First Page

Dr. John A. Stinespring, Ph.D.                                                                                            Schedule of Assignments

Classroom: Architecture 1, Monday/Wednesday/Friday, 9:00-9:50                            Stinespring's Resume

COURSE SYLLABUS

Department of Art ART 1309-001 Credit Hours: 3

Catalogue Description

Art Appreciation (3:3:0). Survey of the visual arts of western and nonwestern cultures with emphasis on understanding art through form, content, and cultural context. Nonmajors only.

Course Objectives

Students will demonstrate an overall factual base reflecting an overview of the artworks of the Western tradition and selected non-Western forms of artistic expression on quizzes and exams.

Students will demonstrate an approach to describing and critiquing artwork available in the Texas Tech Museum.

Students will apply theories of art for understanding and criticism of works of art.

Students will develop and use a vocabulary of terms to describe art materials, supplies, techniques, critical stances, and historical contexts in art.

Students will demonstrate understanding of a selected style of art (Western and non-Western) by a researched paper and possible selection for oral presentation.

Grading

(See OP 31.12, Vol. I. Number 1 for meaning of grades.)

The final grade for the course will be based on an average of grades from quizzes, regular class attendance and participation in general class discussion, written papers, examinations.

My grading system calls for a single grade to be given for each criterion. A large research assignment with criteria could have three grades—one for good form and writing style; one for research quality and one for focus and logic, . All letter grades are given a numerical score and all of the grades are averaged together to determine the grade for the course. Because all the "source searching" is done in the assigning of each grade give, the final grade is just a matter of arithmetic. The course will produce a number of grades during the semester. The grade system is as follows:

A+ = 15

A = 14

A- = 13 For final grade, A = 13.5+

B+ = 12 A- = 12.5-13.49

B = 11 B+ = 11.5-12.49

B- = 10 B = 10.5-11.49

C+ = 9 B- = 9.5-10.49

C = 8 C+ = 8.5-9.49

C- = 7 C = 7.5-8.49

D+ = 6 C- = 6.5-7.49

D = 5 D+ = 5.5-6.49

D- = 4 D = 4.5-5.49

F+ = 3 D- = 3.5-4.49

F = 2 F = 0-3.49

F- = 1

0 = 0

Some assignments, like journals, are marked with a check, which means "assignment satisfactorily completed". Those are not averaged into the total grade unless they are missing. One or more missing checkmarks could result in an additional 0 being averaged into the total.

Graded Assignments and Weight

Short Paper—What Is Art? 1 grade

Quizzes Given Without Notice 1 grade each

Written In-class Responses 1 grade each

Museum Written Report 2 grades

Mini Media/Techniques Report 2 grades

Mini Avant-garde Artist Report 2 grades

Major Artist Research Paper 4 grades (Theme, Research, Writing, Overall)

Midterm Exam 2 grades

Final Exam 4 grades

Class participation 3 grades

Attendance

(See OP 31.04, Vol. I, Number 4 for policies.)

At the beginning of each class session, I will lay out 3 X 5 cards with your names on them. You must personally pick up your card and hand it to me as you enter the class. This card will be evidence of your attendance. I will use these cards to call on people by name to comment during class. Absences will have a decided impact on the grade received in this course. FOUR SUCH ABSENCES WILL RESULT IN A ONE LETTER GRADE REDUCTION FOR THE COURSE. Additional absences may further reduce the course grade. Absences will not be excused unless written exemption is obtained from the dean of your college indicating exceptional circumstances deserving special consideration. THREE TARDIES WILL BE COUNTED AS ONE ABSENCE. Leaving early will also count as a tardy. The instructor may take roll at any time during the class. Students are expected to be present and involved in class activities during the entire class period. Under OP 31.04, students absent from class when representing the University on officially approved trips are allowed to complete assignments and make up exams. The instructor must be notified in advance of such a trip and absence so that appropriate plans for make up can be provided. Under OP 30.16 a student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence if, not later than the fifteenth day after the first day of the semester, the student had notified the instructor of each scheduled class that the student would be absent for a religious holy day.

Work in Class

Students are expected to prepare assignments and be ready to discuss the topics based on that study. The instructor will feel free to call on any individual to offer responses to topics of discussion.

Submission of Assignments

Due dates for all assignments will be announced. Work is due at the beginning of class of the designated date. Assignments one class late will be reduced one letter grade. No assignments will be accepted after the next class period after the assignment is due. Students shall arrange to send work in if they are absent on the date that an assignment is due.

Americans with Disabilities Act

Any student who, because of a disabling condition, may require some special arrangements in order to meet course requirements should contact the instructor as soon as possible so that the necessary accommodations can be made.

Academic Honesty Policy

(See OP 31.12, Vol. I, Number 2.)

The Undergraduate Catalog states policies concerning academic integrity. It should be understood that for "students to present as their own any work which they have not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension." See the section on "academic Conduct" in the Code of Student Conduct for details on cheating and plagiarism.

Health and Safety Policy

(See OP 78.05, Vol. II, pp. 5-7.)

The School of Art will endeavor to comply with the intent of state laws or acts and the University Health and Safety Program in an effort to maintain a safe academic and working environment for students, staff, and faculty.

Textbooks for the Course

Terence Grieder. (1996). Artist and Audience (2^nd edition). Madison, WI: Brown and Benchmark, Publishers. ISBN 0-697-28692-4.

Linda Weintraub. (1996). Art on the Edge and Over. Litchfield, CT: Art Insights, Inc.. ISBN 0-9651988-1-2

Curriculum Guide and Syllabus with Selected Readings: At Copy Tech located in West Hall.

INSTRUCTIONS FOR PAPERS

Short Paper on "What Is Art?"

1. This paper is intended to be short—about a page—but you should feel free to run over into a second page if you have something more to say.
2. While the ideas in this paper are intended to be yours, you should feel free to quote some other source if it really addresses your view of what art is.
3. The question of the paper is intended to be a bit philosophical in the sense of discussing the abstraction of "art" as a general concept rather than being so specific about individual works. However, you may need to mention specific works of art to illustrate what you are saying about art.
4. If you quote any source, you should properly footnote (or end note) it using a standard method of documentation (MLA, APA, Chicago).
5. In this and all papers you write in college, care should be taken to write with correct spelling, grammar and sentence structure.
6. The paper is due Wednesday Jan 17. Late papers lose a letter grade and two class periods late are not accepted.

1. On the assigned day, students will travel to the Texas Tech University Museum to review art work.
2. Students will follow the Feldman/Mittler phenomenological method of art criticism.

1. DESCRIPTION: Literal Qualities in artwork:

Elements of Art in artwork:

2. ANALYSIS: Use of the Principles of Art to determine how the work is designed:
3. INTERPRETATION: Determining the story, the idea, the mood, the meaning, the feeling of the artwork:
4. EVALUATION: Judging the success of the artwork according to the criteria of

Imitationalism: Is it real? Are proportions correct? Is it intended to look real?

Formalism: How successfully is it designed? Does the use of the principles of art create a sense of unity?

Emotionalism: How effectively does the work communicate an idea, tell a story, get across an emotion or otherwise do what it is trying to tell us?

1. Your report must follow the steps of this method in order because the intent is to insure that you will carefully look at the work before beginning to interpret or judge the work.
2. The report is to be written and submitted according to format if you did not get to present your report orally in the museum.
3. Your report should be phenomenological, meaning that it should be primarily based on what you can see directly in front of you. You, of course, may have some prior knowledge that will enter into your assessment of the work and, naturally, cannot ignore what you already know. The intent of approaching this assignment in a phenomenological way is to demonstrate that, without specialized knowledge about art history and criticism, you can still get much out of looking at works of art. The typical museum visit occurs when someone walks into a museum without any knowledge of what works are exhibited there and, therefore, the works must be viewed without any special advanced knowledge.

INSTRUCTIONS FOR MINI MEDIA/TECHNIQUES REPORTS

1. You will be assigned a topic from the following list to prepare to explain in class. Using the textbook, prepare to explain to the class in 5 minutes or less the medium or technique assigned.
2. You should use the textbook with the class to point out pictures that help to explain what you are assigned to explain.
3. Things you might include in your report—famous artworks done with your medium or technique, kinds of materials used, details about how the techniques are done, any issues or controversies raised by the medium or technique, advantages or disadvantages of the medium or technique, special equipment involved, how quick or slow its use requires,
4. If possible, supplement your report with other materials if they would help in your explanation.
5. The list of topics:

Drawing, pp. 148-155.

Printmaking, woodcut and linocut, pp. 156-158.

Intaglio prints, engraving and etching, pp. 159-161.

Lithography, pp. 162-163.

Serigraphy, pp. 163-165.

Black and white photography, pp. 166-171.

Color photography, pp. 171-173.

Cinema, pp. 175-178.

Video, pp. 178-181.

Digital photography and computer graphics, pp. 182-186.

Fresco, pp. 189-196.

Watercolor, pp. 197-199.

Tempera, pp. 200-203.

Oil painting, pp. 204-209.

Acrylic painting, pp. 211-216.

Relief and in-the-round sculpture, pp. 218-222.

Carving and modeling, pp. 222-224.

Casting, pp. 224-227.

Contemporary hard sculpture, pp. 228-230.

Contemporary soft sculpture, pp. 231-234.

Site-specific and environmental sculpture, pp. 234-236.

Energy sculpture, pp. 236-237.

Ready mades, p. 238.

Human body sculpture, pp. 239-243.

MAJOR ARTIST RESEARCH PAPER

Each student will have a major, heard-of artist as a subject for a research paper. The paper should be around 10 pages (normal margins, normal font). The paper should meet normal standards for documentation (footnotes and bibliography such as found in the American Psychological Association, 4^th ed., or Chicago, 14^th ed., or MLA, or other standard you might have worked with in your field). The expectation is that the research should represent information from a number of sources (at least 4) and that any direct borrowing of wording from these sources will be indicated by quotation marks and footnotes. It is also expected that the paper will be written well enough so that spelling, sentence structure and other basic mechanics of writing will not be a distraction to the reader.

This paper should be more than just being "about" the artist. Try to identify a theme or central idea about the artist or his/her artwork and then build the paper around that idea. You will be asked to write an outline of your proposed paper with a thesis statement to show how your paper will support the thesis statement. A collection of materials from a variety of sources that are just chained together without being organized to support a general idea is not considered to be a research paper. Inclusion of copy machine images of artwork by the artist is helpful.

Increasingly, the Internet is a source of useful information. Because of the lack of normal scholarly control of quality and accuracy in this information realm, I will require any Internet source used in the paper to not only report the http etc. address, but will also identify the source of that site (e.g., The Louvre; or Prof. Jones of the State University of New York).

Giotto                                                                         Brunelleschi                                                                             Ghiberti

Donatello                                                                    Masaccio                                                                                 Fra Angelico

Giovanni Bellini                                                         Botticelli                                                                                     Leonardo da Vinci

Michelangelo                                                             Giorgione                                                                                    Raphael

Titian                                                                             Cellini                                                                                         Tintoretto

El Greco                                                                         Van Eyck                                                                                     Van der Weyden

Bosch                                                                             Grünewald                                                                                 Dürer

Breugel                                                                            Caravaggio                                                                             Rubens

Bernini                                                                             Velázquez                                                                             Rembrandt

Vermeer                                                                            Watteau                                                                                 David

Ingres                                                                                 Goya                                                                                     Turner

Constable                                                                         Delacroix                                                                                 Hokusai

Millet                                                                                 Courbet                                                                                 Eakins

Pissarro                                                                             Manet                                                                                     Degas

Monet                                                                             Renoir                                                                                     Cassatt

Cézanne                                                                             Gauguin                                                                             Van Gogh

Seurat                                                                                 Matisse                                                                                 Rouault

Chagall                                                                             Picasso                                                                                     Léger

Braque                                                                             Klee                                                                                         Duchamp

De Chirico                                                                         Ernst                                                                                     Dalí

Kandinsky                                                                         Mondrian                                                                             Rodin

Brancusi                                                                             Boccioni                                                                             Calder

Moore                                                                                 Giacometti                                                                         Gaudí

Le Corbusier                                                                     O’Keeffe                                                                             De Kooning

Pollock                                                                                 Stella                                                                                 Christo

Rauschenberg                                                                     Oldenburg                                                                         Johns

Warhol                                                                                 Close                                                                                 Flack

Estes                                                                                     Rivera                                                                                 Kahlo

Wood                                                                                     Escher

Note: As an alternative topic, the art of a particular Non-Western society (be specific) or other non-mainstream (i.e., "Western") artist can be chosen. If that is your choice, you must clear the topic early with the instructor.

INSTRUCTIONS FOR MINI AVANT-GARDE ARTIST REPORTS

1. You will be assigned an artist in the Weintraub book or perhaps another source. You should read the appropriate pages in the Weintraub book about your artist.
2. You should prepare to make a no-more-than-five-minute oral report to the class on your artist.
3. You will be called on without warning during the days set aside for these reports. BE PREPARED.
4. In the report, include the following:

1. Name the artist. Identify his/her time and place.
2. Describe at least one of the artworks done by this artist in enough detail so that the class can understand what the artist did.
3. Try to explain the point of the artwork according to the artist or the critics.
4. Feel free to express your own opinion about the artwork—is it "art," is it offensive to you, why might others find it "difficult," etc.?