their own archetypal realm through the process of symbolizing inner states through artistic experience. A research paper on a chosen archetypal theme offers experience in synthesizing empirical inquiry with personal observation. Antioch University Los Angeles 5

ART 390N. Self As Subject. 1 Unit. This class examines the multiple selves that comprise our identities. Students begin by identifying their many selves, how who they are is shaped by issues such as cultural identity, gender, and class. Using collage students map the complex intersection of these selves. The collage is designed to celebrate these identities and use irony and humor to turn around images/ideas which are prejudicial. Turnarounds can be a powerful form of social criticism. Participants also draw upon memories/their personal stories to make drawings that express their feelings with color and translate experiences into symbols. The work of artists such as Betye Saar, Linda Nishio, and Felix Gonzalez-Torres serves as illustration and focal point for discussion. ART 390P. Picturing Labor: Art & Propaganda in Photographs of Workers. 1 Unit. ART 390Q. Approximately Infinite Universe: the Art of . 1 Unit. ART 390S. Contemporary Art in Los Angeles. 1 Unit. Los Angeles has been a major art hub since John Cage first studied with Arnold Schoenberg in the 1930s. The arts in LA have long stood in the shadow of other cultural industries and thus have been able to flourish without intense scrutiny like art in New York. Because of this open space, Los Angeles has positioned itself at an important crossroads of openness and experimentalism that has pushed it to the front of the American art scene. This workshop will focus on the work made in Los Angeles since John Cage and will examine his influence upon artist’s practices since. Cage’s music incorporated elements from the visual arts and can be seen as some of the first inter-media work that aimed to blur the line between art and life. We will examine the work of L.A. artists like Chris Burden, Paul McCarthy and Catherine Opie amongst others in order to better understand the artistic production of this major art center from the 30s to the present. The instructor will act as tour guide, highlighting important places, people, and movements that have left an indelible mark on this city and the world. No grade equivalents allowed. ART 390T. Photography and Modern Art: Through the Lens of Paul Strand. 1 Unit. ART 390X. Oedipus and Electra: Textual and Visual Origins of the Psychoanalytic Pantheon. 1 Unit. ART 390Y. The Fictional Self-Portrait in Photography. 1 Unit. This workshop explores the work of photographers who use role-playing and masquerade in their work. Examples include Cindy Sherman, Yasumasa Morimura, Claude Cahun and others who use elaborate costumes, masks, make-up, and photographic manipulations to depict themselves as characters of fiction and fantasy, or as interpretations of cultural icons and stereotypes. The class explores the historical and theoretical context for the use of masquerade in self-portraiture, as well as the challenge this practice represents to fixed ideas about gender, sexuality, and ethnicity. No grade equivalent allowed. ART 390Z. Beautiful Suffering: Art and the Aesthetics of Pain. 1-2 Unit. This workshop explores the work of photographers who create beautiful images of suffering. Examples include photographs by Luc Delahaye, Mary Ellen Mark, Susan Meiselas, Sebastio Salgado, and others who subejects include the war in Iraq, the aftermath of Hurricane Katrina, conflicts in Central America, and famine in Northern Africa. Students discuss what constitutes "beauty" in a photograph, and whether artists are justified in making visually pleasing images out of human pain. In addition, the class addresses the question of whether photographic images of harsh realities can serve as catalysts for change. No grade equivalant allowed. ART 401. History of Performance Art. 3-4 Unit. Students explore the shifting phenomenon of performance art by examining its historical origins, as a reaction to and deconstruction of the economic and aesthetic constraints of such artistic disciplines as visual art and theater. The course explores different formal movements in performance, including body-based work, identity-based work, time-based work and storytelling. The focus is on performance as it has developed and mutated in Los Angeles, with guest class visits from innovative and leading local artists. Through reading, viewing taped performances, discussion and practical exploration, students familiarize themselves with the radical possibilities of this discipline through historical, societal, political, and economic perspectives. ART 451. Independent Study. 1-5 Unit. ART 453. Internship: Art. 1-5 Unit. ART 490. A Play on History: Marx in Soho. 1 Unit. ART 490A. The City in Art. 1 Unit.