Description of how to approach the painting section of the JC Art project with a finished sample project to view.

This course will introduce the student to the art and architecture of Africa from a Western art historical perspective. This course will emphasize the role of art as manifested in the lifestyles, spiritualities, and philosophies of particular African societies, while also broaching aesthetic principles and the study and display of African art. Upon successful completion of this course, the student will be able to: demonstrate an understanding of transitions in the national geography of the African continent from the 17th century to the present; demonstrate an understanding of the ethnic diversity and distinct cultural traditions among people of Africa; identify and discuss materials and techniques employed in the creation of a range of African artistic and architectural works; discuss the functions and meanings of a range of African art forms; identify traditional styles and forms strongly associated with particular cultural groups. (Art History 304)

This SALT Interpretation Pack has been designed as a resource for educators and students as they explore the themes of the Ahmet Öğüt "Across the Slope" exhibition at SALT Beyoğlu in Istanbul, Turkey. Designed for use in high school classrooms, its contents include activities, multimedia resources, terminology and opportunities for discussion. Educators are encouraged to adapt, shape and build upon these materials to best meet the needs of their students and teaching curricula.

"Across the Slope" was first exhibited at Centre d’Art Santa Mònica, Barcelona, in 2008. An installation of a modified Seat 131 (the Fiat 131 Mirafiori model produced in Spain) hovering over a man-made slope, "Across the Slope" responds to the dream of an emerging working class. When, in the 1970s, Fiat began licensing automobile production to manufacturers in Turkey, Spain and Morocco, car prices in these countries dropped. Cars were no longer luxury items. They became affordable consumer products—and symbols of a “modern,” Western lifestyle. Though modification of the Fiat was common, as Öğüt demonstrates, no matter how advanced or decorative the modifications, a car’s capacity remains the same: “A slope is always a slope, and it is always possible for a car to get stuck on one.”

SALT Beyoğlu’nda düzenlenen “Yokuş Boyunca” sergisindeki temaları açıklayan bu Yorumlama Rehberi, eğitimciler ve lise öğrencileri için bir kaynakça olarak hazırlanmıştır. Eğitimcilerin, rehberin içeriğindeki aktiviteler, multimedya kaynakları, terminoloji ve tartışma olanaklarını öğrencilerinin ihtiyaçlarına en iyi cevap verecek şekilde düzenleyerek müfredatlarına uyarlamalarını öneririz.

“Yokuş Boyunca” ilk olarak 2008 yılında, Barselona’daki Centre d’Art Santa Mònica’da [Santa Mònica Sanat Merkezi] sergilenmiştir. Sergi alanında oluşturulmuş bir yokuşta kalmış modifiye bir Seat 131 (İspanya’da üretilmiş Fiat 131 Mirafiori modeli) enstalasyonu olan “Yokuş Boyunca,” gelişmekte olan orta sınıfın mütevazı hayallerine gönderme yapmaktadır.

Fiat’ın 1970’lerde Türkiye, İspanya ve Fas’taki imalatçılara otomobil üretim ruhsatı vermeye başlamasıyla bu ülkelerdeki araba fiyatları düşer. Araba artık bir lüks olmaktan çıkar; bütçeye uygun bir tüketim ürünü ve “modern”, Batılı yaşam tarzının bir simgesi haline gelir. Fiat’ın modifikasyonu yaygındır; ancak Öğüt’ün “Yokuş Boyunca”’da gösterdiği gibi, modifikasyonlar ne denli gelişmiş ya da dekoratif olursa olsun, bir arabanın kapasitesi hep aynı kalır: “Yokuş hep yokuştur ve bir arabanın bir yokuşta kalakalması her zaman mümkündür.”

This course surveys art of America from the colonial era through the post-war 20th century. The student will consider broad stylistic tendencies in various regions and periods and examine specific artists and works of art in historical and social contexts, with emphasis on the congruent evolution of contemporary American multi-cultural identity. Overarching issues that have interested major scholars of American art and its purview include the landscape (wilderness, Manifest Destiny, rural settlement, and urban development); the family and gender roles; the founding rhetoric of freedom and antebellum slavery; and notions of artistic modernism through the 20th century. Upon successful completion of this course, the student will be able to: Understand the historical (geographic, political) formation of the present United States of America; Be familiar with renowned influential American artists from the 18th through the 20th century; Be conversant in common stylistic designations used in Western art of the 17th through 20th centuries; Recognize subjects and forms in American art through history that mark its distinction; Be able to engage specific images, objects, and structures from different critical perspectives to consider their functions and meanings. (Art History 210)

Je stelt instructies op voor de techniek van het sjabloneren en je probeert klanten te overhalen om de techniek uit te proberen met een wervende tekst.

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 course encourages students to develop an interest in and appreciation for art in all its variety, and promotes expression of this appreciation in an informed and critical way. Upon successful completion of this course, student will be able to: provide several different definitions of the term "Visual arts"; explain the debates that surround the act of defining art; list and discuss some of the roles that the visual arts have historically played; define and apply terms used to describe and analyze a work of visual art; describe and discuss works of visual art using appropriate vocabulary; define and explain in a technical fashion the different methods, mediums, and materials that artists use to create two-dimensional and three-dimensional works of visual art; compare and contrast different methods, mediums, and materials artists use to create two-dimensional and three-dimensional works of visual art; identify the important stylistic developments in the history of art; compare and contrast the artistic styles that have defined different historical eras and geographies; demonstrate an awareness of the importance of acknowledging cultural and historical contexts when approaching art. (Art History 101)

This course is an exploration of visual art forms and their cultural connections for the student with little experience in the visual arts. It includes a brief study of art history and in depth studies of the elements, media, and methods used in creative processes and thought. Upon successful completion of this course, students will be able to: interpret examples of visual art using a five-step critical process that includes description, analysis, context, meaning, and judgment; identify and describe the elements and principles of art; use analytical skills to connect formal attributes of art with their meaning and expression; explain the role and effect of the visual arts in societies, history, and other world cultures; articulate the political, social, cultural, and aesthetic themes and issues that artists examine in their work; identify the processes and materials involved in art and architectural production; utilize information to locate, evaluate, and communicate information about visual art in its various forms. Note that this course is an alternative to the Saylor Foundation’s ARTH101A and has been developed through a partnership with the Washington State Board for Community and Technical Colleges; the Saylor Foundation has modified some WSBCTC materials. This free course may be completed online at any time. (Art History 101B)

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)

Students learn how forces are used in the creation of art. They come to understand that it is not just bridge and airplane designers who are concerned about how forces interact with objects, but artists as well. As "paper engineers," students create their own mobiles and pop-up books, and identify and use the forces (air currents, gravity, hand movement) acting upon them.

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 Ňgeometric 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 Ňthe 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 artŐs 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 workŐs historical context and constitution; Discuss important artists in terms of the style of their work. (Art History 202)

This course serves as an introduction to the pre-modern Islamic artistic traditions of the Mediterranean, Near East, and Central and South Asia. It surveys core Islamic beliefs, the basic characteristics of Islamic art and architecture, and art and architecture created under each dynasty and ruling party. Upon successful completion of this course, the student will be able to: identify the core beliefs of Islam, the major characteristics of Islamic art, and the major forms of Islamic architecture; identify major pre-modern Islamic works of art and monuments from the Middle East, Northern Africa, Spain, and South Asia; explain how the core beliefs of Islam contributed to the basic characteristics of Islamic art and architecture and the secular art works and architecture of the Islamic world; identify the succeeding dynasties that ruled the Islamic world; explain the important role that the patronage of art and architecture had played in definitions of kingship. (Art History 303)

This course serves as an introduction to the major pre-Modern artistic traditions of India, China, and Japan. It first examines Indian Art, focusing on Buddhist, Hindu, and Islamic art and architecture. Then, the student will cover the arts of China, detailing the interaction between art, politics, and culture throughout Chinese dynastic history. Lastly, the course discusses Japanese Art, exploring the effects that various sub-traditions and sub-cultures had on the art of Japan. Upon successful completion of this course, students will be able to: identify major pre-modern Indian, Chinese, and Japanese works of art and architecture; identify the major art historical time periods in India, China, and Japan and the important artistic developments that occurred during each of them; recognize how art and architecture can be used to understand the politics, history, and culture of India, China, and Japan; look at, analyze, and compare and contrast different types of Asian art. (Art History 305)

This course will examine the history of Western art from approximately 1600 to approximately 1800 period that bridges the gap from the Renaissance to the earliest days of the Modern era. Beginning with the Baroque in Counter-Reformation Italy and concluding with Neoclassicism in the late 18th century, the student will trace the stylistic developments in Europe and America through a variety of religious, political, and philosophical movements. Upon completion of this course, students will be able to: Identify works of art from the Baroque, Rococo, Enlightenment, and Neoclassical periods and be able to distinguish between these different periods; Discuss and identify the oeuvre of the major artists working in Western Europe from 1600-1800; Explain and identify the regional and cultural differences between works of art produced in the same period (i.e., Baroque, Rococo, Enlightenment, or Neoclassical); Recognize important works of art from the Baroque through Neoclassical periods, recalling such information as date of creation, artist, patron (if known), medium, and period; Recognize the features (stylistic and iconographic) typical of each period studied; Explain and discuss the general arc of Western history from approximately 1600-1800, as seen through the lens of the arts; Explain the forces influencing the change in style and subject matter in Western art from 1600-1800; Discuss the sources of influence (from previous historical periods as well as from neighboring geographical regions) that affected art produced from the Baroque to Neoclassical periods; Compare and contrast works of art from the Baroque through Neoclassical periods to those of other periods and cultures; Describe the methods and materials used to create works of art from the Baroque to Neoclassical periods; Explain the ways in which Baroque, Rococo, Enlightenment, and Neoclassical art reveal the social, religious, and political mores of their respective times and places. (Art History 207)

Jeffrey Kripal's Preface to Marcia Brennan's Flowering Light: Kabbalistic Mysticism and the Art of Elliot R. Wolfson

Students are introduced to the work of botanists and botanical illustrators, and specifically to their race to make records of endangered plant species around the world. Students examine illustrations, photographs, and dried specimens of endangered plants and consider the conservation value of an illustration over a photographic image. In a second session, students try their own hands at botanical illustration and follow the methods of a Smithsonian staff illustrator. Pencils, markers, tracing paper, and access to a photocopier are required.

This web article discusses the history of evolutionary genetics. The article highlights important contributors such as Sewall Wright and Dobzhansky as well as current ideas in evolutionary genetics. From this webpage, users can read and download the article and follow links to other useful websites.