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Course Criteria
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1.00 Credits
Critically examines paintings of the Impressionists in France in the context of historical documents from the period, contemporary critical writings about the artists and paintings, and the art historical texts generated about the art. A study of Impressionism's roots in French romanticism and realism introduces the course. Special attention is paid to the particular historical circumstances that gave rise to Impressionism as a movement, and to the gendered nature of both the production and reception of Impressionist paintings. Wickre.
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1.00 Credits
Examines the roles women have played as creators, subjects, patrons and critics of art through history. Special emphasis will be placed on theories of the social construction of gender through art in all periods and on responses of contemporary women artists to such constructions. Wickre.
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1.00 Credits
Examines art that invites or encourages social awareness and/or action. Includes studies of "high art'' media, such as photography, painting and sculpture, and non-traditional art forms including performance art, public murals, crafts, environmental art and others. Thematically arranged around politicized issues such as race, rape and domestic violence, concepts of the body, pacifism and war, poverty, illness and AIDS, the course begins with political movements in the nineteenth century which relied heavily on visual images to achieve their purposes. Wickre.
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1.00 Credits
Examines representations of individuals and groups who traditionally have been viewed as "others'': African Americans, Native Americans, Asians and Chicanos/Chicanas as contrasted with images of members of the dominant culture. Considers how visual art has served to reflect social conditions and situations and to construct identities for certain ethnic groups in the American psyche. Wickre.
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1.00 Credits
Focuses on how artists have used the forms and techniques of printmaking to express themselves visually from the fifteenth century to the present. The course uses three approaches: (1) art history lectures and discussions based on readings; (2) connoisseurship in studying prints from the College's permanent collection; and (3) practical application in producing prints in some of the major printmaking techniques. Students will begin to understand how the potential and? limitations of various traditional techniques enable particular types of visual communication. Emphasis is placed on student-facilitated learning, exploration, discovery and collaborative processes. Wickre/McCauley.
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1.00 Credits
Examines American (U.S.) and European art and architecture that interacts with the environment and calls attention to the benefits and consequences of human interaction with the environment in a national and global context. Focuses on art, architecture and design projects produced from 1960 to the present and materials that set the context for artistic concerns about the environment beginning in the nineteenth century. Wickre.
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1.00 Credits
Art-historical analysis of earth-mother images and images of such goddesses as Inanna, Isis, Aphrodite, Diana and Asherah reveals the visual strategies through which our ancestors constructed meaning, value and gender identity. Addresses historical, spiritual and normative questions including: What evidence is there of longstanding goddess worship in the Stone Age? Why were goddesses important and why might they still be important? Why is a feminist perspective useful in understanding art and history? Morrow.
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1.00 Credits
Prerequisite: Art 111, 212, or permission of instructor. Traces the development of the medieval cult of saints in the Early Christian period and how meaning in the lives of the saints was created, received and, later, reinterpreted by subsequent writers, artists and supplicants. Offers an approach to the problems of interpretation of medieval art by examining the relationship between word and image. Also considers how literary and visual works shaped Christian worship. Morrow.
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1.00 Credits
Prerequisite: Art 110 or 205. Focuses on points of conflict and controversy being debated by scholars of non-western art history today, centering around a post-colonial interpretation of culture that has led artists, anthropologists, art historians, collectors, dealers and curators to question their roles in working with non-western art. Topics include tourism and art, collection, display, authenticity, construction of identity and repatriation. Morrow.
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3.00 Credits
Offered on a credit/no credit basis. Staff.
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