ART HIST 1A03; Remaining Papers

I still have some unclaimed papers (assignments and test). Remaining papers will be available for pick-up at the SOTA office (TSH 114) beginning Thursday December 11.

GD

ART HIST 1A03: Final Exam Format (Recap)

As noted during the final class, I am posting the format for the exam (see below). There were many opportunities for discussion in the tutorials and the final class review on Dec. 3, so I will NOT be posting further sample questions or extra comments on study strategies here.

FORMAT (SUMMARY):  

The exam will be two hours in length. There will be three parts. Each part will have one question (so, three exam questions in total). The total allotted time for the first two parts will be sixty minutes (thirty minutes for each part). Students will need to answer the questions using full sentences. Part three will have an allotted time of sixty minutes as the question will require a longer response than parts one and two.

The value of each part will be set as follows:

PART 1: (one question) 30%
PART 2: (one question) 30%
PART 3: (one question) 40%

For each question students will be required to use examples of work from the lectures, readings and / or tutorials to illustrate their comments. For parts one and two there will be a MINIMUM requirement of two examples that must be used in each response. For part three students will need to reference a MINIMUM of three examples. ALL EXAMPLES USED IN RESPONSES MUST INCLUDE TITLE, DATE(S), ARTIST or ARCHITECT (if known) and LOCATION (place of origin).

Good luck to everyone!

GD

ART HIST 1A03: Art of the Americas

Due to the weather conditions on Wednesday, Nov. 19, our lecture was cancelled. As noted in my blog post of yesterday, I am providing a short video to highlight key works and questions from the lecture. Here is the link for the video:

ART HIST 1A03: Art of the Americas (video)

I will be adding a few extra questions here (later today) to expand upon those in the video.

GD

ART HIST 1A03: Lecture Cancelled for Tonight

The weather down this way (Niagara) has caused highway closures and accidents. There is an OPP advisory to stay off the roads in the region. I have decided to cancel tonight's lecture as a result. However, I will be posting a short video later this evening to provide some notes on the material we would have covered in class.

GD

Info on ART HIST 1AA3 (Term II): Online Course

McMaster's Faculty of Humanities has posted a video to introduce the ART HIST 1AA3 (World Art & Cultural Heritage II) online course beginning next term. here is the link:

ART HIST 1AA3: World Art & Cultural Heritage II

ART HIST 1A03: Tutorials (10, 11, 12)

Last week I spent some time discussing the now-famous 'botched' restoration of the 'Ecce Homo' ('Behold the Man') fresco in Borja, Spain above). Here is a New York Times report from 2012 (when the story broke and went viral):

Despite Good Intentions, a Fresco in Spain is Ruined

As noted in lecture, the critical response to the restoration was fixated in the technical inadequacies of the work carried out by Cecilia Giménez. The value of the restoration as an act of love and devotion was thus marginalized. The Borja incident reminds us of the limits imposed upon our understanding of works when we judge them solely on the basis of aesthetics and technical execution. Accordingly, it remind us of the terms upon which we negotiate our relationship to works of art. The context we set up for understanding a given work ultimately involves a negotiation of power in which we, as viewers, are privileged.

Consider the following sculpture (Recovery, c. 1950) for instance. Look at the image for a few moments before reading the text beneath.

Now consider the following information about the work (as provided on the National Endowment for the Arts website):

Carved from the trunk of an apple tree, Recovery was sculpted by the hands of an unknown British mental patient. It has been attributed as a self-portrait as the patient's own concave chest (the result of tuberculosis) is replicated in the wooden figure. Edward Adamson, a thought-leader in art therapy for mental patients, encouraged the individual's work on the tree trunk. After a month of whittling, Recovery was born. The piece is the only identified work of the unknown creator.    

How does our relationship to this work change with this information? To what extent might our inclination to value the work aesthetically (or technically) limit our understanding of the work? If we identify it as a work of art do we, in turn, impose a set of values upon the object which do not necessarily apply? What might those values be? If this is the case does it raise ethical concerns about our treatment of the work?

In our course lectures we have looked at a variety of works from different periods and cultures and each of these have been presented in a book titled, Art History. Each work has thus been treated in the text as a work of art. Does this raise any issues for you? Are there any examples of work that seem to be poorly served by the title 'art' alone? Which ones? Why might it be problematic to designate them as works of art? 

Be prepared to share your thoughts in tutorial.

ART HIST 1A03: Handing in Late Assignments

Please note that late assignments should be taken to the SOTA office (TSH 414) to be signed and dated by the office secretary and placed in my mailbox. Papers that are not signed and dated by office staff will NOT be accepted. Late papers are deducted by 5% per day. It is your responsibility to confirm (by email) that I have received the paper after delivery.

The SOTA office closes at 4 pm each working day.

GD

ART HIST 1A03: Byzantine Icons

During this evening's lecture I paused to take a closer look at Byzantine icons, their history, production and reception. When looking at such icons it is important to understand that they transcend time and, therefore, should not be bound within the limits of style or chronology. Byzantine icons are still made today following techniques that go back through the ages. The materials and methods of production follow tradition for a reason as faithfulness to earlier models is of the utmost importance.

We must also remember that these are not works of art bound by aesthetic concerns. They are considered to be living images endowed with miraculous powers. Here, for instance, is a recent story of a miraculous icon in Hawaii:

Miraculous Icon in Hawaii (News Report)

ART HIST 1A03: Office Hours Today

Hello everyone. Please note that I am unable to schedule my usual office hours today. My apologies for any inconvenience.

GD

ART HIST 1A03 Tutorials (Nov. 3, 4, 5): Painting Techniques

This week you will be looking at two traditional methods of painting. The first is tempera on panel and the second is 'buon' ('good') fresco. The TAs will be discussing these two traditional techniques and working with you to explore their benefits and limitations. As with the sculptural techniques discussed in the previous set of tutorials you will want to arrive at some conclusions as to why artists might favour one method of painting over the other.

To help you grasp a better understanding of the techniques I am providing the following video links:

Tempera Painting on Panel: Process Part 1   This video covers the initial part of the process of preparing a wood panel for tempera painting. Here the artist demonstrates how to size the panel and the applied layer of linen. (note: low volume)

Tempera Painting on Panel Process: Part 2   The second part of the previous video. Here the artist demonstrates a method of applying gesso. (note: low volume)

Gilding a Panel (applying gold leaf)   A good video demonstrating the application of gold leaf on a prepared panel.

Application of Final Colours (Time Lapse Video)I   The application of final, coloured layers of tempera paint using time-lapse video.

Buon Fresco Technique  A useful video demonstrating the steps involved in 'buon' fresco painting. Note that the techniques, here, represent those adopted by Michelangelo and thus mark some slight modifications of the traditional methods employed before the High Renaissance. See if they can be spotted during tutorial.

ART HIST 1A03: Reminder about Assignment Title Page

Just a reminder... please remember to indicate the name of your TA (or, if the name happens to escape) the number of your tutorial on the title page of your assignment.

Thanks,

GD

ART HIST 1A03: Mosaics of Ravenna

In our last lecture we had started to discuss the early Christian mosaics at the Mausoleum of Galla Placidia and San Vitale in Ravenna. Here is a short video in which the interiors and mosaics are highlighted to give you a better sense of their splendor.

Mosaics of Ravenna

ART HIST 1A03: Tutorials (Oct. 27, 28, 29)

The tutorials for this week (Oct. 27, 28, 29) will explore reductive and additive sculptural techniques. Your TAs will be assisting you to look comparatively at stone carving (reductive) and 'lost wax' bronze casting (additive). The following two videos will give you some insight into each sculptural method. Watch them and consider the differences between each technique. What are the advantages of one over the other? How might the materials and process be meaningful to the finished work in each instance?

Reductive Technique in Marble

Lost Wax Method

ART HIST 1A03: Roman Art and Architecture (Oct. 15)

This afternoon we resume our discussion with a lecture on Roman art and architecture. We'll focus on a variety of Roman building and structure types and consider some of the treatments of art in the ancient empire.

The tests will be returned in tutorial next week. Prior to the lecture this afternoon, I will go over some details regarding the assignment.

ART HIST 1A03: Assignment Guidelines

School of the Arts        McMaster University

WORLD ART AND CULTURAL HERITAGE I

ART HIST 1A03, Fall 2014

Instructor: Greg Davies

WRITTEN ASSIGNMENT: DUE NOV. 3, 2014 (Course Value:  35% of Final Grade)

Note that written assignments must be submitted in class (in hardcopy only) to the instructor NO LATER THAN November 3, 2014. Late papers will be deducted at the rate of 5% per day. Papers submitted by email or any format other than hard copy will not be accepted. Late papers resulting from illness must be accompanied by a doctor’s note. Please also note that papers may be subject to submission for textual similarity review to Turnitin.com for the detection of plagiarism. All submitted papers will be included as source documents in the Turnitin.com reference database solely for the purpose of detecting plagiarism of such papers.

INSTRUCTIONS: 

            For this assignment you must select an original work of art or artifact (eg., ancient coin or vase) from the McMaster Museum of Art. Study the work closely and take note of its formal properties (its dimensions, the materials used, handling of colour, space, line, etc.). As you look at the work ask yourself questions about its appearance and the technique used by the artist. Is the work figurative or abstract? Does it appear as if the technique was challenging or not? Are the materials expensive (luxurious) or not? In other words ask yourself basic questions (similar to those we have used in lecture and tutorial) to generate a better understanding of the overall design of the work. After you have made your elemental observations you should then develop a structure for your essay. Your objective is to present a paper that clearly demonstrates, to the reader, how the technique and the materials contribute to the final appearance and the cultural significance of the work.

            Please note that both the content of your essay and the quality of your writing will be considered in the evaluation of your finished paper. Take the time to review and edit your rough draft before submitting your finished copy. You may need to make several revisions in order to meet the requirements of this assignment.

            NOTE: This is an exercise in visual analysis and NOT a research paper. You may certainly consult the gallery information provided adjacent to the work as this will clarify information on the materials, date(s), etc. However, you are encouraged to minimize consultation of sources on the artist, work or artifact as this may ultimately distract from your visual analysis.

FORMAT:

            Your paper will be 4- 5 written pages in length (1000 - 1250 words) with an accompanying title page (noting the title of your essay, your name and student number, due date, instructor’s name and course name and number). Note that the title page is NOT to be counted as one of the 4-5 written pages. You may include an image of the work discussed. If you use an image you should present it on a separate page, with identification of the artist’s name (if applicable), title, date and medium (or media), immediately after the body of the essay. This should be followed by endnotes (if you do consult any sources) and, finally, a bibliography (only if applicable). Your pages should be printed using 12-point type, double-spaced with the first line of each paragraph indented. Quotes should be avoided. For citations and bibliographic format you must follow the Chicago Style guidelines.

ART HIST 1A03: TONIGHT'S CLASS CANCELLED (OCT. 8)

Hello everyone. I have been experiencing some chronic back pain this morning and I will have to cancel this evening's lecture. Since I had expected to go over the course assignment with you I will instead post information here on the blog this evening.

Please know that there will be no class on Monday Oct. 13 due to the holiday. I will go over the assignment to clarify questions when we next meet on Wednesday  Oct. 15. At that time we will also begin our examination of Roman art and architecture.

GD

ART HIST 1A03: Tutorials (Oct. 6 - 8)

In anticipation of the course assignment (which I will address in class on Wednesday Oct. 6), I have asked the TAs to lead a discussion on visual analysis. The images presented below will be used in the tutorials to open questions on the formal properties of objects and images. The task, here, is not to finalize discussion by researching each object. Rather, we are aiming to open up useful questions and develop ideas from preliminary, group observations. Studies in art history and cultural heritage generally begin with the object or image and, most importantly, with the process of looking. Consider the following object for instance:

Gold belt buckle from the Sutton Hoo ship burial, Anglo-Saxon (early 7th century AD), Sutton Hoo, Suffolk, England

This is the belt buckle from the Sutton Hoo burial site in England. Even without prior knowledge of Anglo-Saxon art we can make important observations about the object by simply looking and asking relevant questions. Consider the following for instance:

What size is the object?

Does the scale of the object influence the design?

What are the materials used?

Is colour important?

Is it richly decorated or not?

Is the decoration abstract or figurative?

What are the motifs used and can we determine anything meaningful from them?

By considering such questions and weighing up our answers against the basic information provided by the identification, we can begin to explore more complex questions. If the material is gold, would it be safe to assume that the object was less functional than symbolic, ceremonial, etc.? The design appears intricate and, although it consists largely of geometric patterns and shapes, it includes subtle references to animal forms (eyes and mouths for instance). Why should animal references be made in what are, otherwise, abstract decorations? The interwoven lines that create the complex patterns seem to have a logical flow (try tracing them with your eyes!). Is this significant? Could this have some bearing upon the nature / animal references made in the abstract patterns?

These are but a few questions but, as you can see, they open up possibilities for interpretation. For instance, the abstract patterns with animal references reveal a logical orderliness which, in turn, is born of human imagination. These patterns signify an artful orderliness imposed upon the forms of nature. This, in turn, may be quite significant if we consider that such a seemingly luxurious object reflects a very high level of craft (also underscored by the luxurious material and the fact that it was found at a burial site). Add these observations together and we begin to form a potentially useful picture of the object in its time and place. 

Even specialists must begin with such questions. Consider, now, the following works. Which questions would you ask and how would you respond? Give this some thought and be prepared to come to your tutorial with your observations.  

Calligraphic composition on a leaf, (19th century AD), chestnut leaf with gold and wax, Turkey

Dean Gle Mask, (late 19th - early 20th century), wood and pigment, Liberia, Africa

Maritime subjects, mosaic fragment from a pool (late 2nd - early 1st century BCE), 

stone and glass inlay, Rome

ART HIST 1A03: Re., Etext

If there is anyone who has still been unable to purchase the access codes for the etext, please contact me by email. I was informed by the bookstore that they are available at the main cash. If anyone has found this to not be the case please let me know.

GD

ART HIST 1A03: Course Text Upate

I have just received an email from the course materials buyer at the Mac bookstore. The etext codes should be available for purchase at the main store cash. The access codes are passed on to the bookstore from the publisher via a card which is retained at the register. If you are visiting the store again tomorrow please check at the main store cash. If there are continuing problems please let me know by email.

I also see that Amazon.ca has copies of the 5th edition (vol. 1) available, apparently with free two-day shipping for students:

Stokstad at Amazon.ca

As noted in class, if copies are still unavailable a last resort would be to consult a similar survey text by Gardiner, Janson, Honour & Fleming or Schneider-Adams. Survey texts of art history have been produced by each of the authors and they will cover most of the key works we have looked at. However, the treatmenty may vary some works will be omitted so they will not be fully consistent. Thus, they should only be used as a last resort.

GD

ART HIST 1A03: TEST IMAGE & VOCAB LIST

The study lists for the test images and vocabulary terms are provided below. Please note that titles and locations (or artists, if applicable) are provided. You will need to refer to your text for corresponding dates:

WORKS (IMAGES)

PREHISTORIC

Woman from Willendorf (Austria)

Hall of Bulls (France)

Bird-Headed Man with Bison (France)

Newgrange, Tomb Interior With Corbelling and Engraved Stones (Ireland)

Stonehenge (England)

ANCIENT NEAR EASTERN

Stele of Naram-Sin (Susa)

Anu Ziggurat (Uruk)

Nanna Ziggurat (Ur)

Ishtar Gate (Babylon)

EGYPTIAN

The Palette of Narmer (Egypt)

The Great Pyramids at Giza (Egypt)

Statue of Menkaure and a Queen (Egypt)

Seated Scribe (Egypt)

Judgment of Hunefer Before Osiris (Egypt)

EARLY AEGEAN & GREEK

Cycladic Figure of a Woman (Cyclades)

Lion Gate (Mycenae)

Treasury of Atreus (Mycenae)

Ajax and Achilles Plying a Game, amphora (Exekias)

A Bronze Foundry (Foundry Painter)

Metropolitan Kouros (Greece)

Peplos Kore (Greece)

Kritios Boy (Greece)

Parthenon (Greece)

VOCABULARY

PREHISTORIC

Pigments

Charcoal

Iron oxide

Chalk

Abstract

Figurative

Support

Binder

Reductive methods

Additive methods

Low relief

Corbeling

Post and lintel

Megalithic

ANCIENT NEAR EASTERN

Sumerians

Akkadians

Cuneiform

Stylus

Stele

Ziggurat

Uruk

Inanna

Anu

Ur

Babylon

Assyria

Crenellation (crenellated, adj.)

EGYPTIAN

Mastaba

Stepped Pyramid

Pyramid

Polychromed

Encaustic

Papyrus

Roll

Hieroglyphics

EARLY AEGEAN & GREEK

Cycladic

Minoan

Mycenaean

Tholos

Black Figure

Red Figure

Peripteral Temple

Greek Orders

            Doric

            Ionic

            Corinthian

Entablature

Pediment

Column

Base

Capital

Frieze

Peristyle

Kouros

Kore

Contrapposto

ART HIST 1A03: Egyptian Art & Architecture

In my earlier post on Near Eastern and Egyptian Art I promised a list of vocabulary terms to correspond with the Egyptian works discussed. Here they are:

Mastaba

Stepped Pyramid

Pyramid

Polychromed

Encaustic

Papyrus

Roll

Hieroglyphics

Please note that tutorial will begin this week! Your TAs will be reviewing material for the upcoming test and discussing the test format.

We begin Early Aegean and Greek Art this week. I will be posting relevant works and terms in due course. Note that a summary list of works and terms for the test will also be posted here on the blog early in the week.

OFFICE HOURS TODAY

Please note that I'm unable to keep my office hours today (3:00-4:00 pm). Should you need to speak with me please email me to arrange an appointment. My apologies for any inconvenience.

GD

Cultural heritage Issues: Militants Threaten Sites in Iraq, Syria

Since we are looking at Near Eastern art and architecture at the moment I thought this current news story would be of interest. The loss of cultural heritage in war-torn regions is always a concern and the current situation in Iraq and Syria highlights the degree to which the destruction of ancient sites and pillaging of art is a critical concern:

Militants Threaten Ancient Sites in Iraq, Syria

ART HIST 1A03: Art of the Ancient Near East and Egypt (Sept. 22)

During our lecture on Sept. 22nd we will move ahead with our discussion on the art and architecture of the Ancient Near East and Egypt.

So far we have considered, briefly, the region known as the Fertile Crescent.

Take note of the cities and regions located in the 'land between the two rivers', known to the Greeks as Mesopotamia. Note also the names of the two rivers.

The following are some additional terms, names and sites to note:

Sumerians
Akkadians
cuneiform
stylus
stele
ziggurat
Uruk
Inanna
Anu
Ur
Babylon
Assyria
crenellation (crenellated, adj.)

We will consider the following works:

Stele of Naram-Sin
Anu Ziggurat
Nanna Ziggurat
Ishtar Gate

The second part of our discussion will take us to ancient Egypt. During the course of our discussion we will consider the following works:

The Palette of Narmer
The Great Pyramids at Giza
Statue of Menkaure and a Queen
Seated Scribe
Judgment of Hunefer Before Osiris

A list of related vocabulary terms will follow.

ART HIST 1A03: Update on Tutorials

Hello everyone. I have just received a confirmation regarding the two remaining TAs for the course. I will now need to go through the paperwork with them this week and bring them up to speed for the first tutorials. As a result we will not be able to begin the tutorial sessions until SEPT. 29.

So... please note that there will be NO tutorial for this coming week.

The first tutorial sessions (beginning Sept. 29), will be set up as reviews for the upcoming test on Oct. 6.

ART HIST 1A03: New Discovery at Stonehenge

Here's a link for some breaking news regarding Stonehenge!

Archaeological Discovery at Stonehenge using Radar

I had also mentioned a video on a proposed building method (involving the placement of stones at Neolithic sites). Here it is:

Method for Moving Blocks

I'll be posting some material on Near Eastern Art shortly.

ART HIST 1A03: Prehistoric Art (Part II, Sept. 15)

This afternoon we continue our discussion on prehistoric art with an emphasis on painting and architecture. Our discussion will centre on materials and practices with some further attention on vocabulary. Some key talking points to consider are:

Pigments
Brushes and tools
Supports
Binders

Corbeling
Post and lintel construction

At the beginning of the lecture I will address questions about the use of the 4th edition of the course text while providing an update on the status of the tutorials.

ART HIST 1A03: Tutorials and Texbook

Due to the delayed appointment of TAs for this course I have decided to postpone tutorial sessions until the week of September 22. This is to ensure that the teaching assistants have adequate time to prepare for their sessions. So, please note that next week we will only have lectures on Monday and Wednesday.

I have also been asked by some students in the course if the fourth edition of the Stokstad & Cothren text might be used in lieu of the fifth edition. In my view this should not present a significant problem for 1A03 though the pagination and some works discussed may differ between the two texts.

HOWEVER, students who are planning to take ART HIST 1AA3 in term two should note that the fourth edition may not be acceptable. Therefore, if you are planning to use the fourth edition (covering material from volumes I and II of the fifth edition) be advised that the book may be redundant at that point. In this case the fourth edition would not be a cost-saving investment. 

ART HIST 1AO3: Some additional notes on wall painting and reductive sculptural techniques

As we look at the cave paintings from Lascaux we will consider some of the possible techniques adopted by the people who made these images. There is still much speculation about the methods used. Here is an interesting online source which offers some useful insight with respect to the materials, tools and techniques employed:

How to Paint a Mammoth

Pigments are the finely-ground materials used to provide colour in a visual work. Paleolithic painters would have used organic (naturally-sourced) materials such as iron oxide (for red, yellow and orange), charcoal (for 'black') and chalk (for white).

Over the centuries the range of pigments adopted in art has expanded considerably and today, artists have access to both organic and synthetic colours. While many are moderately priced some, such as lapis lazuli, can be extremely expensive. Others, for various reasons (including the questionable ethics of sourcing and availability) can no longer be found. An example would be 'mummy brown'. The name of the pigment alone should provide a clue as to why it's no longer available!!

_________________________

Our discussion will also introduce some issues relating to sculptural techniques. Generally, traditional sculptural techniques are divided into two categories; there are those works created through reductive methods and those produced through additive methods. The former refers to methods by which the sculptor removes material to produce the desired shape, while the latter refers to techniques by which the sculptor 'builds up' the form. Thus, while stone or wood carving would be considered reductive methods, clay modelling or casting techniques would be considered additive.

When making formal observations about a sculptural work it is important to consider why the method was used and how the process might be relevant to the meaning of the work.

Image source: solution.ecovillage.org

ART HIST 1A03: Prehistoric Art

Today we will begin to look at some of the earliest extant works. Our discussion will focus, during this first part (Sept. 10), on sculpture and wall painting. These are the works we will consider:

Woman from Willendorf

Hall of Bulls (Lascaux, France)

Bird-Headed Man with Bison (Lascaux, France)

With early forms of visual expression such as these we have little way of understanding their meaning or use. Much of our knowledge and understanding must depend upon formal analysis. Such analysis relies upon visual observation and questions such as the following:

What are the materials used?

How might the work have been made?

Is it in its original location? If so, could the site have some bearing upon its possible meaning or use?

If it is not in its original location can we determine where it would have been found?

Is the scale large or small? How might this have some bearing upon our experience of the work and our interpretation of its meaning?

What are the formal qualities of the work itself? 

Does it resemble something we find in nature or is it abstract? If it does resemble a recognizable form, how true is it to the form it describes? Are there any abstract qualities?

Although seemingly rudimentary, questions of this sort often open up a range of further, complex issues which cannot always be resolved. As we proceed with our formal analysis we also have to check our assumptions to ensure that we don't impose our own values or beliefs upon our interpretation of the work. For example, the so-called Woman from Willendorf was, for many years, generally identified as the 'Venus of Willendorf'. The assumption behind this title was that the figure represents a goddess of fertility (based upon parallels between the physical features of the sculpture and later works known to be connected with ideas of 'goddess' and 'fertility'). Yet, today, we recognize that this assumption is problematic, especially when the name of a Roman goddess (Venus) is imposed upon the work (thereby associating it with the attributes of a deity drawn from an unrelated culture). 

ART HIST 1A03: Introduction (Couse Objectives)

We begin ART HIST 1A03 by addressing some objectives and questions regarding the design of the course. Here are the key 'big' questions from our meeting today:

1. Why is the title of the course 'World Art and Cultural Heritage'? How is this title different from 'Art History'?

2. What can I expect to learn in 1A03 and how will it help me to land that awesome job when I graduate?

Some more basic questions:

1. Is ART HIST 1AA3 (Term 2)  a continuation of this course?

2. When do the tutorials begin and do I have to attend?

3. I'm not an Art History major. Will I be able to handle the material in this course?

4. Why is the course text so #?$%! expensive ??!!

5. I've heard my instructor likes Adventure Time and occasionally jokes around in class. This must mean that this is a bird course. Is that correct?


You will note that in my responses to some of these questions I emphasize the importance of student engagement with the material. Attending the lectures and tutorials are essential if you wish to perform well in this course. The text and lectures offer information and the perspectives of the author and instructor but the real value of the course rests with YOUR critical interpretation of this material. In the end it doesn't matter if you are majoring in Art, Art History, Engineering, Business, Health Sciences or any other field... it all comes down to what YOU make of it. As you can probably tell, I have strong opinions about education and methods of teaching and I encourage students to be wary of a passive-receptive approach to learning. For a more in-depth discussion on this matter have a look at this recent text I wrote in response to some concerns of one of my former students...

Some Thoughts on the State of Higher Education (Part 1: MOOCs)

Those of you who are interested in extending your connections with art history and visual culture may also want to check my Slippers's Picks page on facebook:

Slippers's Picks

More to follow...

ART HIST 1A03: Course Outline

The course outline is available below and at the following link:

ART HIST 1A03 Course Outline Fall 2014

School of the Arts                               McMaster University

ART HIST 1A03: World Art and Cultural Heritage I

Term I, 2014

Lectures: Monday & Wednesday (4:30-5:20)

Location: TSH B128

Course Instructor: Greg Davies                                 

Email: gdavies@mcmaster.ca

Blog: http://acabinetofcuriosities1.blogspot.ca

Office: TBA

Office hours: Monday:  3:00 – 4:00 pm., or by appointment

           

COURSE DESCRIPTION: This course presents a global perspective of art and architecture of the Americas, Africa, Middle East, Asia, and Europe within their historical and cultural context. Material extends from objects by itinerant First Peoples to the monumental buildings created by settled agrarian societies during the Middle Ages. Lectures and tutorials examine art produced in a range of media and address the designation and preservation of world Cultural Heritage sites.

COURSE TEXT:

Marilyn Stokstad and Michael Cothren, Art History, Vol. 1, 5^th edition, (New Jersey: Pearson,2013).

Text or eText access code available for purchase at the McMaster University Bookstore

INSTRUCTOR’S BLOG:

Course-related information and updates will be posted on the instructor’s blog throughout the term. Students should be prepared to access the blog regularly. Here is the link:

http://acabinetofcuriosities1.blogspot.ca

COURSE EVALUATION:  The final grade for this course will derive from three pieces of work. There will be one short test, one written assignment and a final examination. The marking scheme for each is listed below:

Short Test: 25%        In class, October 6

(30 minutes; 2 parts - slide identification and fill-in-the-blank questions)

Assignment 35%       Due in class, November 3 (5-page visual analysis)

Final Exam: 40%      Date TBA

(2 hours; 3 parts – 2 short responses to 2 questions; 1 long response to 1 question)

The requirements for each will be discussed in detail during class.

Please note: In accordance with the “Senate Resolution on Course Outlines” the instructor reserves the right to make changes in the course warranted by developments that may occur as the course unfolds, with reasonable notice to students enrolled.

POLICIES ON EMAIL COMMUNICATION, LATE AND / OR MISSED WORK:

EMAIL COMMUNICATION:  It is now the policy of the School of the Arts that all email communication between students and instructors must originate from their official McMaster accounts. This policy protects the confidentiality and sensitivity of info and confirms the identity of both parties. SOTA instructors will delete messages that do not originate from McMaster University email accounts.

LATE AND / OR MISSED WORK: It is the responsibility of each student to attend tests and exams and meet the requirements of submission for coursework. Missed tests and exams and late papers will automatically be assigned a grade of 0. Exceptions to this policy will only be made in the specific instances outlined below (see Permission to use MSAF ), and only when met by approval from the Faculty/Program office and course instructor.

In the event of an illness or injury a student must complete a McMaster Student Absence Form online. As of September 2011 the McMaster policy regarding the use of the MSAF is as follows:

The maximum value of the missed work for which the MSAF can be used is 29%.

The MSAF can only be used by a student once per term. The on-line 2011-12 Undergraduate Calendar will be updated to reflect this.

'Personal Reasons' are not a valid reason for using the MSAF.

The e-mail message that goes to students following their submission of the MSAF will clearly describe the steps that students must take to receive relief for the missed work, and the timelines for doing so.

Please note: As of September 2011, students will be required to visit their Faculty/Program Office and complete a Permission to use MSAF form, for the following reasons:

The request for relief for missed academic work is personal.

The request for relief for missed academic work is religious.

A component of work they have missed is valued at more than 29%.

They have already used the MSAF once in the Term.

Such students may be asked by their Faculty/Program Office to provide appropriate supporting documentation. If the student’s request to use the MSAF is approved, the MSAF link will be made available (on a one-time basis) to the student.

ON ACADEMIC DISHONESTY:  Academic dishonesty consists of misrepresentation by deception or by other fraudulent means and can result in serious consequences, e.g., the grade of zero on an assignment, loss of credit with a notation on the transcript (notation reads: “Grade of F assigned for academic dishonesty”), and / or suspension or expulsion from the university.

It is your responsibility to understand what constitutes academic dishonesty. For information on the various kinds of academic dishonesty please refer to the Academic Integrity Policy (senate Policy Statements), specifically Appendix 3, located at http://www.mcmaster.ca

The following illustrates only three forms of academic dishonesty:

1. Plagiarism, e.g., the submission of work that is not one’s own or for which other credit has been obtained.

2. Improper collaboration in group work.

3. Copying using unauthorized aids in tests and examinations.

Please note the following statement from the Office of Academic Integrity:

McMaster University has purchased Turnitin.com, which is a detection service. Students submit their assignment/work electronically to Turnitin.com where it is checked against the internet, published works and Turnitin’s database for similar or identical work. If Turnitin finds similar or identical work that has not been properly cited, a report is sent to the instructor showing the student’s work and the original source. The instructor reviews what Turnitin has found and then determines if he/she thinks there is a problem with the work.

Written work submitted in this course may be subject to review using Turnitin.com

CENTRE FOR STUDENT DEVELOPMENT: Students who are experiencing (or anticipate) personal or academic difficulties (e.g., time management problems, language and / or writing challenges, undue personal stress, critical family issues, etc.) during the course of the semester are urged to consult with a counselor at the Centre for Student Development (CSD). For further information on the CSD and its services please call (905) 525-9140 [ext. 24711] or go to: http://csd.mcmaster.ca 

GRADING SCALE:

A+       90-100             B+       77-79               C+       67-69               D+       57-59

A         85-89               B         73-76               C         63-66               D         53-56

A-        80-84               B-        70-72               C-        60-62               D-        50-52

                                                                                                            F          0-49

LECTURE SCHEDULE & READINGS:

All readings are taken from Marilyn Stokstad and Michael Cothren, Art History, Vol. 1, (5^th edition)

Please note that the material covered from each chapter will be selective. Highlighted material will be posted in advance on the instructor’s blog so that students may manage their readings effectively.

September 8    Introduction

September 10 Prehistoric Art: Ch. 1

September 15 Prehistoric Art: Ch. 1

September 17 Art of the Ancient Near East and Egypt: Ch. 2, Ch. 3

September 22 Art of the Ancient Near East and Egypt: Ch. 2, Ch. 3

September 29  Art of the Ancient Aegean and Greece: Ch. 4, Ch. 5

October 1        Art of the Ancient Aegean and Greece: Ch. 4, Ch. 5

October 6        TEST (IN CLASS)

October 8        Etruscan and Roman Art: Ch. 6

October 13     THANKSGIVING (NO CLASS)

October 15      Etruscan and Roman Art: Ch. 6

October 20      Jewish and Early Christian Art: Ch. 7

October 22      Jewish and Early Christian Art: Ch. 7

October 27      Byzantine and Islamic Art: Ch. 8, Ch. 9

October 29      Byzantine and Islamic Art: Ch. 8, Ch. 9

November 3    Chinese, Korean and Japanese Art before the 14^th Century: Ch. 11, Ch. 12

                        ASSIGNMENT DUE: IN CLASS

November 5    Chinese, Korean and Japanese Art before the 14^th Century: Ch. 11, Ch. 12

November 10 Early Art of the Americas and African Art: Ch. 13, Ch. 14

November 12 Early Art of the Americas and African Art: Ch. 13, Ch. 14

November 17 Medieval and Romanesque Art: Ch. 15, Ch. 16

November 19 Medieval and Romanesque Art: Ch. 15, Ch. 16

November 24 Gothic Art: Ch. 17

November 26 Gothic Art: Ch. 17

December 1     Review I

December 3     Review II

FINAL EXAM: TBA

ART HIST 1A03: World Art & Cultural Heritage I

Welcome to ART HIST 1A03! This week  we will begin with an introductory lecture (Monday, September 8) on the course design and objectives. At this time we will also discuss the tutorials (beginning during the following week) and address any questions you might have.

On Wednesday, September 10, we will get things rolling with a lecture on prehistoric material. The lecture will focus on the following works discussed in your readings:

Woman from Willendorf
Hall of Bulls (Lascaux, France)
Bird-Headed Man with Bison (Lascaux, France)
Tomb Interior With Corbelling and Engraved Stones (Newgrange, Ireland)
Stonehenge (Wiltshire, England)

ART HIST 2A03: Lecture Images

The following are key images used in lecture. I am providing them here for your reference (as you prepare for the final exam). For information on the final please see my previous post of June 15th.

Jean Simeon Chardin, Soap Bubbles, ca. 1733-34 (oil on canvas)

Robert Rauschenberg, White Painting (Seven Panel), 1951 (oil on canvas)

Jean-Leon Gerome, Pygmalion and Galatea, ca., 1890 (oil on canvas)

still from David Cronenberg's film, Videodrome (1983)

Cornelius Krieghoff, Bilking the Toll, ca. 1859-1861 (oil on canvas)

Paul Kane, Assiniboine Hunting Buffalo, ca., 1851-1856 (oil on canvas)

Cornelius Krieghoff, The Passing Storm, Saint-Ferreol, 1854 (oil on canvas)

Frederick Edwin Church, Twilight in the Wilderness, 1860 (oil on canvas)

Unknown, postcard, (nd)

Edward S. Curtis, Little Plume and His Son, Yellow Kidney, ca. 1910 (photograph), original version

Edward S. Curtis, Little Plume and His Son, Yellow Kidney, ca. 1910 (photograph), modified version

Edward Hopper, Nighthawks, 1942 (oil on canvas)

Edward Hopper, Gas, 1940 (oil on canvas)

Ansel Adams, Moonrise, Hernandez, New Mexico, 1941 (photograph)

Kazimir Malevich, Black Square, 1915, (oil on canvas)

Robert Frank, Parade - Hoboken, NJ, 1955 (photograph, from The Americans)

Robert Frank, U.S. 90, En Route to Del Rio, Texas, 1955 (photograph, from The Americans)

Robert Frank, Santa Fe, New Mexico, 1955-1956 (photograph, from The Americans)

Nicolas Poussin, Et in Arcadia ego, 1637-1638 (oil on canvas)

Gian Lorenzo Bernini, Caricature of Scipione Borghese, 17th C. (pen and ink)

Gian Lorenzo Bernini, Caricature of Pope Innocent XI, 1676 (pen and ink)

Gian Lorenzo Bernini, Portrait Bust of Cardinal Scipione Borghese, 1632 (marble, original version)

Original and restored Ecce Homo, Sanctuary of Mercy church, Borja, Spain

Original by Elias Garcia Martinez (fresco, ca. 1930); restoration by Cecilia Gimenez (fresco, 2012)