This course is taught as a workshop organized around aspects of German culture that are of particular relevance at the time the course is offered, and of their global ramifications. Previous
topics have included The Refugee Situation in Germany and Europe (Spring 2016), Protest Movements Past and Present (Spring 2017), Erinnerungskultur –Aspects of Collective Memory,
Remembrance and Commemoration. By the end of the semester, students will have expanded their vocabulary and their mastery of German syntax to analyze aspects of German culture and articulate their own views. They will also be able to place contemporary issues in an historical context. They will be able to access a wide range of traditional and digital media and critically evaluate the information they obtain through them. The course culminates in a project (play, exhibit, documentary, public reading…), designed and executed by students in ILCG 260, ILCG 360 and ILCG 460 to share what they learned about their topic with the campus community and to invite dialogue. May be repeated for credit. Prerequisite: ILCG 260.
Workshop on Topics of German Culture in Global Context
This course is taught as a workshop organized around aspects of German culture that are of particular relevance at the time the course is offered, and of their global ramifications. Previous
topics have included The Refugee Situation in Germany and Europe (Spring 2016), Protest Movements Past and Present (Spring 2017), Erinnerungskultur – Aspects of Collective Memory,
Remembrance and Commemoration (Spring 2018). The course culminates in a project (play, exhibit, documentary, public reading…), designed and executed by students in ILCG 260, ILCG
360 and ILCG 460 to share what they learned about their topic with the campus community and to invite dialogue. By the end of the semester, students will have expanded their vocabulary to
describe aspects of German culture and compare them with parallel aspects of American culture. They will be able to access a wide range of traditional and digital media and summarize the
information texts contain. They will be able to present information in German, both orally and in writing. Prerequisite: ILCG 202, or equivalent as determined by the Foreign Language Proficiency
Test, or instructor permission.
History Topics
General topics in history to be determined by the interest of students and instructors. May be repeated for credit if the topic is not repetitive.
Directed Research in Art
Under the direct supervision of a faculty member, a student participates in research. A learning contract that specifies the research goals and methodology must be filed with the Office of the Registrar. A maximum of four credit hours of directed research in chemistry or biochemistry (397 or 497 only) may be applied to major requirements in chemistry. May be repeated for credit. Prerequisite: Learning contract filed in the Office of the Registrar.
Capstone 2: Professional Practices in Art
Capstone 2 focuses on contemporary art issues in the context of a student’s studio artwork & interests in tandem with a broad exploration of diverse career and professional development in the arts. This course prioritizes contemporary art research, self-reflection, and documentation of a student’s creative art practice completed in Capstone 1 and other self-generated art works. Based on studio art-making completed in previous or other concurrent ART courses, this course does not require or expect the creation of new art works. The seminar is collaborative and cooperative, with topics, activities, and discussions geared to prepare for life and career after graduation. Students will learn to identify and articulate how the skills, strengths, knowledge, and experiences gained in the Capstone 1 and 2 are relevant to their career goals and professional growth. Capstone 2 culminates with a poster presentation with related web-based documentation, and the delivery of a coherent and creative oral presentation that explains, documents and contextualizes the student’s creative practice.
Seminar activities focus on the practical application of short-term and long-term career goals and planning to include; photographic and written documentation of art works, development of written artist statements, understanding of intellectual property rights and the business of art, preparation of resumés and cover letters, portfolio development for careers in diverse art-related fields appropriate to exhibitions, websites, online registries, grants and residencies, internships, jobs, graduate school, and other arts opportunities including how to create artist communities at the College and after graduation. Invited seminar speakers include SMCM faculty, visiting artists and critics, representatives from graduate programs, and SMCM alumni working in the arts in many capacities to include some or all of the following; art education, marketing and communication design, nonprofit and for-profit arts organizations, museums, alternative spaces and galleries, self-owned businesses in art, and public and private commission work. Prerequisite or Corequisite: ART 430. Capstone 1 with a C- or higher.
Capstone 1: Creative Practices in Art
Capstone 1 is the culminating advanced-level studio art course in the Art major in which students create and present a cohesive body of independent, self-proposed and self-generated studio art work carried out within a seminar context. Throughout the course, students also produce reflective and research-based writing that analyzes, synthesizes and articulates knowledge of the field of art and art making that contextualizes the student’s creative art works. The seminar’s collaborative framework and integrated set of experiences directs the student’s production of creative art work, which includes assigned readings and discussion, research and writing, oral presentation, and group and individual critiques with faculty and visiting artists. The skills and abilities needed to successfully engage in the self-reflective and self-generating art making for this course have been introduced and practiced through assignments in previous courses taken at the 200 and 300-levels in the Art major. Personal accountability and effective work habits are developed through the effective combination of process and product in each student’s self-proposed studio art works. The semester culminates in a group gallery exhibition and related written materials through which process students show evidence of their learned skills to leverage the strengths of others to achieve common goals, and organize, prioritize and delegate work.
In order to accomplish these course goals, students are expected to show good progress throughout the semester, maintain regular studio work schedule outside of seminar meeting times and fully participate in all seminar meetings. To facilitate the ambition and focus required of advanced-level work, each student will be provided with and will be expected to effectively make use of assigned studio spaces in the department’s communal senior studios in the Art Annex. Pre-requisites:Successful completion of all the following courses, as specified, with a C- or higher; Four courses – ART 205, ARTH 100, and at least TWO of the following upper-level courses: ART 304, 306, 308, 309, 312, 314, 333, 338, 339, 347, 367, 369, 390.
Landscape Drawing and Painting
This course introduces the principles, practices, and history of landscape painting and drawing. Students learn beginning techniques of drawing and painting from direct observation, and the conceptual framework for a variety of approaches to visual landscape theory. Critique, discussions center around skills, concepts, and context embedded in traditional and contemporary landscape painting and drawing. Students work primarily on-site, within the landscape of the College and surrounding community. This class satisfies the Core Curriculum requirement for Arts. This course satisfies a Humanities Track elective for the ENST major and minor.
Printmaking II: Intermedia Works on Paper
This course introduces contemporary imaging methods and explores historical and experimental approaches to the art of printmaking. Introduces the relationship of traditional printmaking techniques (intaglio, monotype and other unique print methods) with related techniques in drawing (ink, marker, pastel, scratchboard, charcoal) and painting (oil, acrylic and watercolor). Assigned readings, lectures and discussion, technical demonstration with experimentation and practice. Students develop studio projects that explore a diversity of subject matters using the visual languages of representation to abstraction. No prerequisite. This course satisfies the Core Curriculum requirement in the Arts.
Printmaking I: Traditional and Contemporary Techniques
This course is a broad introduction to traditional and contemporary printing methods such as relief, collograph, stencils, transfer and photocopy techniques, and explores the use of recycled materials through collage-based works. Survey of historical and current approaches to the art of printmaking. Assigned readings, lectures and discussion, technical demonstration with experimentation and practice. Students develop studio projects that explore a diversity of subject matters using the visual languages of representation to abstraction. No prerequisite. This course satisfies the Core Curriculum requirement in the Arts.
The Ancient Near East
The history of the ancient Near East features many firsts of civilization, some of which include the Neolithic Revolution, metallurgy, writing, literature, empire, urban life, public monuments, legal codes, monotheism, and international trade networks. This course will focus on the core of the ancient Near Eastern territory, Mesopotamia and West Asia (what is today Iraq, Syria, Lebanon, Israel, Palestine, Jordan, and Turkey). In addition to an examination of the historical, political, and cultural developments of the region, this course will confront the difficulty inherent in studying the ancient Near East. While important first-hand records are extant, historians must also consult sources written hundreds of years after the events they record or must interpret mythic texts or no texts at all, but iconographic or archaeological materials. Researching the ancient Near East is further complicated by military conflict and cultural destruction that have accompanied this region, from the advent of civilization through to today. Thus this course also examines fundamental issues of epistemology and methodology in the process of studying this influential past.
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