ࡱ> UWT'` -bjbj{P{P 4F::T%& lll8,H4p)": ((((((($f+h-)l")*) & & &Z8( &( & &7(T(| Rn#tt!O((L@)0p)W(,.D%j.(.l( &))%^p)d ART 471/571 Critical Approaches to Contemporary Art and Visual Culture Class Time: Tuesday, 11:30-14.15 Instructor: Teresa Tipton, PH.D. Contact:  HYPERLINK "mailto:tmtipton@yahoo.com"tmtipton@yahoo.com Mobile: 774888006 Course Description: This is a seminar course to explore critical theories and concepts relating contemporary discourses to personal encounters of contemporary art and visual culture. Critical discourse and visual analysis, social and cultural theory, and visual culture studies will be used as tools to connect discourses from arts exhibitions, readings, research, popular culture, media, journal writing, art assignments, and reflections with classroom discussions. Students will be expected to prepare a research project and give a summary of it with a powerpoint presentation. As part of the course, an online open-forum has been created to mirror the classroom process and provide out-of-class opportunities to continue discussing and learning together. Learning Objectives: Students will become acquainted with the purpose and use of contemporary critical theory in relation to contemporary art and visual culture. By using various forms of reflective practice, students will explore the nature of their own meaning-making and interpretive processes in relation to artistic experiences, theories, and contemporary visuality. Students will develop visual and semiotic tools for examining the relationship between socio-cultural forms and norms of expression and contemporary art and visual culture practices. Students will gain an insight into their own understanding of the role and uses of art in contemporary society. Course Expectations: Come prepared to discuss, reflect, write, read, question, and contemplate. Stretch the borders of personal understanding, likes, dislikes, and knowledge. Be self-directed and motivated to pursue your own train of thought, search out ideas, resources, and process of discovery. Engage yourself in this class as a process of constructing new ideas, methods of working, and communicating with others. Be prepared to try on and try out new tasks. We will work in class together as a whole group, individually, and in small groups. Each week, there will be reflective writing and reading expected to be produced outside of class. Questions will be used to stimulate contemplative writing. Each week, articles will be assigned that relate to specific in-class or field activities in museums and galleries. We will encounter visual materials in the form of visiting community based exhibitions, experiencing powerpoint presentations, examining media images, sharing art books, and other sources of images that will be presented for discussion. We will sometimes produce artworks from these materials inside and outside of class. An optional online blog, CREATING VISUAL CULTURE (http://creatingvisualculture.blogspot.com/) is an open-space for students to continue sharing thoughts, images, and artwork outside of seminar sessions. Our seminar will be a negotiation of thematic interests of the group. Everyones collective energy, interests, and needs will contribute to the outcome of each session. Assessment Assessment of the course will be based on the following criteria: 1. Class participation, completing assignments and reflective writing for each session (25%) 2. Journals (25%) 3. Research project and paper (25%) 4. Project Presentation (25%) Course Requirements: This is a seminar course with self-directed learning, group discussion, community-based art experiences, and research-based inquiry processes. The context of the course is based on the following: 1. Each week, students are expected to keep an art journal in response to the course content, discussion, and art encounters. The journal is expected to be a dialogue between the student and the material of the course. The journal can tak whatever form the student desires. Before the end of the course, journals will be turned in for instructor review and will be returned. Journals can be electronic, book form, other 3-D, or mixed-media formats. 2. Each week, students will submit one piece of reflective writing (minimum 3 paragraphs = or one page, 250 words). Reflective writing must be submitted to the instructor via email by 5p.m. the Monday before the start of the next session. Please submit reflections with your name and date of the session on each page. 3. Students are expected to read all class handouts, articles, and materials. Feel free to bring questions, concepts and other articles for further elaboration and discussion as well. 4. Students are responsible for arriving on time either in class or in a community art setting, and attending all course sessions. Arrive prepared to participate in the discussions and inquiries by having completed reading, reflective writing, and assignments beforehand. Respectfully communicate any absence directly to the instructor prior to the start of class. Students are responsible for making up missed content of any session. Respectfully work on personal projects and email after course sessions and not during them. Students will also be expected to shut off their mobile phones during the scheduled course times. By your cooperation in these shared agreements, we can create a climate of mutual trust, cooperation and respect. 5. Students will be expected to create a research project and develop a research paper on a topic of personal interest related to course content. Each student will give a powerpoint presentation of research findings. Sessions at the end of term will be devoted for student presentations. While all BA and MA students are required to produce the previous course expectations equally, the research paper and presentation is distinguished as follows: ART 471: BA students Papers: A minimum 1500 words, double-spaced, 12 point type, minimum 6 reference citations that have been used. Presentation: 10 minute summary of the paper with powerpoint, followed by 20 minutes group discussion. ART 571: MA students Papers: A minimum 2500 words, double-spaced, 12 point type, minimum 15 references. Presentation: 15 minute summary with visuals included in powerpoint presentation; followed by 25 minute discussion afterwards. MA students will be expected to produce more detailed analysis and interpretive depth. In addition to submitting a print copy of the paper, all students will submit their final research project on cd-rom with electronic versions of the paper, summary of the oral presentation, and copy of powerpoint presentation. Journals will be submitted two weeks before the end of term and returned on last session of the course. 6. All students will complete a final written self-assessment of course learnings and submitted by the last class according to instructor specifications. Course Schedule with Required Reading Assignments: Meeting locations outside of faculty department will be announced in class Session 1: February 10 Knight, W.B.; Keifer-Boyd, K., and Amburgy, P. (2004). Revealing power: A visual culture orientation to student-teacher relationships. Studies in Art Education, 45(3), 270-273. Whitfield, T.W. (2005) Aesthetics as pre-linguistic knowledge: A psychological perspective. Design Issues, 21(1), 3-17. Session 2: February 17 Rice, D. & Yenawine, P. A conversation on object-centered learning in art museums. Curator 45(4), 289-301. Casey, V. Staging meaning: Performance in the modern museum. Drama Review 49(3), 78-95. Session 3: February 24 Deliss, C. (1995). Exhibit A: Blueprint for a visual methodology. Cultural Dynamics, 7, 141-157 Session 4: March 3 Serig, D. (2006). A Conceptual stucture of visual metaphor. Studies in Art Education. 2006, 47(3), 229-247. Session 5: March 10 Holland, D. & Cole, M. (1995) Between Discourse and Schema: Reformulating a Cultural-Historical Approach to Culture and Mind. Anthropology & Education Quarterly, 26(4), 475-489. Session 6: March 17 Excerpts from: Addison, N. (2007). Identity politics and the queering of art education: inclusion and the confessional route to salvation. Journal of Art and Design Education, 26(1),10-20. Johnson, J. & Tayor, J. (2008) Feminist consumerism and fat activists: A comparative study of grassroots activism and the Dove Real Beauty campagin. Signs 33(4), 941-966. Session 7: March 24 Nye, R. (Spring 2005) Locating masculinity: Some recent work on men. Signs 30(3), 1938-1962. Session 8: April 7 Keifer-Boyd, K. A Pedagogy to Expose and Critique Gendered and Cultural Stereotypes Embedded in Art Interpretations. Studies in Art Education, 2003, 44(4), 315-334. Session 9: April 14 Eng, B. (2006) Narratives of cultural crossings: Discoveries and possibilities. Curriculum Inquiry 36(3), 327-240. Session 10: April 21 Irwin, R. (et. al). (2006). The rhizomatic relations of a/r/tography. Studies in Art Education 48(1), 70-88. Session 11: April 28 Caruso, Hwa Young Choi. (2005, Fall) Art as a Political Act: Expression of Cultural Identity, Self-Identity, and Gender by Suk Nam Yun and Yong Soon Min. Journal of Aesthetic Education, 39(3), 71-87. Submit Journals Session 12: May 5 Matthews, J. (2005, June) Visual culture and critcial pedagogy in terrorist times . Discourse: studies in the cultural politics of education, 26(2), 203-224. Presentations Session 13: May 12 Buter, J. (2005). On Never Having Learned to Live. Differences: A Journal of Feminist Cultural Studies, 27-33. Presentations Session 14: May 19 Presentations Self-Assessment     PAGE  PAGE 1   PAGE 1 GH  .XsttN*+R̦ꖄvcvvcvvvvv%hy]hf0JB*CJOJQJphhfB*CJOJQJph"hf0J5B*CJOJQJphhf0JB*CJOJQJphhy]hf0JOJQJjhy]hfUhy]hfOJQJjhy]hfU%hy]hf0JB*CJOJQJph333hf"hf0J5B*CJOJQJph333&GHj  std T-z--1UstMN*+RS  > hd ^hgdfZd ^Zd RS  5"6"""P#Q#h## $$$$%%R%a%l%m%n%%%%%e&}s}gიchfhf0JCJOJQJhy]hf6CJ hfCJ(hy]hf0J5B*CJOJQJph'hf0JB*CJOJQJnHphtHhf6B*CJOJQJph$hy]hf5B*CJOJQJph"hf0J5B*CJOJQJphhf0JB*CJOJQJphhfB*CJOJQJph !!5"6"""#P#Q#h#$$$$$%m%n%gdf (x (gdf hd ^hgdfd n%%%%%e&y&+','@''((()).))))[*\*q****xdx^`d gdfe&y&&'*'+'@''''''((() ))).))))رqcPcqq;q(hy]hf0J6B*CJOJQJph$hy]hf6B*CJOJQJphhfB*CJOJQJphhf0JB*CJOJQJph hfCJhf6CJOJQJhfCJOJQJ(hy]hf0J5B*CJOJQJph-hy]hf0JB*CJOJQJnHphtHhy]hf6CJOJQJaJhy]hfCJOJQJaJ0hy]hf0J5B*CJOJQJnHphtH))))8*J*K*M*[*\*q***++++p,r,,,,,, -#-6-S-T-U-W-X-Z-[-]-^-`-ȓȓnȓnȓjbjbjbjbjjhfUhf(hy]hf0J6B*CJOJQJphhf6B*CJOJQJphhf0JB*CJOJQJph#hfB*CJOJQJmH phsH $hy]hf6B*CJOJQJph(hy]hf0J5B*CJOJQJph'hf0JB*CJOJQJnHphtHhfB*CJOJQJph$*+++++,,,,,--"-#-6-D-T-V-W-Y-Z-\-]-_-`-i-&`#$d gdfgdfd `-a-g-h-i-k-l-r-s-t-u-v-w-z-{------jhfUh%)p0JmHnHuhf hf0Jjhf0JUi-j-k-v-x-y-z-----d gdf&`#$h]h 21h:pf. A!"#$% DyK yK 4mailto:tmtipton@yahoo.comX@X Normal$*$1$a$#B*CJOJPJQJmHnHsHtHDAD Default Paragraph FontZiZ  Table Normal :V 4 l4a _H(k(No List JOJ Standardn psmo odstavceHOH Psac stroj HTMLOJQJCJPJ.)@. Page Number6U@!6 Hyperlink B*ph>*FBF Heading x$OJQJCJPJ6BB6 Body Text x$/AR$ List>"b> Caption xx $CJ6*r* Index $~O~ Formtovan v HTML7 2( Px 4 #\'*.25@9OJQJ4 @4 Footer  p#8A8 Frame contentsNZN Plain Text1$5OJPJQJmHsHuvC@v Body Text Indent# hhd*$^h`OJPJQJmH sH uLP@L Body Text 2xB*CJOJQJph@V@ y]FollowedHyperlink>*B* % %FGHj s t   1 U s t MN*+RS  >56PQhmney+,@ !!.!!!!["\"q""""#####$$$$$%%"%#%6%D%T%V%W%Y%Z%\%]%_%`%i%j%k%v%x%y%z%%%%00000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000 000 %%%(Re&)`--!n%*i-- "-%X  (!! !@  @ (    H" 0(  < C "(((T _Hlt94249654 _Hlt94249946%@@%GH\^02 X Z  s t  s t LN*+RS  ;<tuopz|56PQ  ablnde*,@ ! !!!!!!!J"K"M"N"["\"""""######r$s$$$$$ % %%%"%#%S%T%T%V%V%W%W%Y%Z%\%]%_%`%h%k%u%y%z%%%%FHij r t ~   0 1 T U r t LN)+QS  =>46OQghlndexy*,? !!-!.!!!!!Z"\"p"q"""""######$$$$$$%%!%#%5%6%C%D%S%T%T%V%V%W%W%Y%Z%\%]%_%`%y%z%%3S%T%T%V%V%W%W%Y%Z%\%]%_%`%h%k%u%%T%T%V%V%W%W%Y%Z%\%]%_%`%y%z%% #y[^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L. #y         %)pf y\"q""#$%@Ya%P@UnknownGz Times New Roman5Symbol3& z ArialWSimSunArial Unicode MS?5 z Courier New;MS P 000071 Courier3Times"h$ܦ$ܦȣCC 4dA%A%2qPy]22Critical Approaches to Contemporary Art and VisualErika anthony.ozuna Oh+'0  8D d p | 4Critical Approaches to Contemporary Art and VisualErikaNormalanthony.ozuna2Microsoft Office Word@F#@&"@44t@44t՜.+,D՜.+,h$ hp   AAVS,o.p.s.CA%' 3Critical Approaches to Contemporary Art and Visual Title 8@ _PID_HLINKSAlIrmailto:tmtipton@yahoo.com  !"#%&'()*+-./0123456789:;<=>?@ABCEFGHIJKMNOPQRSVRoot Entry Fp#tXData $1Table,.WordDocument4FSummaryInformation(DDocumentSummaryInformation8LCompObjq  FMicrosoft Office Word Document MSWordDocWord.Document.89q