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     Course or Program__________________________________

     This checklist enables A2C2 representatives to endorse that their departments have accurately followed the Process for Accomplishing

    Curricular Change. For each course or program proposal submitted to A2C2, this checklist must be completed, signed by the submitting

    department's A2C2 representative, and included with the proposal when forwarded for approval. Peer review of proposals is also strongly

    advised, e.g., departments should discuss and vote on the proposals as submitted to A2C2, rather than on just the ideas proposed or drafts of proposals.

     If a proposal fails to follow or complete any aspect of the process, the Course and Program Proposal Subcommittee will postpone

    consideration of the proposal and return it to the department's A2C2 representative for completion and resubmission. Resubmitted proposals

    have the same status as newly submitted proposals.

    Note: This form need not be completed for notifications.

1. The appropriate forms and the “Approval Form" have been completed in full for this proposal. All necessary or relevant

    descriptions, rationales, and notifications have been provided.

     ________ Completed

2a. The “Financial and Staffing Data Sheet" has been completed and is enclosed in this proposal, if applicable.

     ________ Completed ________ NA

2b. For departments that have claimed that “existing staff" would be teaching the course proposed, an explanation has been enclosed in

    this proposal as to how existing staff will do this, e.g., what enrollment limits can be accommodated by existing staff. If no such

    explanation is enclosed, the department's representative is prepared to address A2C2's questions on this matter.

     ________ Completed ________ NA

3. Arrangements have been made so that a department representative knowledgeable of this proposal will be attending both the Course

    and Program Proposal Subcommittee meeting and the full A2C2 meeting at which this proposal is considered.

     ________ Completed

     Name and office phone number of proposal's representative: _____________________________________

4. Reasonable attempts have been made to notify and reach agreements with all university units affected by this proposal. Units still

    opposing a proposal must submit their objections in writing before or during the Course and Program Proposal Subcommittee

    meeting at which this proposal is considered.

     ________ Completed ________ NA

    5. The course name and number is listed for each prerequisite involved in this proposal.

     ________ Completed ________NA

6. In this proposal for a new or revised program (major, minor, concentration, etc.), the list of prerequisites provided includes all the

    prerequisites of any proposed prerequisites. All such prerequisites of prerequisites are included in the total credit hour calculations.

    ________ Completed ________ NA

7. In this proposal for a new or revised program, the following information for each required or elective course is provided:

     a. The course name and number.

     b. A brief course description.

     c. A brief statement explaining why the program should include the course.

     ________ Completed ________ NA

8. This course or program revision proposal:

     a. Clearly identifies each proposed change.

     b. Displays the current requirements next to the proposed new requirements, for clear, easy comparison.

     ________ Completed ________ NA

9. This course proposal provides publication dates for all works listed as course textbooks or references using a standard form of

    citation. Accessibility of the cited publications for use in this proposed course has been confirmed.

     ________ Completed ________ NA

     __________________________________________________ ______________________

     Department's A2C2 Representative or Alternate Date [Revised 9-05]



    Department _ART_________________________________________ Date __Feb 9, 2012______________

If proposed course change requires A2C2 and/or graduate Council approval, i.e., not considered a notification, complete and submit this form

    with the appropriate number of copies. Refer to Regulation 3-4, Policy for Changing the Curriculum, for complete information on submitting proposals for curricular changes.

Current Course Information

     __ART 222___________ ___Art History II________________________________ _3.00____

     Course No. Course Title Credits

     This Proposal is for a(n) _X__ Undergraduate Course ______ Graduate Course

     Applies to: __X__ Major: ARTS, ARTG, ARTT _X____ Minor Art History _X__ General Education Program*

    _X_ Required _X_ Required _X_ University Studies Program*

    _ Elective __ Elective

     Prerequisites ________________________________________________________________________________________

     Grading __X_ Grade only ___ P/NC only ______ Grade and P/NC Option

     Frequency of offering ___once yearly_____________________

*For General Education Program course approval, the form Proposal for General Education Program Courses must also be completed and

    submitted separately according to the instructions on that form. For University Studies Program course approval, the form Proposal for

    University Studies Courses must also be completed and submitted separately according to the instructions on that form.

Proposed Course Information. (Please indicate only proposed changes below.)

     _____________________ ____Survey of Modern Art_________________________________ _____________

     Course No. Course Title Credits

     This Proposal is for a(n) ______ Undergraduate Course ______ Graduate Course

     Applies to ______ Major ______ Minor ______ General Education Program*

    _____ Required _____ Required ______ University Studies Program*

    _____ Elective _____ Elective

     Prerequisites ________________________________________________________________________________________

     Grading ______ Grade only ______ P/NC only ______ Grade and P/NC Option

     Frequency of offering _____________________________

A. Changes in the course description,

    1. Catalog description (include a display of current and proposed course requirements).

    The second half of the year-long survey of the history of art extends from the Renaissance period into the modern

    age. The survey concludes with developments of the mid-20th century. Grade only. Effective Spring 2010 - A

    one-semester survey of modernism, beginning with the 19th century and touching on major modernist and

    postmodernist artists and movements up to the present. The course also provides instruction in methods of

    observation, analysis, and research. Grade only.

    2. Course outline of the major topics and subtopics (minimum of two-level outline).

    I Discipline-specific skills (to be reinforced throughout the course)

     A. Form

     B. Iconography

     C. Context

     D. Patronage

     E. Canon construction

    II Foundations of Modernism

    A. Manet and the exposure of conventions

    B. Impressionism: theory and practice

     1. technique

     2. subject matter

     3. major practitioners

    C. Postimpressionism’s critique and assimilation

    1. Cezanne and order

    2. Gauguin and autonomy

    D. Symbolism and Art Nouveau

    1. Freud and the world within

    2. Munch

    3. Klimt

    4. Design

     a. Gaudi

     b. Graphic Art/Art Nouveau posters

    E. Industrialization and modern architecture

    1. Arts & crafts and alienation

    2. Form follows function

    II. Expressionism

    A. primitivism

    B. Truth-to-materials: expressionist graphic arts

    C. Kandinsky and abstraction

    D. Fauvism & Matisse

    III. Cubism & its descendants

    A. Picasso & Braque

    1. early

    2. analytic cubism

    3. synthetic cubism

    B. Futurism

    C. Soviet avant-garde

     1. the end of painting: from bourgeois trinket to social engagement

     2. graphic design

    D. Mondrian and de Stijl

    IV American Modernism

    A. Ashcan School

     1. Bellows: urban realism

     2. John Sloan: painting and graphic arts: The Masses

    B. The Stieglitz circle

    1. Latter day transcendentalism Dove & O’Keeffe

    2. Cubism and the Fourth Dimension: Max Weber

    3. The Machine age: Sheeler

     C. Telling their stories: Jacob Lawrence and Romare Bearden

    V. Dystopia/Utopia:

    1. Dada

     a. Hannah Höch and the photomontage

     b. Marcel Duchamp and the readymade

    2. Bauhaus: design for modern life

    3. High Modernist architecture

    a. Le Corbusier

    b. Frank Lloyd Wright

    4. Hitler and Degenerate Art: the propaganda machine

    5. America and the Great Depression

     a. Regionalism

    b. Mexican Murals

    c. Social realism and WPA VI. Surrealism

     A. Theory and practice

     B. Artistic methods

     1. Masson

     2. Miro

     3. Dali

     4. photography and film

     C. Surrealism and gender

     1. misogyny

     2. Great women surrealists

     a. Kahlo

     b. Sage

     c. Carrington

     d. Bourgeois

    VII. Post War American Art trauma, “triumph” and “mopping up.”

    A. Surrealist echoes

    B. Cubist echoes

    C. Grand synthesis: Lee Krasner and Robert Motherwell

    D. “breaking the ice”: Pollock and De Kooning

    E. The abstract sublime: Rothko and Newman

    ndF. 2 generation: Joan Mitchell and Phillip Guston

    G. critique and canonization (Greenberg and Rosenberg)

    VIII. After Abstract Expressionism

    A. Analysis and excess: Johns, Rauschenberg, Twombly

    B. Pop Art and the critique of the “authentic”: Warhol, Lichtenstein, Hamilton, Rosenquist.

    C. Color Field and Minimalism: formalism apotheosized

    D. Late Modern Design: Charles and Ray Eames

    E. Art as operation:

    1. Happenings

    2. Conceptual Art

    3. Video Art

    IX. Progress through Dissent

    A. The other tradition: “folk” or “outsider” art.

    B. While Rome burns: the Black Arts movement and its discontents

    C. Feminisms

    X. Perpetual Pluralism: an introduction to post-recent art.

    A. Return of painting: be careful what you wish for.

    B. Media as art: Neo-conceptualism and appropriation

    C. Painting out of bounds (Elizabeth Murray and Mary Heilmann)

    D. Art as spectacle: Matthew Barney and Jeff Koons.

    E. Grunge: recent graphic design

    F. Architecture

     1. postmodern

     2. green

    3.a Instructional delivery methods utilized: (Please check all that apply).

    Lecture: Auditorium ITV Online Web Enhanced Web SupplementedX

    Lecture: ClassroomX Service Learning Travel Study Laboratory Internship/Practicum

    Other: (Please indicate)

    3.b. MnSCU Course media codes: (Please check all that apply).

    None: 3. Internet 6. Independent Study 9. Web Enhanced

    1. Satellite 4. ITV Sending 7. Taped 10. Web Supplemented

    2. CD Rom 5. Broadcast TV 8. ITV Receiving

    4. Course requirements (papers, lab work, projects, etc.) and means of evaluation.

Three online exams and one cumulative homework grade: 25% each.

    Exams: Multiple-choice and short answer questions evaluate students’ comprehension of key terms, concepts, artists, and styles.

    Essay questions demonstrate students’ ability to articulate relationships, tensions, and ambiguities among

    terms, concepts, artists, and movements.

    Homework: A series of assignments provides an introduction to and practice in the conventions of writing in the discipline of art history. These include formal descriptions, contextual analysis, and research. Students also perform peer review exercises.

5. Course materials (textbook(s), articles, etc.). th Arnason & Mansfield, History of Modern Art, 6 edition (Prentice Hall, 2009)

    ISBN-10: 0136062067, ISBN-13: 978-0136062066

    Additional articles and book excerpts will be provided electronically on D2L or retrieved by the student when

    they are available full-text online through library databases.

    6. Assessment of Outcomes: In addition to the in-class assessment methods listed, outcomes will also be

    assessed by the Art Department Learning Fundamentals Exam, and the ability of students to situate their work

    within an informed dialogue as required by the Junior Review and the Senior Artist Exhibition, Presentation,

    and Statement.

    The student will recognize the impulses of Neoclassicism, Romanticism, and Enlightenment as they are 1.

    manifested in modernist art through idealization, individualization, and progress, respectively. Assessed by: exams, in-class discussions.

    The student will be able to distinguish and practice formal analysis, iconographical interpretation, and 2.

    contextual analysis of a given work of art.

    Assessed by: homework, in-class discussions, and exams.

The student will conduct library research. 3.

    Assessed by: homework.

The student will be able to distinguish the characteristics of artistic movements in the time period under 4.

    consideration, recognize artists associated with given movements, and that not all artist fit neatly into

    any single movement.

    Assessed by: exams, homework, and in-class discussions.

The student will be able to articulate and recognize the impact of Freud and Marx on artistic production. 5.

    Assessed by: exams, in-class discussions.

The student will recognize the contributions of women artists and non-white artists, and the impact of such 6.

    contributions on canon-formation.

    Assessed by: exams, in-class discussions.

The student will recognize the themes of utopianism and progress as they appear in modern art, and to give 7.


    Assessed by: exams, in-class discussions.

The student will be able to distinguish the opposing critical paradigms of formal and conceptual, and to give 8.

    examples of each.

    Assessed by: exams, in-class discussions.

B. Rationale for each of the changes proposed.

1. This course’s changes in scope from c. 1400 c. 2010 to c. 1840 c. 2010, allowing for a more sustained

    focus on modern art, addresses two problems noticed by the Art Dept faculty:

     a. Students need a greater familiarity with artists and movements of our own era in order to operate critically

    and knowledgeably as teachers, designers, artists, or in order to pursue graduate study.

     b. Students need a greater familiarity with artists and movements of our own era in order to succeed in the

    advanced ART 439 Art Since 1945 course, which requires independent research and critical reading and

    discussion of primary materials.

    2. The attendant compression of ART 221 to cover Paleolithic to French Realism (c. 1840) still accomplishes

    this course’s goal of providing an overview of ancient and recent western and non-western styles and

    movements, as well as an introduction to important concepts in art history such as form, iconography,

    context, patronage, religious expression, and canon formation.

    3. The change in course title, from Art History II to Survey of Modernism accurately reflects the course’s new


C. Impact of this Course on other Departments, Programs, Majors, or Minors

    1. Does this course increase or decrease the total credits required by a major or minor of any other department? If so, which



    2. List the department(s), if any, which have been consulted about this proposal.


    D. Describe impacts of this proposal on the General Education Program or the University Studies Program.

     There is no impact in terms of course offerings. This course has already been approved as a Fine Arts (Goal 6) course in the General Education Program and will continue to provide this content. (A GEP re-application accompanies this Revised Course Proposal)



02- CD Rom:

    03- Internet: Predominately = where all, or nearly all, course activity occurs in an online environment. One to two activities may occur face-to-face in a classroom, with the maximum being two activities.

    04 ITV Sending: a course in which students are in the classroom with the instructor, other students join via interactive television technology from other geographically separate locations

05 Broadcast TV:

    06 Independent Study: a course in which the teacher develops specialized curriculum for the student(s) based on department guidelines in the University course catalog

07 Taped: a course in which the teacher records the lessons for playback at a later date

    08 ITV Receiving: a course in which students are not in the classroom with the teacher, other students join via interactive television technology from other geographically separate locations

    09 Web Enhanced- Limited Seat Time: For a course in which students are geographically separate from the teacher and other students for a majority of required activities. However, some on-site attendance is required. The course includes synchronous and/or asynchronous instruction.

    10 Web Supplemented- No Reduced Seat Time: For a course utilizing the web for instructional activities. Use of this code may assist your college/university in tracking courses for “smart classrooms” and/or facility usage.

Attach an Approval Form with appropriate signatures.

Department Contact Person for this Proposal:

______________________________________________ ________________ _______________________________

    Name (please print) Phone e-mail address

     [Form Revised 9-6-11]

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