This semester students are asked to transform the Hereshoff Museum in Bristol, Rhode Island, through processes of erasure and addition. Hereshoff Manufacturing was recognized as one of the premier builders of America's Cup racing boats between 1890's and 1930's. The studio however, is about more then the program. It is about land, water, and wind and the search for expressing materially and tectonically the relationships between these principle conditions. That is, where the land is primarily about stasis (docking, anchoring and referencing our locus), water's fluidity holds the latent promise of movement and freedom. Movement is activated by wind, allowing for negotiating the relationship between water and land.

This class investigates the theory, method, and form of collage. It studies not only the historical precedents for collage and their physical attributes, but the psychology and process that plays a part in the making of them. The class was broken into three parts, changing scales and methods each time, to introduce and study the rigor by which decisions were made in relation to the collage. The class was less about the making of art than the study of the processes by which art is made.

This subject introduces skills needed to build within a landscape establishing continuities between the built and natural world. Students learn to build appropriately through analysis of landscape and climate for a chosen site, and to conceptualize design decisions through drawings and models.

There is a quote that has been passed down many years and is most recently accounted to P.T. Barnum, “There is a sucker born every minute.” Are you that sucker? If you were, would you like to be “reborn?” The goal of this book is to help you through that “birthing” process. Critical thinking and standing up for your ideas and making decisions are important in both your personal and professional life. How good are we at making the decision to marry? According to the Centers for Disease Control, there is one divorce in America every 36 seconds. That is nearly 2,400 every day. And professionally, the Wall Street Journal predicts the average person will have 7 careers in their lifetime. Critical thinking skills are crucial.

Arguments in Context is a comprehensive introduction to critical thinking that covers all the basics in student-friendly language. Intended for use in a semester-long course, the text features classroom-tested examples and exercises that have been chosen to emphasize the relevance and applicability of the subject to everyday life. Three themes are developed as the text proceeds from argument identification and analysis, to the standards and techniques of evaluation: (i) the importance of asking the right questions, (ii) the influence of biases, cognitive illusions, and other psychological factors, and (iii) the ways that social situations and structures can enhance and impoverish our thinking. On this last point, the text includes sustained discussion of disagreement, cooperative dialogue, testimony, trust, and social media. Overall, the text aims to equip readers with a set of tools for working through important decisions and disagreements, and to help them become more careful and active thinkers.

Table of Contents
I. An Introduction to Reasoning
II. Argument Analysis
III. An Introduction to Evaluation
IV. An Introduction to Deductive Arguments
V. Common Inductive Arguments
VI. Social Arguments
VII. Scientific Reasoning

Historical developments in Western art from 18th century to the mid-20th century. Focus on European and American art.

Table of Contents:

Module 1 Materials & Techniques Artists Use
Module 2 Neoclassicism & the French Revolution
Module 3 Romanticism in Spain & France
Module 4 Romanticism in England & Germany
Module 5 Realism
Module 6 Impressionism & Post-Impressionism
Module 7 Modernism & Symbolism
Module 8 Expressionism & Cubism
Module 9 Futurism, Dada & World War I
Module 10 de Stijl & Surrealism
Module 11 The Great Depression & World War II

This course is particularly focused on helping you develop visual literacy skills, but all the college courses you take are to some degree about information literacy. Visual literacy is really just a specialized type of information literacy. The skills you acquire in this course will help you become an effective researcher in other fields, as well.

E-book version available here: https://library.achievingthedream.org/herkimerartappreciation/

This is an exploration of visual art forms and their cultural connections for the student with little experience in the visual arts. The course includes a brief study of art history and in depth studies of the elements, media, and methods used in creative process and thought. Visual and performing arts are part of the Humanities: academic disciplines that study the human condition and, in addition to the arts, include languages, literature, law, history and religion. This course will teach students to develop a five-step system for understanding visual art in all forms based on description, analysis, meaning, context and judgment.Login: guest_oclPassword: ocl

This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.

Adapting Materials
For ease of adapting the materials, editable files are provided. Under additional files, you can download ZIP files of the presentations in PowerPoint and the reading lists in Word, as well as a Word document of sample sketchbook assignment topics. Presentations and reading lists are separated by lessons within the ZIP files.

This course is an introduction to the major methodologies used by art historians. Although not a history of art history per se, it is organized in a roughly chronological order that traces major methodological developments within the discipline from the birth of art history in the nineteenth century through the late twentieth century. The course will also examine how artworks are displayed in modern art museums. Upon successful completion of this course, the student will be able to: Explain what art historians study and what kinds of questions they ask about works of art; Identify major art historical methodologies and their associated theories and theorists; Write a critical summary of a piece of art historical scholarship; Explain the major aspects of the methodological approaches outlined in this course and how they relate to the philosophical, historical, and social context in which they first appeared; Explain how different methodologies can be used to analyze works of art; Compare and contrast major art historical methodologies; Use different art historical approaches to interpret, analyze, and write about works of art. (Art History 301)

The history of Art is long and varied, spanning tens of thousands of years from ancient paintings on the walls of caves
to the glow of computer-generated images on the screens of the 21st century.

SUNY’s “Art History and Appreciation I” that was developed by Lumen Learning.

Module 1: Introduction
Module 1 Overview
Key Learning Items
Common Questions about Dates
A Beginner's Guide to the History of Western Culture
Why Look at Art?
The Skill of Describing
Patronage and the Status of the Artist
Glossary of Art Terms
External Resource

Module 2: The Birth of Art
Module 2 Overview
Key Learning Items
Prehistoric Art: Paleolithic Origins
Nude Woman (Venus of Willendorf)
Paleolithic Art Explained
The Neolithic Revolution
Jericho
Çatal Höyük
Stonehenge
External Resources

Module 3: The Ancient Near East
Module 3 Overview
Key Learning Items
Ancient Near East
Sumerian Art
The Invention of Writing
The Standard of Ur
Ziggurat of Ur
Art of Akkad and Ur
Victory Stele of Naram-Sin
Theories on the Meaning of the Victory Stele of Naram-Sin
Law Code of Hammurabi
Assyrian Art
Lamassu
Neo-Babylonian Art
Art of the Persian Empire
External Resources

Module 4: The Art of Ancient Egypt
Module 4 Overview
Key Learning Items
Ancient Egypt
Egyptian Art
Materials & Techniques
Seated Scribe
The Great Pyramids of Giza
Pyramid of Khufu
Pyramid of Khafre and the Great Sphinx
Pyramid of Menkaure
House Altar (Amarna Period)
Portrait Head of Queen Tiye
Bust of Nefertiti
Ramesses II
External Resources

Module 5: The Art of Ancient Greece—Part I
Module 5 Overview
Key Learning Items
Aegean Prehistoric Archaeology
The Early Aegean (3000–700 BCE)
Geometric Greek Krater
Black Figure Amphora
Niobid Painter, Attic Red Figure Calyx-Krater
New York Kouros
Spear Bearer
The Greek Temple
East and West Pediments, Temple of Aphaia
Myron, Discus Thrower
The Parthenon
Parthenon's East Pediment
Parthenon Frieze
Parthenon Metopes
Erechtheion
External Resources

Module 6: The Art of Ancient Greece—Part II
Module 6 Overview
Key Learning Items
Lysippos: Farnese Herucles
After Praxiteles, Venus
Barberini Faun
Dying Gaul
Nike of Samothrace
The Pergamon Altar
Boxer at Rest
Alexander Mosaic
Laocoön and his Sons
Eros Sleeping and an Old Market Woman
** Petra: An Introduction
Petra: Rock Cut Facades
** Petra: Urban Metropolis
External Resources

Module 7: The Art of the Etruscans
Module 7 Overview
Key Learning Items
Etruscan Art
Sarcophagus of the Spouses
Etruscan Necropolises
Etruscan Art Explained by the Met
External Resources

Module 8: The Art of Ancient Rome—Part I
Module 8 Overview
Key Learning Items
Ancient Rome
Digging Through Time
Temple of Portunus
Veristic Male Portrait
The Pantheon
Augustus of Primaporta
Painted Garden
Head of Augustus
Ara Pacis
Villa of Mysteries
Colosseum
External Resources

Module 9: The Art of Ancient Rome—Part II
Module 9 Overview
Key Learning Items
Arch of Titus
Hadrian's Villa
Maritime Theater, Hadrian's Villa
Pair of Centaurs
Column of Trajan
Medea Sarcophagus
Equestrian Sculpture of Marcus Aurelius
Ludovisi Battle Sarcophagus
Tetrarchs
Arch of Constantine
Colossus of Constantine
External Resources

Module 10: Early Christian Art
Module 10 Overview
Key Learning Items
Introduction to Early Christianity
Early Christian Art
After Constantine
Santa Maria Antiqua Sarcophagus
Santa Pudenziana
Sarcophagus of Junius Bassus
Santa Sabina
Santa Maria Maggiore
Mausoleum of Galla Placidia
External Resources

Module 11: Early Medieval, Carolingian and Ottonian Art
Module 11 Overview
Key Learning Items
Early Medieval Art
Fibulae
Sutton Hoo Ship Burial
Medieval Manuscripts
The Bestiary
The Lindisfarne Gospels
Carolingian Art
Lindau Gospels Cover
St. Michael's Church
External Resources

Module 12: Byzantine Art
Module 12 Overview
Key Learning Items
San Vitale
Iconoclasm
Hagia Sophia
Ivory Panel with Archangel
Icon of Saint George
Icon of the Triumph of Orthodoxy
External Resources

Module 13: The Arts of the Islamic World
Module 13 Overview
Key Learning Items
Introduction to Islamic Art
Mosque Architecture
The Early Period
Dome of the Rock
Great Mosque of Cordoba
Medieval Period
Pyxis of Al-Mughira
The Alhambra
Ilkhanid Mihrab
Later Period
Qa'a: The Damascus Room
External Resources

Module 14: Romanesque Art
Module 14 Overview
Key Learning Items
Introduction to Romanesque Art
Pilgrimage Routes
Church Architecture
Abbaye of Fontenay
Saint Trophime
Last Judgment Tympanum
Virgin from Ger
Historiated Capitals
Painting: Wise and Foolish Virgins
Bayeux Tapestry
Diagram of a Romanesque Portal
External Resources

Module 15: Gothic Art
Module 15 Overview
Key Learning Items
St. Denis
Cathedral of Notre Dame de Chartres
Gothic Architecture
Southwell Minister
Salisbury Cathedral
Blanche of Castile
External Resources

Accompanying Canvas Commons glossary available here: https://lor.instructure.com/resources/70030f3fe62e431fbcb627351302d216 . If the provided link does not work, please search “ASCCC” in Canvas Commons to find all ASCCC OERI resources.

E-book version available here: https://library.achievingthedream.org/herkimerarthistory1/

Table of Contents:

I. Chapter 1: Introduction
II. Chapter 2: Proto-Renaissance (1300–1400)
III. Chapter 3: 1400–1500—Art in Northern Europe
IV. Chapter 4: 1400–1500—Art in Italy
V. Chapter 5: 1500–1600—High Renaissance and Mannerism in Italy
VI. Chapter 6: 1500–1600—The Age of Reformation: Northern Renaissance Art
VII. Chapter 7: 1600–1700—Baroque Art in Italy
VIII. Chapter 8: 1600–1700—Baroque Art in Flanders, Dutch Republic, Spain and France
IX. Chapter 9: 1700–1800—The Age of Enlightenment
X. Chapter 10: 1800–1848—Industrial Revolution Part I
XI. Chapter 11: 1848–1907—Industrial Revolution Part II
XII. Chapter 12: 1907–1960—Age of Global Conflict Part I
XIII. Chapter 13: 1907–1960—Age of Global Conflict Part II
XIV. Chapter 14: 1960–Now—Age of Post-Colonialism Part I
XV. Chapter 15: 1960–Now—Age of Post-Colonialism Part II
XVI. Course Information
XVII. Textbook Online
XVIII. Meet the Class
XIX. Bulletin Board
XX. Icebreaker
XXI. Museum Project
XXII. Module 1 Renaissance Art
XXIII. Module 2 Baroque Art
XXIV. Module 3 Neoclassical and Romantic Art
XXV. Module 4 Impressionism and Later 19th Century Art
XXVI. Module 5 Early 20th Century Art and Architecture
XXVII. Module 6 1960–Now—Age of Post-Colonialism Part I, and II
XXVIII. Module 7 Globalism_Non-Western Art
XXIX. Module 8 Post Modernism Art Dealing with the Issues of Feminist Identity

This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" -- art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world.

Students will learn about the Impressionist painters' use of color and how it connected to early-19th-century scientific theories about color. They will explore combinations of primary and secondary colors, experiment creating secondary colors, and create a landscape using complementary colors.

Studies the relation between imaginative texts and the culture surrounding them. Emphasizes ways in which imaginative works absorb, reflect, and conflict with reigning attitudes and world views. Instruction and practice in oral and written communication. Topic for Fall: Ethical Interpretation. Topic for Spring: Women Reading, Women Writing. The course examines the earliest emergence of stories about King Arthur and the Knights of the Round Table in the context of the first wave of British Imperialism and the expanded powers of the Catholic Church during the twelfth and thirteenth centuries. The morphology of Arthurian romance will be set off against original historical documents and chronicle sources for the English conquests in Brittany, Wales, Scotland, and Ireland to understand the ways in which these new attitudes towards Empire were being mythologized. Authors will include Bede, Geoffrey of Monmouth, ChrĚŠtien de Troyes, Marie de France, Gerald of Wales, together with some lesser known works like the Perilous Graveyard, the Knight with the Sword, and Perlesvaus, or the High History of the Holy Graal. Special attention will be paid to how the narrative material of the story gets transformed according to the particular religious and political agendas of each new author.

This course serves as an introduction to the major artistic and architectural traditions of Ancient Egypt and the Ancient Near East. This course will explore how artifacts and monuments can be used to study the history and culture of the ancient world. It is divided into two units that chronologically focus on the art, architecture, and archaeology of each region. The first unit examines Ancient Egyptian tombs, monuments, and art from the Early Dynastic (c. 3100-2650 BCE) through the Roman (30 BCE- 4thcentury CE) periods. The second unit focuses on Ancient Near Eastern artistic and architectural traditions from the late Neolithic (c. 9500-4500 BCE) through the conquest of the Achaemenid Persian Empire (550-330 BCE) by Alexander the Great. Upon successful completion of this course, the student will be able to: Identify major ancient Egyptian and Near Eastern architectural sites, monuments, and works of art; Identify the general characteristics of ancient Egyptian and Near Eastern art and recognize the names and characteristics of the major art historical time periods of each region; Describe how art and architecture can be used to understand the politics, history, and culture of Ancient Egypt and the Near East; Explain ancient Egyptian and Near Eastern cosmology, conceptions of the afterlife, and kingship, as well as their relationship to architectural sites, monuments, and works of art. (Art History 201)

In this course, the student will study the art of Classical Antiquity. The different units of the course reflect the main chronological stages in art development in Ancient Greece and Rome, from the coming together of the Greek city-state and the emergence of ĺÎĺĺĺŤgeometric art (around 900 B.C.) to the fourth century A.D. shift that took place within Roman culture and art due to the growing influence of Christianity. Upon successful completion of this course, the student will be able to: Explain why ancient Greek and Roman art can be studied together as ĺÎĺĺĺŤthe art of Classical Antiquity; Trace the timeline of major events in Ancient Greece and Rome; Link important developments in the history of Ancient Greece and Rome to specific geographical contexts; Explain how important historical developments and social-historical contexts had an impact on artĺÎĺĺÎĺs evolution in Ancient Greece and Rome; Identify the important stylistic and technical developments of Ancient Greek and Roman art; Discuss important artworks, presenting relevant information on each workĺÎĺĺÎĺs historical context and constitution; Discuss important artists in terms of the style of their work. (Art History 202)

This seminar introduces, through studio projects, the basic principles regarding the use of color in the visual arts. Students explore a range of topics, including the historical uses of color in the arts, the interactions between colors, and the psychology of color.