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 FoundationĺÎĺ_ĺĚĺ_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)

Herkimer Community College

Short Description:
History of Art Survey course covering from prehistoric art to the Italian Renaissance. Cover image Lascaux Cave_France

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“This courseware includes resources copyrighted and openly licensed by multiple individuals and organizations. Click the words ‘Licenses and Attributions’ at the bottom of each page for copyright and licensing information specific to the material on that page.” Reviewer’s note: arguably the weakest of the full-text resources presented here, but may give a starting point for some resources

Art Interaction Mapping (AIM) is a creative brainstorming tool for advanced visual art projects. This framework was designed to help artists creatively integrate digital technologies with traditional mediums. These visualization models can be used to organize and structure ideas, refine concepts, or assess project outcomes.

Nineteenth-Century Visual Culture

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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.

Although Korea's cultural connections with China and Japan form a crucial part of its history, Korea also has a visually rich and technically sophisticated artistic tradition that is separate and distinct from that of its larger East Asian neighbors.

This publication introduces Korea's artistic achievement and places it in the context of its history and religions. Works from the Museum's permanent collection form the core of the discussion and are used to illustrate the diversity and beauty of Korean art. These include Buddhist paintings, celadon wares and white porcelain vessels, inlaid lacquerwares, and traditional musical instruments. The boxed set also provides useful teaching tools for the classroom, including maps, an illustrated timeline, a chronology, a glossary, lesson plans, questioning strategies, cross-cultural comparisons, and two large posters. In addition, there are bibliographies for educators and students as well as lists of relevant websites, cultural resources, and film and video resources.

These educational materials are made possible by The Korea Foundation.

The visual narratives and abstractions of this preeminent African American artist explore the places where he lived and worked: the rural South, Pittsburgh, Harlem, and the Caribbean. Bearden's central themes: religion, jazz and blues, history, literature, and the realities of black life he endured throughout his remarkable career in watercolors, oils, and especially collages and photomontages from the 1940s through the 1980s.

A great and early civilization arose on the subcontinent of South Asia that in time spread northward to the Himalayan region and eastward to Southeast Asia, a vast area including Cambodia, Thailand, Laos, Indonesia, Vietnam, Malaysia, and Myanmar. This resource introduces works of art from this area selected from the superb South and Southeast Asian and Islamic collections of The Metropolitan Museum of Art. Included are examples of Buddhist and Hindu temple art and the later court arts of South Asia; these range from miniature painting and luxurious textiles to elegant personal possessions. As well as descriptions of the visual qualities and symbolic meanings of the art, also provided are a summary of South and Southeast Asian history, a section about Buddhism and Hinduism, a timeline and map, classroom activities, lesson plans, a bibliography, and a glossary.

These educational materials were made possible by The Miriam and Ira D. Wallach Foundation.

Learn about art and culture of the Islamic world and glean ideas for supporting studies of English language arts, math, science, social studies, world history, and visual arts. Each of the units listed below is also available as a downloadable PDF.

We will explore images that pertain to the emergence of Japan as a modern state. We will focus on images that depict Japan as it comes into contact with the rest of the world after its long and deep isolation during the feudal period. We will also cover city planning of Tokyo that took place after WWII, and such topics as the 1964 Tokyo Olympics.
A unique feature of this offering is that we will run it concurrently with the edX MOOC and two University of Tokyo MOOCs, Visualizing Postwar Tokyo and Four Faces of Contemporary Japanese Architecture, for much of the remainder of the class.

This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema.
We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural "violences"?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text's content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?

This class offers a foundation in the visual art practice and its critical analysis for beginning architecture students. Emphasis is on long-range artistic development and its analogies to architectural thinking and practice. Students will learn to communicate ideas and experiences through various two-dimensional, and three-dimensional, and time-based media, including installations, performance and video. Lectures, visiting artist presentations, field trips, and readings supplement studio practice.

Spectators of all ages, seated and standing, watch a band perform in the afternoon on an outdoor stage. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-8. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Spectators of all ages, seated and standing, watch a band perform in the afternoon on an outdoor stage. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-7. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Japanese Americans observe an amateur baseball game in progress; one-story buildings and mountains in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-6. Gift; Ansel Adams; 1965-1968. More information about this collection is available at http://hdl.loc.gov/loc.pnp/pp.manz Forms part of: Manzanar War Relocation Center photographs. Published in: Eyes of the nation : a visual history of the United States / Vincent Virga and curators of the Library of Congress ; historical commentary by Alan Brinkley. New York : Knopf, 1997. Published in: Baseball Americana : treasures from the Library of Congress / Harry Katz, et al. New York : Smithsonian Books, 2009.

Florence Kuwata, three-quarter length portrait, standing, arms outstretched, holding a baton in each hand. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-34. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This class surveys the music of the Beatles, from the band’s early years to the break-up of the group, mapping how the Beatle’s musical style changed from skiffle and rock to studio-based experimentation. Cultural influences that helped to shape them, as well as the group’s influence worldwide, will be a continuous theme.

Becoming the Next Bill Nye is about using video production techniques to develop your ability to engagingly convey your passions for science, technology, engineering, and / or math. You'll have the opportunity to script and on-screen host 5-minute YouTube science, technology, engineering, and / or math-related shows to inspire youth to consider a future in science.