ARH 2051 Introduction to Principles and History of Art 2 ...arts.ufl.edu/site/assets/files/105116/western... · 1) Canvas – announcements will be disseminated via Canvas. Please

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ARH2051IntroductiontoPrinciplesandHistoryofArt2RenaissancetothePresent

Spring2017

ProfessorNikaElder GraduateAssistants: LaurenWalter ClemensOttenhausen nelder@arts.ufl.edu laurenwalter@ufl.edu clemens.alban@ufl.edu OfficeHours: Officehours: TBD TBDWeds.,5-6pm FAC118(“TheSalon”) FAC118(“TheSalon”) FAC121 Lectures: DiscussionSections: Th,Periods8&9 F,Periods5&6T/Th,Period6 LIT101

Giotto,“Lamentation,”ArenaChapel, JacobLawrence,“DuringtheWorldWartherewasagreatc.1303-1306 migrationNorthbySouthernNegroes,”TheMigrationSeries,

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CourseDescriptionandGoalsOnFebruary15,2015,thewebsiteBuzzfeedpostedaquiztitled,“Howwelldoyouknowart?”Itaskedsuchquestionsas:“TrueorFalse:VanGoghwasanImpressionistpainter?”And,“WhopaintedtheLastSupper?”AquickGooglesearchwillrevealtheanswerstothesequestionsandmanyotherfactsaboutvisualart,suchastheyearacertainpaintingwasmade,thepersonwhocommissionedagivenbuilding,orwhetheraprintisanetchingoranengraving.Butarthistoryisaboutmorethannamesanddates;itisawayoflookingatimagesandobjectsofallkinds,decipheringwhattheysayabouttheirgivensubjects,andunderstandingwhytheysaythosethings—whatpersonal,political,religious,orculturaldemandstheimagesorobjectsmet.ThiscoursewillintroduceyoutothemeaningandsignificanceofmajorworksofWesternartfromtheRenaissancetothepresentandempoweryouwiththeskillstodevelopsuchinterpretationsyourself.Ultimately,youwillbeabletoaceaBuzzfeedquiz,butalso(andmuchmoreimportantly)walkthehallsofanymuseumoropenanymagazineornewspaperandbegintodecipherthemessagesandvaluesthattheimagesyouseetherecommunicate.

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CourseRequirements:Thecoursehasthreerequirements:engagement,writingassignments,andexams.

1.ENGAGEMENT

Theengagementrequirementhasthreecomponents:1)AttendanceAttendanceisrequiredateverylectureanddiscussionsection.Studentsareexpectedtoarriveontime.YouarepermittedTWOunexcusedabsencesinlectureandNOunexcusedabsencesinsection.Anyadditionalabsencesand/orcontinuedlatenessineitheraspectofthecoursewilladverselyaffectyourengagementgrade.2)ParticipationGreat,you’reinclass—nowwhat?

1.Takeproductivenotesonlecture.Lecturesgowellbeyondthetextbookandwillbethebasisofallexams,soitistoyourbenefittobeasthoroughinyournote-takingaspossible.SeeAppendixAforsomehelpfulnote-takingtips.Lecturewillpresumefamiliaritywithinformation,names,anddatescoveredinthetextbook.Readingsfromthetextbookshouldbecompletedinadvanceofthedatesforwhichtheyareassigned.

Thecoursetextbookis:MarilynStokstad,ArtHistoryvolume2ALACARTE&REVELedition.

ItisrequiredandcanbepurchasedattheUFbookstore.Atthebookstore,youwillfindthehardcopyofthetextbook,whichisapacketratherthanaboundbook,andalsoincludesaccesstotheonlineversionofthetextbook.Tosignupfortheonlineversionofthetextbook,usingthecodeprovidedwiththepacket,visit:

https://console.pearson.com/enrollment/av8sr6

Furtherinstructionsforhowtosignupforonlineaccesscanbefoundinadocumenttitled“RevelStudentRegistration”inthe“Files”sectionofCanvas.Ifyouchoosetobuythetraditional,boundversionofthetextbookfromanonlineprovider,getthe5thedition(2015).However,theaboveoptionissignificantlycheaper.

2.PostresponsestothediscussionquestionsonCanvas.Thesequestionswillhelpyoudigestthereadingsforsectionand,assuch,prepareyoufordiscussion.

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Responsestodiscussionquestionsaredueby11:59pmthenightbeforeyoursectionmeets;so,ifyoursectionmeetsonThursdaysat1:55pm,yourresponseshavetobeinby11:59pmonWednesdayinordertocount.Thereisnopartialcredit—theresponseeitherhasbeenofferedandpostedby11:59pm,orithasnot.Readingsforsectionareavailableinthe“CourseReserves”sectiononCanvas.Ifyourprintingbudgetpermits,Istronglyencourageyoutoprintthetextspriortoreadingthemsoyoucanunderline,highlight,andjotdownnotes,thoughts,andquestionswithabandonaswellasbringthereadingstoclassforyourreference.

3.Participateindiscussionsinsection.Engagingindiscussioncantakemanyforms:respondingtoquestionsaboutthereadings,totheimagesonthescreen,tothecommentsmadebyyourclassmates,oraskingquestionsofyourown.Feelfreetodrawconnectionstocontemporaryeventsandissues,personalexperience,otherclasses,andmaterialcoveredatanypointinthesemester.Offeringopinionsthatdifferfromthosepresentedbyclassmatesisencouraged.Posequestionsonthelectures,statementsmadebyotherstudents,etc.Thesecontributionswillenrichtheclassroomexperienceforallinvolved.

3)PoliciesPleaseadheretoallcoursepolicies.ElectronicsPolicyCellphonesshouldbeplacedonsilentand,alongwithotherelectronicdevices,includinglaptops,putawayforthedurationoflectureandsection.Notescanandshouldbetakenwithpen/pencilonpaperratherthanbylaptop.Researchhasproventhattakingnotesbyhandbenefitscomprehension,retention,andtheoverallclassroomexperience.See,forexample,thefollowingarticlefromTheChronicleofHigherEducationhttp://chronicle.com/blogs/wiredcampus/taking-notes-by-hand-benefits-recall-researchers-find/51411andthejournalarticleonwhichthatpiecewasbasedhttp://www.academia.edu/6273095/The_Pen_Is_Mightier_Than_The_Keyboard_Advantages_of_Longhand_Over_Laptop_Note_TakingWithdocumentationfromtheDeanofStudentsOffice,awaiverwillbemadetothelaptoppolicy.EmailPolicyPleasecheckyourUFemailandCanvasregularly.Importantinformationaboutassignments,meetinglocations,etc.willbedisseminatedviasectionlist-servs.Youareautomaticallysubscribedtothelist-servwithyourUFemail.Inmostcases,Irespondtoemailswithin24-48hours.

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ConductPolicyAsamatterofcourse,studentsareexpectedtoabidebytheUniversity’spoliciesregardingacademichonesty,thehonorcode,andstudentconductrelatedtothehonorcode.Fullinformationregardingthesepoliciesisavailableatthefollowingsites:AcademicHonesty:http://www.registrar.ufl.edu/catalog/policies/students.html#honestyHonorCode:http://www.dso.ufl.edu/sccr/honorcodes/honorcode.phpStudentConduct:http://www.dso.ufl.edu/sccr/honorcodes/conductcode.php

2.WRITINGASSIGNMENTS

Therearethreewritingassignmentsforthiscourse,eachapproximately3-5pagesinlength.AllassignmentsarevisualanalysesofaworkofartondisplayattheHarnMuseumofArt.ThefirstassignmentisdueonCanvasonTues.,February7thatnoon;therevisionofthefirstassignment,includingacoverletterdetailingyourunderstandingofthesuggestionsofferedonyouroriginalpaperaswellasanexplanationofhowyouaddressedthem,isdueonCanvasonThurs.,March2ndatnoon.ThesecondassignmentisdueonCanvasonThurs.,April13thatnoon.

3.ExamsTherewillbeamidtermexamandafinalexamforthiscourse.Bothwillconsistofidentifications,comparisons,andshortanswerquestions.Theywilldrawuponthematerialcoveredincourselectures,discussionsections,andreadings.ThemidtermwillbeinclassonThurs.,February16th.AmidtermreviewwilltakeplaceinclassonThursday,February9th.ThefinalwillbeduringtheexamperiodandwillbeprecededbyafinalreviewinclassonTuesday,April11th.AccommodationsEveryeffortwillbemadetoaccommodatestudentswithdisabilities.Studentsinneedofdisabilityaccommodationsshouldscheduleanappointmentwithmeassoonaspossible.AllaccommodationsrequestsmustbeaccompaniedbynecessarydocumentationfromtheDeanofStudentsOffice.CourseResources1)Canvas–announcementswillbedisseminatedviaCanvas.Pleasebesuretocheckitregularly.2)OFFICEHOURS:I’mhappytomeetwithyouduringmyofficehoursWednesdays,5pm-6pminmyoffice,FAC121,todiscussanyquestionspertainingtothecoursecontent,readingassignments,writingassignments,orexams.Officehoursdon’trequireanappointment;feelfreetojustdropby.Ifyou’reunavailableatthattime,justaskoremailme,andwecanarrangeanothertimetomeet.Additionally,thecourseTA’sarehappytomeetwithyouduringtheirofficehoursinFAC118(Salon):LaurenWalter TBD ClemensOttenhausen TBD

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3)ACADEMICSUPPORTUFTeachingCenterhttps://teachingcenter.ufl.edu/UFWritingStudiohttp://writing.ufl.edu/writing-studio/UniversityCounseling&WellnessCenterhttp://www.counseling.ufl.edu/cwc/GradingThefinalcoursegradeiscalculatedasfollows:15%Engagement20%MidtermExam10%VisualAnalysisI10%Revision20%VisualAnalysisII25%FinalExamAllexamsandassignmentswillbeassignedlettergradesandinputintoCanvas,whichwillcalculatethefinalcoursegrade.Gradingrubricsforeachcomponentofthecoursecanbefoundintheappendicestothissyllabus.FollowingaretheUFgradedefinitions:A:94-100A-:90-93B+:87-89B:84-86B-:80-83C+:77-79C:74-76C-:70-73D+:67-69D:64-66D-:61-63F:0-60Inordertopassthiscourse,allassignmentsmustbecompleted.Noexceptions.Toreceivefullcredit,assignmentsmustbeturnedinontime.Extensionswillonlybegrantedunderspecialorextremecircumstanceswithvaliddocumentationand,unlessimpossible,mustbearrangedinadvance.Withoutanapprovedextension,lateassignmentswillbemarkeddown1/3ofagradeperday.Nomake-upexamswillbegivenwithoutdocumentationdemonstratingthatthescheduledexamdateisimpossible.

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ImportantDatesataGlanceTues.,Feb7th VisualAnalysisIdueatnoonThurs.,Feb16th Midterm(inclass)Thurs.,Mar2nd RevisionofVisualAnalysisIdueatnoonThurs.,Apr13th VisualAnalysisIIdueatnoonTBD FinalExam

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ProjectedCourseScheduleWeek1ThJan5 IntroductionSection: HowtoReadImages

Reading:JenniferRoberts,“ThePowerofPatience,”HarvardMagazine(Nov.-Dec.2013),40-43SylvanBarnet,AShortGuidetoWritingaboutArt,pgs.113-116,47-76

Week2 13THAND14THCENTURIES:THEPROTO-RENAISSANCETJan10 ChristianIdeals Reading: ArtHistory,pgs.532-533,536-547 (Cimabue,Giotto,Duccio)THE15THCENTURY:THEEARLYRENAISSANCEThJan12 HumanPerspectives:TheNetherlands

Reading:ArtHistory,pgs.563-564,573-576,578-579(RobertCampin,JanVanEyck)

ThJan12 LectureofInterest! ContemporaryPhotographerArthurWo

MusicBuilding,Room101(MUB101),6pm

Section: HowtoReadObjectsCLASSMEETSOUTSIDEAT“TheFrenchFries”Reading:SylvanBarnet,AShortGuidetoWritingaboutArt,pgs.76-96

Week3 TJan17 HumanPerspectives:Italy

Reading:ArtHistory,pgs.595-599,603,606,609-611,626-628(Brunelleschi,Ghiberti,Donatello,Masaccio,Botticelli)

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THE16THCENTURY:THEHIGHRENAISSANCEThJan19 TheArtistasScholar:PhilosophyandHistory

Reading:ArtHistory,pgs.633-635,640-643,652-653(Raphael,St.Peter’s)

ThJan19 LectureofInterest! SociallyEngagedArtistJ.MorganPuett

MusicBuilding,Room101(MUB101),6pmSection: VisualAnalysisinPractice

SectionmeetsattheHarnMuseumofArt

RichardBrilliant,“TheAuthorityoftheLikeness,”inPortraiture(London:ReaktionBooks,1991),pgs.23-44

Week4 TJan24 TheArtistasScholar:Anatomy

Reading:ArtHistory,pgs.643-647,636-640(Michelangelo,Leonardo)

ThJan26 WorldlyMatters:Venice

Reading:ArtHistory,pgs.629-631,656-661,673-677(Bellini,Giorgione,Titian,Palladio)

Section: HowtoWriteaboutArt

Reading:*JulesPrown,“MindinMatter:AnIntroductiontoMaterialCultureTheoryandMethod,”WinterthurPortfolio,Vol.17,No.1(Spring,1982),pp.7-10

*SamplePaper(s)Week5TJan31 WorldlyMatters:TheNetherlands

Reading:ArtHistory,pgs.679-681,685-687,704-705,753-757(Dürer,PieterBruegeltheElder,Ruisdael,Claesz)

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THE17THCENTURY:THEBAROQUE ThFeb2 TheArtofSpectacle:TheNetherlands

Reading:ArtHistory,pgs.736-741,746-751(Rubens,Rembrandt,andVermeer)

Section: How(Art)HistoryisMade

Reading:LindaNochlin,“WhyHaveThereBeenNoGreatWomenArtists?”(1971)inWomen,Art,andPowerandOtherEssays,pgs.147-158

Week6TFeb7 TheArtofSpectacle:ItalyandSpain

Reading:ArtHistory,pgs.713-719,722-726,732-735(ElGreco,Bernini,Caravaggio,Velázquez)

**VisualAnalysisdue**uploadtocanvasbynoon

ThFeb9 MidtermReviewThFeb.9 LectureofInterest—stronglysuggested!

ALectureby“FridaKahlo”oftheGuerrillaGirls HarnMuseumofArt,[exacttimetbd;evening]Section: None–StudyforMidtermWeek7THE18THCENTURY:SELF&SOCIETYTFeb14 Rococo/TheEnlightenment

Reading:ArtHistory,pgs.763-765,905-912,934-935(Poussin,Watteau,Fragonard,Chardin,Vigée-Lebrun)

ThFeb16 MidtermSection: HowtoRevise

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Reading:

Bringahardcopyofyourvisualanalysistosection Week8TFeb21 HistoryPainting,TheAcademy

Reading: ArtHistory,pgs.926-929,936-938,946-947,952 (BenjaminWest,David)THE19THCENTURY:ART&PoliticsThFeb23 …andTheirAfterlives

Reading: ArtHistory,pgs.946-947,952 (Gros,Ingres)ThFeb23 LectureofInterest! ParticipatorydrawingprojectwithSumiInkClub

MusicBuilding,Room101(MUB101),6pmSection: OntheMedia:ContemporaryImagesofWar Reading:

SusanSontag,“InPlato’sCave,”OnPhotography(1973),pgs.3-24SunFeb26 LectureofInterest!—stronglysuggested!

“In/visible:WomenandGenderinArt”paneldiscussionattheHarnMuseumofArt,timetbd(afternoon)

Week9TFeb28 RomanticismacrossEurope Reading: ArtHistory,pgs.940-943,947-951 (Goya,Géricault,Delacroix)TFeb28 LectureofInterest!

“EtchingEnlightenment’sDemise:ThePrintSeriesofFranciscoGoya”Dr.JanisTomlinson,Professor,ArtHistory,UniversityofDelaware

HarnMuseumofArt,6:00pm

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ThMar2 TheRiseofLandscapePainting Reading: ArtHistory,pgs.954-958 (Constable,Turner,Cole,Friedrich)

***RevisionDue***uploadtoCanvasbynoonSection: BeforePhotoshop:Art,Truth,andFiction Readingforprecept:

JulianBarnes,“TheShipwreck,”HistoryoftheWorldin10½Chapters(1989)Week10 SpringBreak!Week11 TMar14 TheArtandScienceofPhotography

Reading:ArtHistory,pgs.968-971

ThMar16 Realism:America

Reading:ArtHistory,pgs.980-984(Eakins,Tanner)

ThMar16 TwoLecturesofInterest!

PublicallyEngagedArtistPaulRamirez-JonasMusicBuilding,Room101(MUB101),6pmArthistorianDr.CynthiaHahn,Professor,HunterCollege,CUNY“RelicsandReliquaries:AMatterofLifeandDeath”

HarnMuseumofArt,6:00pmSection: TheMuseumExperience CLASSMEETSATTHEHARN

Reading:CarolDuncan,“ArtMuseumsandtheRitualofCitizenship,”inExhibitingCultures:ThePoeticsandPoliticsofMuseumDisplay,pgs.88-103

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Week12TMar21 Realism:France

Reading:ArtHistory,pgs.972-974,976-980(Courbet,Manet)

ThMar23 Impressionism

Reading:ArtHistory,pgs.987-994(Monet,Caillebotte,Pissarro,Degas,Cassatt,Morisot)

Section: FromReadingImagestoArtHistory

Reading:MichaelBaxandall,“ThePeriodEye,”PaintingandExperienceinFifteenthCenturyItaly,pgs.29-36StephenJayGould,“Church,Humboldt,andDarwin:TheTensionandHarmonyofArtandScience,”FredericEdwinChurch(1989),pgs.94-107

Week13 TMar28 SubjectiveStates

Reading:ArtHistory,pgs.994-999,1003,1012-1015(Seurat,VanGogh,Gauguin,Cézanne,Rodin)

THE20THCENTURYThMar30 ModernArchitecture Reading:

ArtHistory,pgs.1009-1012,1044-1049,1057(skyscrapers,FrankLloydWright,LeCorbusier,TheInternationalStyle)

Section: ArtfromEveryAngle

Reading:GiorgioVasari,“Michelangelo,”LivesofthePainters,Sculptors,andArchitects(1550,1568),[excerpts]RolandBarthes,“TheDeathoftheAuthor,”Aspenno.5-6(1967),[6pgs.]

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Week14TApr4 DeconstructingArt Reading:

ArtHistory,pgs.1017-1018,1021-1026,1037-1044(Cubism,Dada,StieglitzCircle)

ThApr6 EnvisioningUtopia

Reading:ArtHistory,pgs.1033-1035,1050-1054,1060-1061/1064-1065(Futurism,SuprematismandConstructivism,DeStijl,theHarlemRenaissance)

ThApr6 LectureofInterest! ContemporarySculptorMikeCalway-Fagen

MusicBuilding,Room101(MUB101),6pmSection: ArtistsonArt

Reading:ArtHistory,pgs.1019-1021,1029-1031HenriMatisse,“NotesofaPainter”inArtinTheory:1900-2000,pgs.69-75WasilyKandinsky,excerptsfromOntheSpiritualinArtinArtinTheory:1900-2000,pgs.82-89

Week15TApr11 FinalReviewThApr13 RealismandSurrealism

Reading:ArtHistory,pgs.1057-1060,(Surrealism)***VisualAnalysisIIdueonCanvasatnoon***

ThApr13 LectureofInterest! CuratorGeneMoreno

MusicBuilding,Room101(MUB101),6pm

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Week16TApr18 AbstractExpressionism Reading:

ArtHistory,pgs.1073-1081Pleasevisitevaluations.ufl.eduandcompleteacourseevaluation

Section: DecipheringArtCriticism

ClementGreenberg,“ModernistPainting”(1960)HaroldRosenberg,“AmericanActionPainters”(1952)http://ubu.com/film/namuth_pollock.html

Week17TBD FinalExam

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AppendixA

Note-TakingStrategiesInlisteningtolectures,keeptrackoftwothings:1.thetrajectoryorarcofWesternarthistoryThecoursetracesanarrativeaboutthedevelopmentofWesternartfromthe15thcenturythroughthepresentasartistsrespondtotheworldaroundthemandtooneanother.Atthestartofeverylecture,Iwilloutlinethekeythemesandcontributionsoftheartist,movement,ortimeperiodunderdiscussionaswellashowtheyfitintothetrajectoryofWesternart.2.themeaningofindividualworksofartLectureswillofferhistoricallysituatedinterpretationsofindividualworksofart.Thatistosay,theywillexplainwhatagivenworkofartsaysaboutitssubjectandwhy.Thingstolistenforinclude:*thesubjectofaworkofart

*reasonswhyanartisttookupagivensubject*howtheartistdepictedthatsubject *whatdecisionsdidsheorhemake?*thepictorialorculturalcircumstancesthatinformedthosedecisions*finally,whatthosedecisionsmeanfortheworkofart:whattheworksaysaboutitssubjectandwhyYouwillalsobeaskedtoaddressthesetopics(oftenreferredtoinclassasthe“what,”“how,”and“why”)onthemidtermandfinalexam.Thediscussionandinterpretationofindividualworksofartinclasscanalsoserveasamodelforthevisualanalysispapers.Visualanalysisisthefirststepindevelopinganinterpretationofaworkofart.Ityieldsanhypothesisaboutwhataworkofartsaysaboutitssubject,whichisthentestedandtweakedthroughrecoursetocontextualinformation.Althoughlectureswilldrawoncontextualinformationandthevisualanalysispaperswillnot(theywillbebasedstrictlyontheworksofartthemselves),visualanalysisisakeycomponentoflecturesandwillprimestudentsforthewrittenassignments.

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AppendixB

Engagement:GradingRubricA:studenthasgoneaboveandbeyondinachievingthecoursegoals—hasreallytriedtolearnandunderstandthehistoryandprinciplesofWesternart.Thestudentreadandprocessedthereadings,waspreparedforlectureandsection,consistentlyofferedthoughtfulandinsightfulresponsestodiscussionpostsonCanvas,andtrulyadvancedconversationsinsectionbyposingprobingquestions,makingdeepinsightsintothereadings,offeringalternativeviewpoints,ornotingcomplicatingfactors.Thefirstpaperwasasfullydevelopedandpolishedasitcouldbe,notjustadraft.Itgoeswithoutsayingthatthisstudenthasattendedalllecturesandsections,alwaysarrivedontime,andadheredtoothercoursepolicies.A-:great,butfallsjustshortoftheabove.B+:averygoodeffort.Usuallydidandprocessedthereadings;offeredsomeinsightfuldiscussionpostsonCanvas;regularlycontributedtoconversationsbyansweringquestions,butalsointroducingnewpoints,questions,etc.;submittedathought-provoking,butunpolishedpaper.B:agoodeffort.Studentdidthereading,postedresponsestodiscussionquestionsonCanvas,regularlyansweredquestionsinclass,handedinasolidfirstpaper.Thisstudenthasattendedalmostalllecturesandsections,generallyarrivedontime,andadheredtoothercoursepolicies.B-:anokayeffort.StudentusuallydidthereadingandrespondedtodiscussionpostsonCanvas,answeredquestionsonoccasion,submittedadraft-likefirstpaper.C+:almostthere.Studentusuallyshowsupforclass,mostlyontime,buthasyettoreallymakeherorhispresenceknownbyparticipatingintheconversation;unclearwhetherornotthereadingshavebeendone;intermittentlypostsresponsestodiscussionquestionsonCanvas.Thefirstpaperwastreatedasamessydraft.C:fallsshortoftheaboveinsomeway.C-:fallsshortofaC+inmorethanoneway.D:somethingthatmakesthegradenotanF.F:studentisdisengagedfromtheclass—doesnotattendlectureand/orsectionregularlyand,therefore,hasnotputherselforhimselfinapositiontofulfilltheengagementrequirement.

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AppendixC

Exams:GradingRubric

A=hasafirmgrasponthecoursecontent(meaning:whateachworkisabout,whatitmeans,anditssignificancewithinthehistoryofart)aswellassolidunderstandingofvisualanalysis,thegoalsofarthistory,andtheabilitytoapplytheseskillstoknownandunknownworksaswellasindividualpiecesandpairings.

A-=theexamfallsjustshortoftheabove.It’sgreat,butmissesacoupleofkeypointshereandthereoroffersalessthancompellingthesisforthecompareandcontrast.

B+=averygoodeffort,butmissesaseveralkeypointshereandthereorconsistentlyleavesoutanelementofeachquestion(the“how”orthe“why,”forexample)butdoeseverythingelseverywell.

B=asolideffort,butinconsistent—getssomequestions,butnotothers.Demonstratesaburgeoningunderstandingthatworksofarthavemeaningandarelationshiptobroadersocio-culturalconcerns,buthasnotyetinternalizedhowallthesethingsconnect.

B-=anokayeffort;thestudentiscertainlytrying(theID’sarethere,forexample)andthere’sattentiontomaterialdeliveredinlecture,butanswerstoquestionsarequitespotty,vague,orlackaclearpointorfocus.

C+=onthewaytogettingthere;ID’smightbespotty;it’snottotallyclearthatthestudenthasstudied,perhapssheorheremembersthingsfromlecture,but,atthesametimeasanswersmayseemtohavebeenpulledoutofnowhere,theydemonstratesomeawareness/understandingofvisualanalysisand/orhowarthistoryworks.

C=theexamfallsshortoftheabove.TheID’sareevenspottier,andtheanswersmorevague;keytermsarenotmentionedorused.

C-=theexamshowssomeeffort,butthestudentdoesn’tseemtounderstandarthistory,visualanalysis,etc.

D=somethingthatmakestheexamnotanF—someID’sareonpoint,oratleastacoupleofanswersaresemi-acceptable

F=acoupleofID’s,nocontentfromlectureorthetextbook,inabilitytoevenreadthepaintingsbysight

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AppendixD

Papers:GradingRubric

A=meetsandexceedsassignmentgoals.There’ssomethingaboutthepaperthat’strulyexcitingandfreshandrevelatory—itreallycapturesyourattention.Theargumentisinsightfulandwellsupportedbytheevidenceprovided(i.e.thestudent’sdescriptionsoftheworkofartandanalysesofthosedescriptions);thestructureservestheargument,andthepaperis,asawhole,convincingandapleasuretoread.

A-=thepaperfallsjustshortoftheabove.It’sgreat,butmissessomekeyaspectoftheimageoroffersaninsightfulthesis,butnotnecessarilyasurprisingorunexpectedone.

B+=averygoodeffort,buttheargumentcouldbebetterexecuted;someaspectsoftheimagemightgounaddressed,theanalysiscouldbedeeper,theinterpretation/thesiscouldbeclearer.

B=asolideffort.There’sasenseofathesis/interpretation,butit’sabitvagueorgeneral.Thestructurallogicbehindthesepaperstendstobeabitunclear.Thepapermayaddresssomekeyaspectsoftheimageandofferanalysesofsomedescriptions,butnotothers.

B-=meetsthebasiccriteriafortheassignmentinsomewayshapeorform.Itmovesbeyonddescription,butnotbyverymuch.

C+=onthewaytogettingthebasicsofvisualanalysis:lotsofdescription,butithasyettocohereintoapoint/thesis,thoughthereareglimmersofhopeandpromise.

C=alldescriptionallthetime

C-=thepaperputsforwardsomeeffort,butit’suncleartowhatend;thestudentdoesn’tseemtounderstandtheassignment,formalanalysis,etc.

D=somethingthatmakesthepapernotanF

F=thepaperlacksanawarenessoftheassignment,formalanalysis,etc.Thesepapersareoftensignificantlyshorterthanthestipulatedlength.

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AppendixE

ArtintheNews

Ifyou’reinterestedinkeepingupwithdevelopmentsintheartworld,Irecommendthefollowingsites:

Hyperallergic

Artsy

Vulture

HyperallergicandArtsyissuenewsletters,butcanalsobefollowedonFacebookandTwitter.NotethatVulturecoversartandentertainment.