This course utilizes the principles of academic Service-Learning to introduce students to the theory and practice of the arts as a vehicle for community-cultural development. As part of the course, the students will undertake fieldwork and research in an arts-based community project through direct contact and collaboration with established community based organizations (CBOs) that have within each of their missions explicit goals of community-cultural development.

The instructors have identified and established partnerships with five CBO’s in Chicago, each of which has expressed a felt-need for increased research into the work they conduct to enhance tbe impact their efforts have on their constituents and communities. Students will be introduced to these organizations and the people who lead them, and will conduct site-visits and onsite research to achieve mutual goals of academic learning and advancement of the individual and collecti ve work of the organizations. The research projects that are developed in this class will be presented to the CBO’s throughout the process and at the end of the semester, and will be shaped by the feedback provided by the instructors and the leaders of these organizations.

Readings and class discussions in community psychology, the role of the arts in community and cultural development, methods of community research, creating arts and cultural policy will support the fieldwork. Students will complete a collaborative research project and create personal narratives in their chosen medium reflecting their fieldwork experience.

PARTNERING COMMUNITY BASED ORGANIZATIONS

• archi-treasures
• Kuumba Lynx
• Aurora Arts Alliance
• Little Black Pearl Workshop
• Snow City Arts Foundation

COURSE OBJECTIVES

Students will:

• Examine the kinds of work engaged in by arts- and media-oriented community development organizations and by artists working in communities;
• Develop and activate critical thinking skills to understand the link between cultural policy and community development at local, state and federal levels;
• Individually and collaboratively conduct research in the field of arts-based community-cultural development;
• Analyze the field of community-cultural development through the lens of their artistic interests;
• Develop the process of self-inquiry and the practice of civic responsibility.

Course objectives cannot be met without fulfilling course requirements.

COURSE RATIONALE

This class offers students the opportunity to investigate and analyze how and why the arts and media impact community-cultural development. Students will collaboratively explore the field of community-cultural development, research various source materials, conduct fieldwork with community based organizations (CBO’s), and analyze their findings through a narrative project in the media/art of their choosing. The principles and practices of Service-Learning are integrated into this process to develop critical thinking ability; communication, collaborative, and leadership skills; increased cultural and racial understanding; and awareness of social responsibility. This investigation will allow students to both consider – and make use of – the arts as tools in the social, cultural, and economic development of communities.

REQUIRED TEXT

Creative Community: The Art of Cultural Development, by Don Adams and Arleen Goldbard, Rockefeller Foundation, 2001. (http://www.rockfound.org)

Additional readings will be made available online and as handouts.

COURSE REQUIREMENTS

• Active participation in class through discussion, collaborative activities,
• questions, comments, writing assignments and fieldwork in off-site locations
• Completion of weekly response papers (typed, 2 page minimum)
• Individual and collaborative research with a variety of sources
• Active engagement in fieldwork (attendance at off-site locations is required and a minimum of 15 hours field work over the course of the semester will be necessary to meet the expectations of the class)
• Participation in group research project
• Completion of a narrative project in the students’ medium of choice (based on research, experience in the field, and class work)

FIELDWORK

Fieldwork will consist of hands-on experience and the opportunity to develop a deeper understanding of the real-life challenges and successes of community-cultural development. Fieldwork will be structured and coordinated by instructors with community partners and students. Fieldwork will require at least 15 hours of on-site contact with community-based organizations in addition to class time and assignments.

JOURNAL

All students must keep a journal for class notes,field notes, research, and personal reflection. A journal with pockets that can be dedicated to this class is recommended as this record of experience and thought will play a critical role in the development and design of the narrative project due at the end of the semester.

RESPONSE PAPERS

Reflection is at the heart of teaching and learning and an integral part of Service-Learning curriculum. It is through critically reflecting upon what we have learned and experienced through research and reading, in-class discussions, site visits, and the collaborative work students will engage in with classmates and CBO’s that we will synthesize and understand the collected information and data that will result from the class and achieve the learning goals set forth in this syllabus. Weekly response papers are required throughout the semester. Response papers should be related to issues discussed in class, fieldwork, readings, and/or thoughts regarding an organization visited. These papers must be two pages typed, double-spaced.

RESEARCH

Research of a community-based organization and a variety of text and web-based material is required of all students. Through class work and dialogue we will examine the concepts necessary for students to complete this research. Research will be conducted both individually and collaboratively. Additional information will be provided in class.

NARRATIVE PROJECT

Students will work collaboratively in small groups with a community-based organization to organize and present the information they gather through the means identified above. This project will be the culmination and presentation of individual and collective teaming from the experiences of this class. It will demonstrate the students’ knowledge of community-cultural development and analyze in-depth the issues or felt needs identified while exploring this field. The presentation should engage the students’ creative and critical thinking skills through any media or artistic medium of the students’ choice.

GRADING & CREDIT

• Class Participation 20%
• Field work and site visits 20%
• Response Papers 15%
• Research 15%
• Narrative Project 30%

This class satisfies 3.0 of the 48 credits required for General Education distribution. This class is also an elective in the Cultural Studies major and satisfies 3.0 of the 14 credit hour Liberal Education elective requirement.

WEEKS 1-5

• What do we mean by “community”? What is “art”? What is “community-cultural development”? Who does it and why? What impact do artists have on their community(ies)? How do we know? Why do artists get involved in this work’? What are the challenges, rewards, and benefits of this work?
• We will explore these questions and issues through in-class discussion, collaborative activities, and with a variety of guest speakers from the field of community-cultural development. Methods and modes of research will be explored and site visits to CBO’s will begin.
• Assignments/Reading: Creative Community, web-based resources, and handouts. Response papers. Online and text-based research.

WEEKS 6-10

• How are community-cultural organizations created and sustained? What roles do these organizations play in cultural-community development? How is a CBO structured and managed? Where does the money come from and where does it go? How is the impact of this work measured? Why does it matter?
• We will explore these questions and issues through continued in-class discussion, collaborative activities and research, and with a variety of guest speakers from the CBO’s with which we’ll work this semester. More intensive and comprehensive research will take place, site visits will continue, and fieldwork will begin.
• Assignments/Reading: Creative Community, web-based resources, and handouts. Response papers. Online and text-based research. Fieldwork.

WEEKS 7-15

• What do we now know? What are the learnings, best practices, key issues, challenges, and successes of arts-based community-cultural development? What is your personal social or civic vision for what you’ve learned and how can this vision be fulfilled? How do your findings impact and enhance the work of your partner CBO? What steps would take your findings and the work of your partner CBO to the next level?
• We will explore these questions and issues through continued in-class discussion, collaborative activities and research, and fieldwork. Individual and collaborative research will continue and narrative projects will be proposed, created, and presented.
• Assignments/Reading: Web-based resources, and handouts. Response papers. Online and text-based research. Fieldwork. Class presentations. Conception, proposal, creation, and presentation of narrative project.

COURSE DESCRIPTION

Emphasis is placed on the role of the designer in the community, public awareness and social responsibility with special emphasis placed on participatory design and civic engagement through service learning.

As designers we can create change in the world by using graphic design and advertising and to present important ideas, to raise awareness, and to stimulate thought. In this class we will visually communicate issues that concern you and many others ? issues of global and local significance such as social equality, environmental concerns and child abuse. We will attempt to create breakthrough communications for clients that make a difference in the world we live.

• Teamwork, communication and interpersonal skills will be stressed
  presentation and interpersonal skills will play an important role in team and client interaction
• Design teams will be developed based on the strengths and weaknesses of each individual

Upon availability I will assist with the pairing of student teams and non-profit community organizations. Specific design components produced will depend solely on client need.

SERVICE-LEARNING DEFINITION AND GUIDELINES

Service-Learning is pedagogy that links academic study with civic engagement through thoughtfully organized service that meets the needs of the community. This service is structured by and integrated into the academic curriculum, which provides opportunities for students to learn and develop through critical reflection.

• Service-Learning courses combine substantial activity in the community with critical examination of the service experience and the application of disciplinary concepts and skills or academic theory relevant to that activity.
• Students and faculty form community partnerships with existing organizations, groups, schools, individuals, and other community entities to act together to address various issues?identifying needs, evaluation responsive strategies, or implementing those strategies. Community problem-solving collaborations enrich the learning environment by allowing students to learn not only from faculty, but also from culturally and socially diverse group of peers and community members. Service learning courses carry the spirit of collaboration into the evaluation process by offering agencies and service recipients the opportunity to be involved in the evaluation of the participation and impact of the service.
• Students develop a richer understanding of a discipline in a larger social context that promotes significant discussion of community responsibility and an awareness of what it means to be active citizens of a democratic society. Students also gain an understanding of how to conceptualize and realize concrete contributions within their chosen field.

SPECIAL NOTE

No student will be asked to design for a community organization that creates a religious, political and/or moral conflict. The student must inform the instructor immediately if there is a problem and a reassignment will be issued that is similar in scope and complexity.

EXPECTED LEARNING OUTCOMES

Upon completion of this course, a successful student will be able to:

• consider and expand their role as an active member of the local community and gain an awareness of topical issues that exists within that community
• better understand and work with the complexity of ?real world? problems and situations
• work as a team member collaborating towards a mutual goal
• work effectively with professional printers and outside vendors
• participate effectively in meaningful critiques and formal client presentations
• develop concepts that visually communicate content in new and unexpected while creating effective design solutions for diverse groups
• demonstrate quality craftsmanship as it relates to technological comprehension and traditional hand skills
• include client-based design work in their final portfolio methods of assessing expected learning outcomes

Expected learning outcomes will be assessed through:

Instructor observation, attendance, client presentation and interaction, class critiques and discussions, process notebook to include a reflection component*, community volunteer work [as applicable], client?based design project solutions and client evaluation

NOTE * what is a reflection component

The reflection component is embedded within the creative process. Students prepare notebooks that document their individual process and include numerous written reflective components. The notebooks are submitted and evaluated for grading. The narrative reflections are not graded for content but are assessed as being incomplete or complete. Group discussions and design critiques occur during most class meetings and student experiences and thoughts are discussed. In part, due to the nature of the artistic process, the ?studio? environment fosters this type of group interaction and students feel comfortable openly sharing their feelings. Often times, assignment concepts and solutions are developed as a direct result from these discussions.

CRITERIA FOR GRADE DETERMINATION

Assignment grades will be evaluated in four areas:

professionalism [community service, client interaction and presentations; attendance, class critiques and both daily and final deadlines]

process [problem-seeking and problem-solving skills to include research, concept development and reflection; ability to interpret and implement design suggestions, etc.]

craftsmanship [client interaction, final client presentation boards, preparation of electronic files, organization and documentation of process notebook]

design [use of type, layout, image, color and design; concept appropriateness, target appropriateness, etc.]

Final grade for the course will be determined by the total number of points earned for each client/problem assigned (points will change based on the complexity of each problem). Number of clients/problems assigned will be determined upon availability. On average 3 clients will be selected.

PROGRAM POLICIES

No assignment will be accepted after the due date and time specified and extra credit work is not an option. If a client deadline is missed the student/team will receive a zero for that assignment. If a final client presentation is missed the student/team will receive a zero for that assignment.

ARED 4410 Curriculum Models and Assessment in Art

I. INSTRUCTOR: Dr. Sandra Bird

Office in VA: 232
Office phone: 770-423-6435
Email: sbird {at} kennesaw(.)edu
Office hours: MW 10 to 11, or by appointment

II. TEXTS AND SUPPLIES:

Dunn, P. (1995). Creating Curriculum in Art. Reston, VA: The National Art Education Association.

Some readings/research will be available via internet.
Additional readings will be copied and distributed to students.

III . CATALOG DESCRIPTION:

This course is designed to prepare prospective art teachers to be able to plan and organize effective art programs and curricula, to explore innovative and exemplary art programs and materials, to assess art learning, and to develop a rational and strategy for articulating and promoting a quality art program. In addition, this course is designed to identify and understand art instruction, which meets the required Visual Arts Quality Core Curriculum for the State of Georgia. Students also participate in a clinical practice activity in a partner school, involving the cooperative creation and delivery of an original art curriculum unit. (Proof of liability insurance required prior to school placement).

IV. PURPOSE/RATIONALE:

The purpose of this course is to prepare prospective art educators to deliver written, sequential, cumulative, and well articulated curriculum with the P 12 framework. Driven by a Comprehensive Art Education theoretical ground, students will examine the basic elements of curriculum design and actualize thematic units through cooperative and individualized projects. The content and pedagogy of this course is specifically keyed to the National Standards in Art Education, the Quality Core Curriculum of the State of Georgia, as well as the National Art Education Association's Standards for Art Teacher Preparation.

V. CONCEPTUAL FRAMEWORK:

The Kennesaw State University teacher education faculty is committed to preparing teachers who demonstrate expertise in facilitating learning in all students. Toward that end, the KSU teacher education community strongly upholds the concept of collaborative preparation requiring guidance from professionals inside and outside the university. In tandem with this belief is the understanding that teacher expertise develops along a continuum which includes the stages of pre-service, induction, in service, and renewal; further, as candidates develop a strong research based knowledge of content and pedagogy, they develop their professional expertise in recognizing, facilitating, assessing, and evaluating student learning.

VI. COURSE OBJECTIVES:

The following objectives are specific, outcome based expectations derived from the course goals and the Conceptual Framework of the Bagwell College of Education, the National Standards for Art Education, The National Art Education Association Standards for Art Teacher Preparation, the Discipline Based Model for Art Education, and the State of Georgia Quality Core Curriculum.

The student will be able to…

1. make curriculum decisions using national and state standards in art education.
2. understand and develop methods and executive routines for producing art for target populations, within the context of a learning community and individually.
3. understand and develop lessons and units involving cultural and historical exemplars for target populations, within the context of a learning community and individually.
4. understand and develop critical and aesthetic analyses of works of art for target populations, within the context of a learning community and individually.
5. understand and develop curriculum which provides opportunities for students to learn to work cooperatively as well as individually.
6. create and facilitate interdisciplinary curriculum as a teaching team for a target population.
7. become more familiar with art curriculum produced by museum education departments and art education publishers, and will be able to make selections appropriate to their own curricular goals.
8. understand and incorporate the essential inter relatedness of curriculum, instruction, and assessment.
9. devise authentic assessment strategies for mass produced curriculum and original units of instruction.
10. facilitate authentic assessment strategies in the learning communities' unit for a target population
11. observe students and student work to understand developmental and individual differences that exist in the classroom.
12. become more sensitive to differences in artistic and aesthetic values of different cultures.
13. become more observant of all students' individual needs.
14. adapts curriculum to meet all students' needs.
15. develop habit of self evaluation for teaching practice.
16. create organizing documentation for year long, unit and lesson planning.
17. makes reasoned and insightful selections of technology, resources and materials to support teaching goals of their original unit of instruction.

VII. COURSE REQUIREMENTS

Class participation/Attendance 10%
Curriculum reflections/worksheets 20%
Original unit assignments 10%
Completed thematic unit 20%
Presentations of original unit work 10%
Clinical practice activities 30%

a. Class Participation/Attendance Students are expected to attend class and to actively engage in classroom activities. A major portion of the course grade will depend upon active participation. For every class missed, 5 points will be deducted from the final grade in this category.

b. Curriculum reflections/worksheets Students will be required to conduct internet research on topics in curriculum development and assessment, as well as to collect information for the learning community project. In class, students will examine a wide variety of curriculum and assessment tools that are currently being used or have been used in the past. Students will collect their research in a notebook, along with graded worksheets, handouts, and reflections from classroom activities.

c. Original unit assignments Students will complete various organizing assignments during the semester. These assignments are designed to structure the writing of the unit plans, including the identification of a theme and its accompanying visual exemplar, a curriculum web, unit description worksheets, and a lesson example from the unit integrating assessment and diverse teaching strategies.

d. Completed thematic unit Students will develop unit plans (comprised of at least 5 lessons) to teach art for a targeted group in the P 12 system, with emphasis on the appropriate content and instruction, the needs of diverse learners, multicultural connections and authentic assessment of student learning. All supporting audio visual materials will be prepared for use in the classroom and turned in with the lesson for evaluation.

e. Presentations of original unit work Students will present the developed units, using visual/technical aides that communicate the uniting themes, provide visual reference of the exemplars, and briefly elucidate the various lessons (including a concept, process or product visual).

f. Clinical practices This semester we will be participating in a partnership at Big Shanty Elementary. Our goal is to aid students in their exposure to Momotaro (The Peach Boy) in a Japanese Bunraku style. Our partnership project includes the Department of Theatre as well. The schedule below outlines placement dates for this activity.

VIII. COURSE OUTLINE

WEEK 1 (Aug. 26-28)
Introduction/Syllabus
(M) The World of Wayang Documentary clips
(M) Tearing Down the Ivory Tower Documentary clips
(M) Intro, to Momotaro Bunraku project
(M) Taiko Drumming video clips
(W) Banter with thematic statement
(W) Begin planning Big Shanty project
(Saturday drum cleaning party at Sue Moore's for those who can)

WEEK 2 (Sept 2-4)
Historical/Philosophical Survey of Curriculum Development for Art
(M) Reading: Dunn pp. 4-14
(M) Begin team unit planning after collecting research
(M) Identify themes, exemplars, and create a curriculum web
(W) Reading: Dunn pp. 21-25
(W) Continue planning for Big Shanty project
(Saturday drum cleaning party at Sue Moore's for those who can)

WEEK 3 (Sept 9-11)
Elements of Art Curriculum
(M) Reading: Dunn pp. 15-20
(M) Examine National Standards and Georgia's Quality Core Curriculum
(M) Continue planning for Big Shanty project
(W) Reading: Selection distributed from Bates
(W) Continue planning for Big Shanty project
(Saturday drum making party at Sue Moore's for those who can)

WEEK 4 (Sept. 16-18)
Evaluation of Past and Current Approaches
(M) Begin Big Shanty project on site
(W) Reading: Dunn pp. 28-40
Examine Bate's outline

WEEK 5 (Sept. 23-25)
Evaluation of Current Programs
(M) Big Shanty project on site
(W) Reading: Dunn pp. 44-56
Comprehensive Arts Education Getty video
Community Based Art Education
Visual Culture Arts Education

WEEK 6 (Sept 30-Oct 2)
Exploration of Commercial Curricula and Materials
(M) Big Shanty project on site
(W) Reading: Dunn pp. 57-60
Art Connections & Portfolios

WEEK 7 (Oct 7-9)
Development of Units of Instruction
(M) Big Shanty project on site
(W) Reading: Dunn pp. 61-70
(W) Reading: Selection distributed from Reiser & Dick

WEEK 8 (Oct. 14-16)
Development of units of instruction, including
multiculturalism/cross-culturalism
(M) Big Shanty project on site
(W) Reading: Selection distributed from Chalmers

WEEK 9 (Oct 21-23)
Planning and development of the curriculum to meet the needs of exceptional students
(M) Big Shanty project on site
(W) Reading: Selection distributed from Nyman & Jenkins

WEEK 10 (Oct. 28-30)
Presentations of Individual Units preliminary organizing documents and exemplars
(M) Big Shanty project on site
(W) Individual Presentations

WEEK 11 (Nov 5-7)
Current Assessment/Evaluation Practices
(M) Big Shanty project on site
(W) Reading: Selection distributed from Bates
(W) Reading: Selection distributed from Oosterhof

WEEK 12 (Nov 4-6)
Exploration of Technological Developments in Art Education
(M) Big Shanty project on site
(W) Reading: Selection distributed from Bates

WEEK 13 (Nov. 11-13)
Performance Assessment
(M) Big Shanty project on site
(W) Reading: Selection distributed from Bates
(W) Reading: Selection distributed from Ellsey

WEEK 14 (Nov. 18-20)
Handling Site specific Paperwork
(M) Big Shanty project on site
(W) Reading: Selection distributed from local county offices/schools

WEEK 15 (Nov 25)
(Thanksgiving holiday from 11/27-12/01)
(M) Big Shanty project on site

WEEK 16 (Dec. 2-4)
(M) Big Shanty project on site
(Tuesday night performance for the PTO)
(W) Performance for Big Shanty School on site

WEEK 17 (Dec. 9-11) Unit Presentations
(No class during finals week)

VISUAL JOURNALISM INTRODUCTION

Ken Krafchek, Instructor
(in association with "Cities in the 90s," Kathleen O'Toole, Instructor)

Art exists as a mediating force an intermediary between groups imbued with the power to convey messages and effect change. Within the confines of a larger community, art may support the status quo or provoke new ways of thinking. Consequently, only the truly informed artist one who is familiar with all facets of a given issue and the society within which it is born is capable of producing great art.

Taught in conjunction with "Cities in the 90s, this course looks at the City of Baltimore – its history and its times – in an attempt to better define the concept and reality of "community." To this end, we will investigate the "unseen" social, cultural, political, economic, and religious factors that define the city's existence, including: Place – the organization and use of public and private space, Work the changing economies of cities, Mediators the role of key institutions, such as schools and churches, and Race – politics and the dynamics of change. Ultimately, the student should develop a more insightful understanding of his or her own world, the world of "the other", and the concept of community.

Students will be expected to
…explore a variety of mediums and processes,
…create a body of advanced work based on investigations conducted within the
…community, and
…demonstrate advanced narrative skills.

In demonstrating narrative skills, the ability to realize the meaning and significance of a specific environment (people, place, time and event) is dependent upon the student's ability to:

1. "See" with a keen, unbiased eye to inquire and gain knowledge or awareness by visual means. Therefore, each student is expected to:

a. build a foundation of photographic reference and sketches upon which all final artwork will be based,

b. utilize fine, representational drawing concepts and skills, and

c. hone a variety of advanced narrative and conceptual skills.

2. Realize the intangible that which cannot be "seen." This pursuit includes an in depth exploration of those factors that define a community, including social, cultural, political and religious factors. Each student is expected to compile a comprehensive collection of oral, written and visual information essential to his or her own understanding of a particular subject or theme.

3. Formulate certain conclusions based on the student's investigations and articulate their significance to others. Each student is expected to:

a. demonstrate a real understanding of complex actions and interactions,

b. formulate opinions based on a declared set of judgments and personal beliefs, and

c. document those opinions (visually, orally and/or in written form) in a manner clearly understandable to a specific audience.

VISUAL JOURNALISM STUDENT CONTRACT

1. Students will execute seven final illustrations due at an announced date. Three of these illustrations must be tied to one major 3 to 4 page paper. Students will present essays in class along with their artwork. Students are asked to keep an updated notebook containing all of their essays and papers written for "Cities in the 90s." These writings account for 10% of the student's final "Visual Journalism" grade.

2. Students will each participate in a three to four week service learning project working with children and youth in local Baltimore schools and communities.

3. Students are expected to keep a photographic diary and sketchbooks documenting their travels through the city. These images will be used as reference for artwork illustrating some aspect of Baltimore life.

4. Students will complete in class and out of class exercises that investigate the form and function of art making strategies and their relationship to ideas, concepts, and each student's value system.

5. Student will meet with the studio instructor, one on one or in small groups, every three or four weeks to discuss the assigned work and readings.

6. Student evaluations are based on process portfolios the body of work preceding but not excluding an end product. Through this process each student should demonstrate a real commitment to personal growth including a more comprehensive understanding of his or her own self, artistic vision and the world; advanced critical thinking and problem solving skills; risk taking or willingness and ability to set aside preconditioned ways of thinking and thereby explore new ways of seeing and interacting with the world.

7. In class participation is mandatory. Students are advised that they alone are responsible for documenting the quantity and quality of the assigned work and readings. Final grades will be based on quality of effort, depth of thought, and willingness to share ideas with the class visually, orally and/or in writing.

The instructor's email is kkrafchekCcD {at} aol(.)com. My home phone number is (703) 553-0469. Please call before 9:00 p.m.

ART 400 Development of Literacy in the Visual Arts (with service learning)

Instructor: Dr. Carol Jeffers, Professor of Art Education
Office/Hours: FA 357, Mon./Wed. 2-4 pm
Phone/Fax/Email: 323-343-4021, 323-343-4045, gjeffers3 {at} aol(.)com or cjeffer {at} calstatela(.)edu

Course Objectives:
1) To empower students (pre service teachers) to connect meaningfully with art and understand it as the carrier of social, cultural, political, spiritual themes; to understand art as the teller and creator of human stories, great and small.

2) To empower students to connect meaningfully with area youngsters through art and to gain experience in facilitating the children's learning during their trips to Cal State L.A.

3) To promote students' professional development and ethical behavior through the service-learning component incorporated in this course, based on the specially designed workbook titled: "Where is Art? Where is THE Art? A Guide for Students and Teachers Interacting with Pop and More from the Frederick R. Weisman Art Foundation Collection, an Exhibition of late 20th Century Art in the Lickman Gallery at Cal State L.A."

Requirements:

• identify a cultural icon that could also serve as a personal icon (for student identity)
• take a Los Angeles area child, (ages 6-12), to a local art museum/gallery
• bring an object to place on the class altar (altar art as spiritual story teller)
• choose a work of art exhibited at a local gallery or museum to serve as your metaphor
• present the metaphor to the class and turn in a 2 page, typed analysis of it
• complete all art making assignments', individual and group
• participate in all service learning activities and work with visiting children
• complete all journal entries (typed). See the attached format.

Course Schedule:

Week 1:

Introduction to course themes, explanation of course objective and requirements, service-learning component, its goals and expectations for student performance, for ethical and professional behavior.

What is art? What is art for? How does art tell human stories, great and small? What stories do altarpieces tell? When is art? Where is art?

What is Pop art? What is popular culture? What is a cultural icon? What stories are told through Pop art? What is context and its importance?

Metaphor and story telling; metaphor and special art, altar art (an example)

Visiting the Lickman Gallery, Choosing a work of Pop art

Learning to look AND looking to learn in groups, Art criticism and story telling, seeing through the eyes of others, facilitating group dialogue, critical discourse.

Week 2:

Finding art; using found objects in art.

Bring object to place on the class altar

Bring cultural icon that also serves as your personal icon for class billboard

Week 3: Using the guide, "Where is Art? Where is THE Art?"

Week 4: Metaphors presented in class, 2 3 page typed paper due

Week 5:

Empowering children in art museums/galleries: Preparation for campus Visits, using the guide, "*Where is Art, Where is THE Art?"

Preparation for working with child guide in an art museum

Videos: "Learning to Look AND Looking to Learn: Constructivist Kids in the Art Gallery" and "Poetry of Pictures"

Feb. 6 (Thurs):

Rockdale Elementary 5th graders visit the campus to work in the Lickman Gallery and make art with us

Meet at Student Union to greet children and organize groups for the day

Week 6:

(Tues) Feb. 11: Sacred Heart High School visits the campus, work in the Lickman Gallery with LIS

Feb. 13 (Thurs): Longfellow Elementary first-graders visit the campus, work with LIS in the Lickman Gallery

Week 7: Debriefing: Follow up discussion/reflections on school visits

Weeks 7-9:

Introduce "Art with Issues," group project

Starting with issues, understanding their stories, translating them into media and materials that communicate a message

Work in class on "Art with Issues," (group)

Weeks 7-9:

Work in class, group art projects

Complete Journal entry #6 in class

Week 10:

Turn in completed journal (all entries, including Final Entry)

Finish all artwork, must be ready for exhibition

Final: Exhibition in the "COPA" Gallery, (our Classroom of Postmodern Art) Class critique

The ART 400 Journal

Your journal provides a quiet place for you to express your thoughts and feelings, directly and indirectly related to your service learning experiences, throughout this course. It is your tool, intended to help link your personal learning and course content to your professional development as a future teacher.

This journal includes a variety of entries, which involve personal reflection and narrative, reflective essays, directed writing, experiential research paper, analog drawing with reflection, and comparative analysis across entries.

Journal entries, with the exception of the first and sixth, are to be typed and each should consist of 2-3 pages in length. Entry formats are provided as follows:

Entry 1: Analog Drawing (to be completed on the first day of class)

Entry 2: Art, Identity, and the Icons of Your Life: Representing Self in Context (Creating a Billboard, Creating an Altar)

Describe the cultural icon you have chosen to serve as your personal icon. Why did you choose it and how does it represent/reflect your identity? What does it say about you (your personal/cultural narrative)? How do you interpret the meaning of your icon in context of the class "billboard" of collected icons?

Describe the special object you brought to place on the class altar. What makes this object special to you? (What makes it become art?) What did the public acts of sharing its meaning and placing it on the altar mean to you? How do you interpret the meaning of your special object in context of the class altar?

Entry 3: Pop and More…
Which piece in the Lickman Gallery exhibit first caught your attention? (title, date, artist, medium, subject, style). Include a brief description of the artist's background, themes, interests, historical period. (References). What about this piece struck you? (Why did you choose it?) What does this piece mean to you (its message) and what does it say about you?

Entry 4: Art, Metaphor, and Identity
In this entry, you should clearly address the following questions and include references:

• What is this artwork? (Medium, subject, genre, style, period, historical/cultural context)
• Who created it? (Describe the artist's life, biographical info, and historical period)
• Why have you chosen this piece to serve as your metaphor?
• How does this piece function as your metaphor?
• What have you learned about yourself, as a person, as an emerging professional through this metaphor and its revelations?

Entry 5: Reflections on Working with Children

• Introduce your child guide(s), using first name only (also, give age, grade, family background, ethnicity, cultural heritage, previous art museum experience).
• Briefly describe your gallery experiences with your child guide(s). (Indicate where you went and what you saw, the child's/children's impressions and interactions). Briefly describe your group's art making activities.
• Reflect on what you learned; ask the child/group to reflect on what they learned. Discuss how and what you and your child guide shared and learned together.

Entry 6: Analog Drawing (to be completed in class in the last week)

Final Entry: Comparative Analysis, 1 page typed, due the last day of class)

Compare/contrast your Entry 1 and Entry 6. Are there changes? If so, what has changed and why? (How have your views of teaching changed? How do you see yourself as an emerging professional today, as compared with ten weeks ago?

Professor: Dr. Brooke Hessler
Email: bhessler {at} okcu(.)edu
Box: Walker Center (WC) 248
Office: WC 214
Office Hours: MWF 10-11 AM and by appt.
Office Phone: 405-521-5330

Course Purpose & Scope
Our course is an enriched version of Composition II designed to challenge you to communicate visually as well as textually. Through a series of individual and collaborative research and writing projects, you will:

• Extend the academic research and writing knowledge you learned in Composition I (including the development and analysis of summaries, reports, and arguments);
• Employ a range of rhetorical strategies to analyze and create visual texts;
• Identify and interpret the rhetorical strategies inherent in everyday images, places, and things;
• Become familiar with many of the ways visual literacy is employed in academic disciplines and in professional communication.

To deepen and apply this knowledge, you will participate in a very special community service learning project: helping the Oklahoma City National Memorial Center build its online "virtual archive" of artifacts that have been collected at the site to communicate the personal and societal impact of terrorism. Your role as a Virtual Archivist will involve selecting, interpreting, photographing, and writing about those objects in order to help school children and other visitors acquire a deeper understanding of the Memorial and its significance to people in and far beyond our city.

Credit hours earned for the course: 3.0. Prerequisite: ENGL 1113.

Required Texts
Seeing and Writing by Donald McQuade & Christina McQuade
The Bedford Handbook by Diana Hacker (or a similar handbook)

Required Materials & Resources
-An active email account from Jan 15 to May 10.
-Knowledge of your OCU student username and password.
-Two diskettes (to back up your document files).
-An ample supply of paper and pens. (We will write during every class)
-Transportation to the Oklahoma City National Memorial Center (downtown), and the ability to visit that site approximately 4 times for 3 4 hours per visit.

Assignments & Grading
-Web Board Postings Ongoing 15%
-Multiple Perspectives Presentation, Jan 22 (W) or Jan 24 (F) = 10%
-Virtual Archive Project (Team)*, Multiple deadlines = 30%
-Visual Report on the Archive Project (Individual or Team)**, TBD = 20%
-Research Paper Incorporating Visual Rhetoric, May 7 (W) = 25%

*The Virtual Archive Project will include at least two draft review cycles with peer review boards in class and with OKC Memorial Center curators before the final due date.

**The Visual Report will be completed as an entity in the Honors Research Poster Contest. You are welcome to compose your research poster individually or as part of a team.

Assessing Your Growth as a Visual and Verbal Rhetorician
As you can see from the assignment listing above, each project asks you to demonstrate your ability to compose information both verbally and visually within a different genre (including web texts, an oral presentation, a poster, and an academic research paper). I will evaluate your work according to the three main categories of rhetorical development: ethos, pathos, and logos. (These terms will become very familiar by the end of the semester!) You will also evaluate your work and assess your progress: through reflective writing, peer reviews, and in class surveys. I will periodically use your evaluations to tailor our class activities to your learning goals.

Oklahoma City National Memorial Service Learning Projects

Teaching Trunks
This team will help children learn about the Oklahoma City bombing and the National Memorial from multiple perspectives. Using images and words, you will tell one or more of the following stories: the role of search and rescue dogs, the significance of the Survivor Tree, the symbolism underlying the thousands of origami cranes given to the Memorial Center. Your tasks will include selecting photographs and writing text to accompany each photograph: creating a narrative that will capture the attention of the children and educate them. Your project will be included with other artifacts and teaching materials in special trunks that are being transported to schools in Oklahoma and throughout the U.S.

Symbolic Quilt
This team will tell the story of a remarkable quilt created by people around the United States who contributed individual pieces to represent their personal response to the Oklahoma City bombing, and their messages of hope to the survivors and their families. To share this quilt with the world, you will photograph it (in its entirety, with close ups of especially interesting or important squares), read the letters of the individual artists who contributed each square, and compose text to accompany the photographs in the Memorial's virtual archive. This project will involve a little detective work: you will need to use the information contained in the letters to match the quilt squares with their stories and symbols.

Jim Lange Cartoons
This team will interview Daily Oklahoman cartoonist Jim Lange about the cartoons he created to communicate about the Oklahoma City bombing and its affect on our community. Your project will include developing, conducting, and possibly videotaping the interview, photographing a collection of his cartoons, and composing a short Lange biography and other text to accompany the cartoons. The project will be published in the Virtual Archives.

Treasured Objects
This team will research and write about some of the special objects that belonged to the victims and survivors of the Oklahoma City bombing. You will photograph each object, research the significance of the object, and compose text to accompany it. The images and stories will be displayed in the Virtual Archives.

Good command of English, both written and spoken.

Familiarity with computers, including ability to type, to send and receive e-mail, to be able to send "attachments," to search the VVEB for data useful to your education, and to search library catalogs both locally and world-wide for information necessary for the completion of your project.

Ability to work with others to achieve a common goal.

Ability to think both creatively and critically.

Instead of exercises designed to run you through the operations, but yielding nothing directly useful to you (like running a computer program's tutorials), assignments involving the above-mentioned skills will be directly applicable to your project this term, and once learned, will be useful to you in future projects.

So much for the features common to all FYC courses. This particular FYC course has to do with Restoration and Preservation. The world has always been in danger of losing its monuments to mankind's creativity, both large mid small. The great pyramids of Egypt have been used as stone quarries over the years. The Parthenon was used as a munitions dump, and subsequently blown up. A flood damaged thousands of murals in Florence in the 60s. An earthquake destroyed frescos by Giotto in Italy last year.

Restoration has recovered or at least arrested the damage to many buildings, paintings, and other artifacts over the years, and there is growing need for experts in the field. Even those who will never be called upon to do restoration work will be indirectly involved as voters or community leaders who have to decide whether preservation of a particular thing is practical, or even possible.

There is controversy over not only how to restore something, but even whether to restore it. A few years ago, Michelangelo's Sistine Ceiling was cleaned. That led to a bitter controversy. Recently, it was suggested that the Leonardo's Mona Lisa in the Louvre be cleaned. The Louvre says "No way!" (Actually, Mais non!) You will learn what the arguments are concerning these matters … why some museums refuse, or are at least reluctant to clean their paintings,

This course is intended to sensitize you to the need to respect and care for your visual heritage, and to understand the pros and cons of restoration. Moreover, you will have an opportunity actually to provide a restoration, and to make a lasting contribution to the community. This is not a meaningless exercise; it is a hands-on project that you can be proud to have accomplished.



FYC
Huntington Courthouse,1998

Sep/ 3 Thur Introduction to course. Divide into groups (each group should have one computer- literate person, one artist). Showing of Michelangelo laserdisc. e-mail assignment (What were the objections, and defense?)
Sep/ 8 Tue Computer lab (firm)
Sep / 10 Thur Slide talk on Santa Croce/Giotto. San Francisco de Assisi.
Sep/ 15 Tue Video of Court House. Slides of Court House paintings.
Assignment: Search WEB and library for info on Huntington Courthouse.
Also, find out about G.A.R.
Sep/ 17 Thur Visit Huntington. Find out what you can about the paintings.
Sep/ 22 Tue Lecture on G.A.R. by Gib Young. Measure room beams.
Sep/ 24 Thur Projection and tracing of "scrolls" for determining dimensions.
Sep/ 29 Tue Begin lettering
Oct / 1 Thur Continue lettering of scrolls.
Oct / 6 Tue Discuss book, and do outline.
Oct / 8 Thur Research assignments handed out to all students.
Oct / 13 Tue Group 1 in Huntington. Group 2 library research.
Oct/ 15 Thur Huntington, painting scroll back-ground.
Oct/ 20 Tue Huntington, painting scroll back-ground.
Oct / 22 Thur Huntington, painting scroll back-ground.
Oct / 27 Tue Huntington, painting borders
Oct / 29 Thur Huntington, painting borders
Nov / 5 Tue Huntington, painting borders
Nov/ 10 Thur Huntington, tracing letters.
Nov / 12 Tue Huntington, tracing letters, and tracing corps badges
Nov/ 17 Thur Huntington, tracing letters, and tracing corps badges
Nov/ 19 Tue Huntington, painting letters, and corps badges.
Thanksgiving
Dec/ 1 Tue Manchester, discuss research, and interim papers.
Dec/ 3 Thur Huntington, drawing corps badges and painting
Dec/ 8 Tue Huntington, painting corps badges.
Dec/ 10 Thur Huntington, painting corps badges.
Final Exams

Some FYC courses are repeated. This one will not be repeated, nor has it ever been offered before. Expect to add items to the syllabus as we proceed. A great deal will depend on what sorts of problems arise during the course, and how we choose to solve them. Note that you must purchase two texts: the FYC Notebook, and "A Writer's Reference, 31 Edition," by Diana Hacker. Both are available in the bookstore.


ABSTRACT

Restoration and Preservation of Wall and Ceiling Paintings

As an integral part of a course on restoration of lost paintings, students, faculty, and local artists of Huntington, Indiana, will research the history of the paintings in the GAR room of the Huntington County Courthouse, and during the Fall Term at Manchester College, will repaint those missing paintings. That summarizes the project, itself. In addition to providing the county with a restoration it could ill afford if it were necessary to hire an outside agency, this project will acquaint students with the controversial subject of such restoration in general, and will involve them in study of more grandiose projects in the Vatican, in Florence after the flood, and other major projects. Students will learn to work in groups, with fellow students, with faculty, and with local artists. They will acquire writing, research, and computing skills as part of this project, not as mere exercises. The work will benefit the community, the college, and of course, the students. It should make the value of a liberal arts education immediately apparent to students in their first year, and prepare them to take seriously the studies they will face during the rest of their college careers.

Course Objectives: Conceptual, technical and intuitive
-To learn a variety of techniques and approaches for drawing:
-The course shall have an experimental flavor with an emphasis on creative, conceptual, and unconventional thinking, in addition to the development of important drawing skills and formal elements.
- The course will also focus on the development of a collaborative book on botanical remedies (practical and magical). The book will be printed, displayed, and distributed; Each student will receive a copy. It will contain drawings of plants or representations of ideas about the remedies, portraits or related drawings about the source of the remedy, and text of the remedies and stories.
- A Service Learning component will include visits to a local middle school, to work collaboratively with these students on environmental projects that merge drawing with science.

Tues. Aug.31
Introduction to class and materials
Field trip forms

Thurs. Sept. 2
Starting today, always bring all drawing materials and cutting supplies to each class, including field trips.
Drawing session: Forms and line/Drawing fundamentals
Handout: Vocabulary list for the semester

Tues. Sept.7
Drawing session: Light and shadow/Geometric forms
Video: Charles and Ray Eames, The Power of Ten.

Thurs. Sept. 8
Meet at the Herbarium on campus; Science Building 1, Third Floor, Room 1372.
Bring your drawing pads, boards, and drawing supplies. Bring a magnifying glass.We are going to draw on site at the lab.
Today, we are going to hear about specimen. We will see some of their botanical books and draw using a microscope and your magnifying glass. It is critical that you take notes on the field trips in order to write the accompanying text and descriptions for the book we are creating in the herbarium, via Professor Jim Hogue.

Tues. Sept.1
In addition to your other drawing supplies, bring your magnifying glass; mat knife and new blades; masking tape; if you have it, bring a cutting mat
Drawing session: Drawing from constructed models/Texture
Topics-: Understanding composition Video: Diego Rivera

Thurs, Sept.16
Drawing session: High contrast in compositions; Working from a constructed modelIntroduction to the Smog Collector project.

Due for next class:
1. Bring in an object (not a photo or 2-D image!!!!) that relates in some way(either by similarity, explanation, or contrast) to the concept of Pollution.

2. Bring in at least five 2-dimensional examples of images that relate to pollution. These will be made available to the middle school students during the Service Learning.

3. Bring in an old dinner plate or small piece of plexiglass for the Smog Collector project. Tues. SWI.21 Drawing session: Translate your pollution object into a stencil image. Transfer image to the adhesive paper (Abeles will supply) and using your exacto knife, cut a Smog Collector to be placed on your plate or plexiglass. These will be placed out in the environment to make images from smog and then used to show the high school students. Topic: Uses and techniques for stencil drawings/Tracing paper and transfer method Assignment for Sept. 23 class: Bring in two objects (not photos or 2-dimensional solutions) that are in opposition or tension to one another.

4. Ink drawings on wood: ozone experiment using rubber bands. Using the two objects you brought into class, create ink drawings on paper, and then transfer the images to wood. (Abeles will bring rubber bands, hammers, and nails to class.) Topics: Figure-ground reversal; Symmetrical and asymmetrical compositions Exercise: Calligraphy using a sumi brush and ink

Tues. Sept. 2
Field Trip downtown L.A. to Abeles studio and a medicinal herb garden. As always,bring all drawing materials. You will sketch on site following a discussion by Dr.Michael Weintraub about medicinal herb. It is critical that you take notes on the fieldtrips in order to write the accompanying text and descriptions for the book we arecreating.

Thurs. Sept.30
Drawing session: You will create tattoo images generated from the drawings created atthe field trip on Sept. 28. If you do not want a henna tattoo on your body, bring infriend during the second half of class.
Sample books: Various styles of artists' books will be made available for you to see.These will show many approaches to composition and conceptual content in 2-dimensional art.

ASSIGNMENT FOR COLLABORATIVE BOOK: Begin inquiries with familymembers and elder friends about personal remedies using plants. To fulfill theassignment, at least one of the individuals you use as a source must be over 70 years inage. There will be several aspects to this project and the final book may include thestories, the background of the person or family (origin, maps, family tree images, etc.),portraits of the person, drawings of the plant, the remedies, descriptive drawings showing the remedy or ailment. This book will contain practical and magical remedies. The drawings from the fieldtrips to the herbarium and the medicinal herb garden will be included in the final book. It is therefore critical that you take notes on the field trips in order to write the accompanying text and descriptions. Assignment for Oct. 7: Bring in 25 images of nature in your home. Twenty are to be photographed and five are to be completed drawings

Tues. Oct.5
Drawing session: Still life of nature as seen in one's home
Video: Guillermo Gomez-Pefia and Coco Fusco Preparation for Service Learning

Thurs. Oct.7
Collage: Grid a piece of paper and make a grid of the photographic and drawn images of nature that you were assigned to collect. Arrange parts on the grid by concentrating on compositional strength for the final piece
.Drawing session: reflections
Preparation for Service Learning

Tues. Oct.12
Service Learning Bring your Smog Collectors to show the students. In teams, you will discuss ideas about composition, stencils, and figure-ground reversal with the students. You will assist middle school students with the creation of their own Smog Collectors to be placed outdoors.

Thurs. Oct.14
Service Learning Assist Middle School students with the completion of their own Smog Collectors.

Tues. Oct.19
Service Learning at Middle School: assist students with their own ozone-rubber band experiment.

Thurs. Oct. 21
Service Learning assist students with the completion of the ozone-rubber band experiment. Determine where the test sites will be for exposing the rubber bands. Assignment for October 26: Bring in an object that has a metaphorical value to it, and relates to one of the remedies (or its ailment) that you have discovered. This will be used as a subject for a drawing and can become a part of our book.

Tues. Oct.26
Drawing session: Create a drawing that includes objects having metaphorical value.Develop a composition with the use of tracing paper. Consider scale, juxtaposition,contrast, and transforming rigid objects into amorphous forms, as a language tocommunicate your viewpoint. This will be used as a subject for a drawing and canbecome a part of our book.
Topic- Metaphorical value of objects

Thurs. Oct. 28
Artist Willy Garcia will come to class to discuss his photographs related to nature.These have a strong emphasis on drawing techniques.
Drawing session: Complete metaphorical object drawing in class

Tues.Nov.2
Field trip to the San Gabriel Mountains to sketch on-site indigenous California plants. There will be a discussion and plant identification lead by Professor Jim Hogue, followed by time for drawing. It is critical that you take notes on the field trips in order to write the accompanying text and descriptions for the book we are creating. Some specimen will be brought back for the next class session. Remember to pick specimen under Professor Hogue's guidance.

Thurs. Nov.4
Drawing session: Complete drawings of plants brought back from the field trip. You are to complete three drawings with descriptive text including the name of the plant, its features, and medicinal qualities.

Tues. Nov.9
Field Trip to the Museum of Jurassic Technology and the Center for Environmental Conservation in Culver City. This visit will be a source of macabre remedies.

Thurs. Nov.11
Bring in actual plants or parts of the plants that refer to the remedies you uncoveredduring your discussions with elders and family or friends. Approach your drawings from3 points of view or intentions to create three different drawings:
1.Details with the magnifying glass
2.Rendered drawing of the form of the plant or leaf
3. Composition created by abstracting the plant and observing it from various viewpoints.

Tues. Nov.16
Drawing session and slide presentation: Guest artist Barbara Thomason will instruct about perspective. She will also show slides of her work.

Thurs. Nov.18
Drawing session: Guest artist Barbara Thomason will continue instruction onperspective.

Tues. Nov.2
Planning session for book: Today, we will compile the drawings completed to date and assess the possibilities for the book. We will discuss content, format, computer use for the book, fonts, credit lines (people who assisted), and strategies for its completion. Thanksgiving break will give you a chance to interview additional family members and friends about remedies.

Thurs. Nov.25 Thanksgiving

Nov. 30, Dec. 2, Dec. 7
Three classes will be assigned for drawings related to the book and production for computer scanning, text input, and page design. All collected drawings and layouts are due on Dec, 7 and we will discuss and coil the original copy of the book. These will be Xeroxed and compiled during the final's date.

Finals Week- week of Dec. 1
Compile books and distribute.

Supplies
Drawing clipboard 24" x26" or make one out of wood with clips
Strathmore Drawing Tablet 18 x 24" (80 LB.)
Drawing pencils: 6B, 4B, HB, 3H
Charcoal pencil
Compressed charcoal (soft)
Kneaded eraser
Magnifying glass
An old plate or a small piece of glass or Plexiglas
Roll of masking tape (1" wide)
Metal ruler (12" – 18")
X-ACTO # 11 knife with extra blades
Mat knife and extra blades
Scissors
India Ink (or film ink is preferable)
Small size sumi brush (to be used with the ink)
Triangle (smaller size is OK)
Glue stick
I sheet of fine grit sandpaper or sanding block for pencils
*pencil sharpener
* Cutting mat

Sources
Continental Art Supplies, 7041 Reseda, 3.5 miles south CSUN, past Sherman Way
Mixed Media Lindley &Plummer

GRADING AND CLASS POLICIES

Attendance is mandatory. Early departures will be noted and deducted (3 early departures are considered as 1 absence).
After 4 absences, your grade is reduced by a letter grade.

STUDENTS WILL NOT BE ADMITTED LATE INTO CLASS UNLESS PRIOR PERMISSION WITH THE PROFESSOR HAS BEEN ARRANGED

Assignments are due on the dates indicated. If you cannot complete a sculpture during class, then you must complete it as homework. Work that is turned in late will be lowered by a letter grade. Each project receives a grade; these are added together and averaged by the number of projects to determine your final grade.
Each project will receive three letter grades according to the evaluation of the following:

1. Effort: involvement, self-motivation, and participation in class
2. Aesthetic accomplishment and craft. (Effort and quality of work)
3. Creative solutions (Risk-taking and imagination)

Exercises will receive one letter grade. Homework assignments that prepare you for the projects will be due on the date indicated and completion of these will be noted. Incomplete preparation assignments will affect your grade.

Poor attitude will affect your grade negatively.
This syllabus is subject to changes, so please take note of this during class instruction.
If you are absent, it is your responsibility to make inquiries through another student about notes, changes, demonstrations/information, and requirements that occur during the missed class session.
You will be warned by mid-term if you are falling below a C level of work.