Required Checklist for All Curricular Proposals

WINONA STATE UNIVERSITY

REQUIRED CHECKLIST FOR ALL CURRICULAR PROPOSALS

Course or Program______

This checklist enables A2C2 representatives to endorse that their departments have accurately followed the Process for Accomplishing Curricular Change. For each course or program proposal submitted to A2C2, this checklist must be completed, signed by the submitting department's A2C2 representative, and included with the proposal when forwarded for approval. Peer review of proposals is also strongly advised, e.g., departments should discuss and vote on the proposals as submitted to A2C2, rather than on just the ideas proposed or drafts of proposals.

If a proposal fails to follow or complete any aspect of the process, the Course and Program Proposal Subcommittee will postpone consideration of the proposal and return it to the department's A2C2 representative for completion and resubmission. Resubmitted proposals have the same status as newly submitted proposals.

Note: This form need not be completed for notifications.

1. The appropriate forms and the “Approval Form" have been completed in full for this proposal. All necessary or relevant descriptions, rationales, and notifications have been provided.

______Completed

2a. The “Financial and Staffing Data Sheet" has been completed and is enclosed in this proposal, if applicable.

______Completed ______NA

2b. For departments that have claimed that “existing staff" would be teaching the course proposed, an explanation has been enclosed in this proposal as to how existing staff will do this, e.g., what enrollment limits can be accommodated by existing staff. If no such explanation is enclosed, the department's representative is prepared to address A2C2's questions on this matter.

______Completed ______NA

3. Arrangements have been made so that a department representative knowledgeable of this proposal will be attending both the Course and Program Proposal Subcommittee meeting and the full A2C2 meeting at which this proposal is considered.

______Completed

Name and office phone number of proposal's representative: ______

4. Reasonable attempts have been made to notify and reach agreements with all university units affected by this proposal. Units still opposing a proposal must submit their objections in writing before or during the Course and Program Proposal Subcommittee meeting at which this proposal is considered.

______Completed ______NA

5. The course name and number is listed for each prerequisite involved in this proposal.

______Completed ______NA

6. In this proposal for a new or revised program (major, minor, concentration, etc.), the list of prerequisites provided includes all the prerequisites of any proposed prerequisites. All such prerequisites of prerequisites are included in the total credit hour calculations. ______Completed ______NA

7. In this proposal for a new or revised program, the following information for each required or elective course is provided:

a. The course name and number.

b. A brief course description.

c. A brief statement explaining why the program should include the course.

______Completed ______NA

8. This course or program revision proposal:

a. Clearly identifies each proposed change.

b. Displays the current requirements next to the proposed new requirements, for clear, easy comparison.

______Completed ______NA

9. This course proposal provides publication dates for all works listed as course textbooks or references using a standard form of citation. Accessibility of the cited publications for use in this proposed course has been confirmed.

______Completed ______NA

______

Department's A2C2 Representative or Alternate Date [Revised 9-05]

WINONA STATE UNIVERSITY

PROPOSAL FOR REVISED COURSES

Department _ART______Date __Feb 16, 2012______

If proposed course change requires A2C2 and/or graduate Council approval, i.e., not considered a notification, complete and submit this form with the appropriate number of copies. Refer to Regulation 3-4, Policy for Changing the Curriculum, for complete information on submitting proposals for curricular changes.

Current Course Information

__ART 221______Art History I______3.00____

Course No. Course Title Credits

This Proposal is for a(n) _X__ Undergraduate Course ______Graduate Course

Applies to: __X__ Major: ARTS, ARTG, ARTT _X____ Minor Art History _X__ General Education Program*

_X_ Required _X_ Required _X_ University Studies Program*

_ Elective __ Elective

Prerequisites ______

Grading __X_ Grade only ___ P/NC only ______Grade and P/NC Option

Frequency of offering ___once yearly______

*For General Education Program course approval, the form Proposal for General Education Program Courses must also be completed and submitted separately according to the instructions on that form. For University Studies Program course approval, the form Proposal for University Studies Courses must also be completed and submitted separately according to the instructions on that form.

Proposed Course Information. (Please indicate only proposed changes below.)

______Survey of Art History______

Course No. Course Title Credits

This Proposal is for a(n) ______Undergraduate Course ______Graduate Course

Applies to ______Major ______Minor ______General Education Program*

_____ Required _____ Required ______University Studies Program*

_____ Elective _____ Elective

Prerequisites ______

Grading ______Grade only ______P/NC only ______Grade and P/NC Option

Frequency of offering ______

A. Changes in the course description,

1. Catalog description (include a display of current and proposed course requirements).

CURRENT - A one-semester survey focusing on western art history, with some attention to non-western traditions, as well as instruction in methods of observation, analysis, and research. Grade only.

PROPOSED- - A one-semester survey focusing on western art history up to mid-19th century, with some attention to non-western traditions, as well as instruction in methods of observation and analysis. Grade only.

2. Course outline of the major topics and subtopics (minimum of two-level outline).

I Discipline-Specific skills (to be reinforced throughout the course)

A. Form

B. Iconography

C. Context

D. Patronage

E. Canon construction

II. Ancient Art before the Greeks

A. Paleolithic

1. the “primitive”

2. “Sympathetic magic”

3. The discovery of Paleolithic art in the modern era

B. Neolithic

1. conditions for Neolithic

2. what qualifies as architecture

C. Ancient Near Eastern

1. Sumer

2. Assyrian

3. Persepolis

4. The Epic of Gilgamesh and the beginnings of iconography

D. Ancient Egypt

1. Canon of Proportions

2. Funereal architecture

3. Akhenaten and monotheism

4. Book of the dead

E. Aegean Art

1. Cyclades

2. Minoan culture

3. Aegean culture

II Classical Art

A. Greece

1. Archaic

2. Classical

a. Humanism

b. Polyclitus and the canon of proportions

c. Late Classical

3. Hellenistic art

B. Rome

1. “Captive Greece captured Rome:” cultural appropriation.

2. The arch and its derivatives

3. Roman rulers: from republic to empire

4. Pompeii and wall painting

5. The Pantheon and geometry

6. Late Roman art: changing styles for changing needs.

C. Jewish art under Rome

D. Early Christian and Byzantine Art

1. the spread and metamorphosis of Roman architecture

2. Pictorial space in the service of Christianity

3. Icons and iconoclasm: East and West

4. Greek thought in Christian theology

5. manuscripts

III Non Western traditions

A. Islam

1. aniconism – spirituality and decoration

2. architecture

3. material culture: lamps, rugs, etc.

4. manuscripts

B. India and Indian subcontinent

1. Hindu

2. Buddhism

3. overlapping and distinctions

C. China

1. Qin Dynasty

2. Early philosophies:

a. Tao

b. Confucianism

3. Silk Road

4. Song Dynasty

a. Neo-Confucianism

b. Eastern and Western pictorial space

c. School of the mind and Chan

D. Japan

1. Early ceramic sculpture

2. Pure Land Buddhism

3. Heian period

4. Zen

E. Art of Africa

1. Nok

2. Ife

3. Benin

E. Art of the Americas

1. Olmec

2. Teotihuacan

3. Peruvian textiles

IV. Medieval Europe

A. Early medieval art

1. architecture

2. patronage: scriptoria

B. Romanesque

1. pilgrimage and reliquaries

2. architecture

3. architectural sculpture

C. Gothic

1. scholasticism and architecture: “divine light”

2. material culture: boxes and vestments

3. painted altarpieces- spiritual and corporeal space

V. Renaissance

A. Patronage

B. Humanism

C. Neo Platonism

D. Linear perspective

E. Spiritual tensions

F. The birth of the modern artist

1. Leonardo and the Paragone

2. Michelangelo and self-doubt

G. Florence vs Venice

1. Vasari

2. Titian

3. Maria Robusti and historical oblivion

H. Mannerism

I. Dürer and the Reformation

VI. The Seventeenth Century

A. Baroque

1. Painting

a. Caravaggio and the ruin of painting

b. Artemesia Gentileschi

2. Sculpture – Bernini

3. Architecture

B. The Dutch art market

1. Rembrandt and printmaking

2. Rachel Ruysch and memento mori

C. Rococo

VII. The Eighteenth and Nineteenth Centuries: Evolution and Revolution

A. Three big ideas

1. Neoclassicism

2. Romanticism

3. Enlightenment

4. Conflict and mixture

B. Goya: Enlightenment and disillusion

C. Industrialization and dissent

1. photography

2. Arts & crafts and “alienation”

D. Academy and avant-garde

1. Ingres and Delacroix

2. Realism

a. Courbet

b. Manet

3.a Instructional delivery methods utilized: (Please check all that apply).

Lecture: Auditorium / ITV / Online / Web Enhanced / Web SupplementedX
Lecture: ClassroomX / Service Learning / Travel Study / Laboratory / Internship/Practicum
Other: (Please indicate)

3.b. MnSCU Course media codes: (Please check all that apply).

None: / 3. Internet / 6. Independent Study / 9. Web Enhanced
1. Satellite / 4. ITV Sending / 7. Taped / 10. Web Supplemented
2. CD Rom / 5. Broadcast TV / 8. ITV Receiving

4. Course requirements (papers, lab work, projects, etc.) and means of evaluation.

Three online exams and one cumulative quiz grade: 25% each.

Exams: Multiple-choice questions evaluate students’ comprehension of key terms, concepts, artists, and styles.

Quizzes: A series of “practice” and “real” quizzes allow for ongoing feedback and occasional surveys of opinion in order to stimulate discussion.

(NOTE: this is an auditorium class)

5. Course materials (textbook(s), articles, etc.).

Marilyn Stokstad, et al. Art: A Brief History, Third Edition (Upper Saddle River, NJ: Pearson; Prentice-Hall, 2007). ISBN: 0-13-195541-1

6. Assessment of Outcomes: In addition to the in-class assessment methods listed, outcomes will also be assessed by the Art Department Learning Fundamentals Exam, and the ability of students to situate their work within an informed dialogue as required by the Junior Review and the Senior Artist Exhibition, Presentation, and Statement.

1. The student will identify different artistic media and techniques when given a combination of visual and verbal information.