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

Carmen Fields reports that the Rockwell Museum in Stockbridge, MA is commemorating Black History Month by exhibiting Norman Rockwell's work featuring African Americans. Fields interviews Maureen Hart Hennessey (curator, Rockwell Museum) about Rockwell's paintings depicting events in the civil rights movement, including The Problem We All Live With and Murder in Mississippi. Fields notes that Rockwell did these paintings for Look Magazine in the 1960s. Fields and Hennessey discuss the portrayal of African Americans in Rockwell's earlier work for the Saturday Evening Post, including The Boy in the Dining Car. Hennessey talks about an African American family in Stockbridge who modeled for Rockwell. She notes that the children of the family modeled for the paintings, The Problem We All Live With and New Kids in the Neighborhood. Fields' report includes footage of tour guides at the museum talking about specific paintings during museum tours. This tape includes additional footage of the Rockwell Museum and of Rockwell's paintings. This edition of the Ten O'Clock News also included the following item: Shirley Owens Hicks, Byron Rushing and Louis Elisa talk about cuts to the state budget. Black Caucus members oppose cuts to the state budget

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)

"In six minutes, a conjuring trick combining special effects and the magic of painting enables us to enter the world of Jacques Brissot. It is a visual poem that humorously recounts the building of a collage inspired from artist Peter Breugel's 'La Chute des Anges Rebelles.'" Artist Jacques Brissot is shown adding to and retouching a large-scale collage work, lending insight into his compositional choices and his techniques and methods. Music is by Michel Arich, with Barney Wilen playing saxophone.

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 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.

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)

David Sakura recalls life in Japanese detention camps in the United States during World War II. Program celebrates President Carter's bill proclaiming May 4 - May 10 Asian Pacific Heritage Week in honor of the cultural traditions of Asian Americans. Host Barbara Barrow-Murray speaks with Dr. David Sakura (part of Boston's Asian Pacific Heritage Week planning committee and member of the Japanese American Citizen's League) and Tin Yue Wan (a noted Chinese artist) in separate interviews. Topics of discussion with Sakura include the meaning of Asian Pacific Heritage Week, the difficulties in getting such a bill passed, the educational work of the Japanese American Citizens League, and Japanese detention camps in the United States during World War II. Topics with Wan include the five styles of Chinese painting, how his work has been received, and what his life was like in Hong Kong. Program includes a mini "gallery talk" by Wan. Translation of Wan's responses to Murray provided by Wan's daughter. Program includes a previously aired dance segment from Program 822, "Celebrate the Year of the Horse." Produced by Barbara Barrow-Murray.

BRUSHster is an online painting machine for all ages. This shockwave interactive includes more than forty brushes and customizable size, transparency, texture, and stroke options. A rainbow palette, along with a toolbox of special effects that blur, ripple, smudge, blend, and fragment your designs help make BRUSHster a full-feature painting program. You can save up to eight paintings as you work, which makes it easy to backtrack if you change your mind. Saved images will remain active and "re-paintable" as long as your Web browser window with the BRUSHster program remains open. To share your designs electronically or to save them to your computer, print to PDF or take a screen shot.

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)

The word "Renaissance" in the exhibition title refers, in the traditional sense, to the rebirth of antiquity—the revival of interest in classical art, literature, and philosophy. But here it also signifies that Venetian painting was transformed—reborn—in the opening decades of the sixteenth century. The exhibition focuses on the period from 1500 to 1530, which represents, visually and intellectually, the most exciting phase of the Renaissance in Venice, when three great masters, the old Bellini, Giorgione, and the young Titian, were all working side by side. Their innovations and those of gifted contemporaries, such as Sebastiano del Piombo, Palma Vecchio, and Lorenzo Lotto, would influence European art for centuries.

Boston based artists discuss the meaning of Black art. Host Jim Spruill leads a discussion among 17 Boston-based artists on what Black art is and to whom the Black artist speaks. Group assembled includes Orma Jo Flint, Steve Hussein, Hakim Jami, Bob Nellums, Joanne Robinson, Robert Ruff, Joanne Sanders, Ralf Coleman, Ali Yusef, Carolyn Fitchert, Charles Holley, Gary Rickson, Dana Chandler, Jr., Lovett Thompson, John Wilson, and Elma Lewis. Program includes stills of the work of featured painters and sculptors woven into the discussion, with featured performances by the musicians, dancers and poets. Featured performers include Ali Yusef Trio and the Negro Repertory Theatre. Produced by Ray Richardson. Directed by Stan Lathan.

Chapter Fifteen of Marcia Brennan's Flowering Light: Kabbalistic Mysticism and the Art of Elliot R. Wolfson

Chapter Eight of Marcia Brennan's Flowering Light: Kabbalistic Mysticism and the Art of Elliot R. Wolfson

Chapter Ten of Marcia Brennan's Flowering Light: Kabbalistic Mysticism and the Art of Elliot R. Wolfson

Chapter Eighteen of Marcia Brennan's Flowering Light: Kabbalistic Mysticism and the Art of Elliot R. Wolfson

Chapter Thirteen of Marcia Brennan's Flowering Light: Kabbalistic Mysticism and the Art of Elliot R. Wolfson