Art History (ARTH)
Courses
ARTH 180 Art History: Ancient to Renaissance (3 Hours)
Prerequisites or corequisites: RDG 126 or College Reading Readiness
This course will acquaint students with the arts and ideas of world civilizations from the prehistoric period to the beginning of the Italian Renaissance. The course will examine the aesthetic elements that mark the styles of major periods in two-dimensional, three-dimensional and architectural works. Particular attention will be paid to the relationship between artistic elements and their various cultural and historical contexts. 3 hrs./wk.
ARTH 180H HON: Art History: Ancient to Renaissance (1 Hour)
Prerequisites: Honors department approval
One-credit hour honors contract is available to qualified students who have an interest in a more thorough investigation of a topic related to this subject. An honors contract may incorporate research, a paper, or project and includes individual meetings with a faculty mentor. Student must be currently enrolled in the regular section of the courses or have completed it the previous semester. Contact the Honors Program Office, COM 201, for more information.
ARTH 182 Art History: Renaissance to Modern (3 Hours)
Prerequisites or corequisites: RDG 126 or College Reading Readiness
This course will acquaint students with the arts and ideas of Western cultures from the beginning of the Italian Renaissance to the present. The course will examine the aesthetic elements that mark the styles of major periods in two-dimensional, three-dimensional and architectural works. Particular attention will be paid to the relationship between artistic elements and their various cultural and historical contexts. 3 hrs./wk. This course may be offered as a Learning Communities (LCOM) section, see current credit schedule for LCOM details.
ARTH 182H HON: Art History: Renaissance to Modern (1 Hour)
Prerequisites: Honors department approval
One-credit hour honors contract is available to qualified students who have an interest in a more thorough investigation of a topic related to this subject. An honors contract may incorporate research, a paper, or project and includes individual meetings with a faculty mentor. Student must be currently enrolled in the regular section of the courses or have completed it the previous semester. Contact the Honors Program Office, COM 201, for more information.
ARTH 184 Art History: Twentieth Century (3 Hours)
Prerequisites or corequisites: RDG 126 or College Reading Readiness
This course introduces the student to the arts and ideas of Western Europe and the United States from the late 19th century to the present. The course will examine the aesthetic elements that mark the styles of major movements in two-dimensional, three-dimensional and architectural works. Particular attention will be paid to the relationship between artistic elements and their various cultural and historical contexts. 3 hrs. lecture/wk.
ARTH 184H HON: Art History: Twentieth Century (1 Hour)
Prerequisites: Honors department approval
One-credit hour honors contract is available to qualified students who have an interest in a more thorough investigation of a topic related to this subject. An honors contract may incorporate research, a paper, or project and includes individual meetings with a faculty mentor. Student must be currently enrolled in the regular section of the courses or have completed it the previous semester. Contact the Honors Program Office, COM 201, for more information.
ARTH 186 Art History: Introduction to Asian Art (3 Hours)
Prerequisites or corequisites: RDG 126 or College Reading Readiness
This course will acquaint students with the arts and ideas that arose in India, China and Japan from the prehistoric to the early modern periods. The course will examine the aesthetic elements that mark the styles of major periods in two-dimensional, three-dimensional and architectural works. Particular attention will be paid to the relationship between artistic elements and their various cultural and historical contexts. 3 hrs. lecture/wk.
ARTH 186H HON: Art History: Introduction to Asian Art (1 Hour)
Prerequisites: Honors department approval
One-credit hour honors contract is available to qualified students who have an interest in a more thorough investigation of a topic related to this subject. An honors contract may incorporate research, a paper, or project and includes individual meetings with a faculty mentor. Student must be currently enrolled in the regular section of the courses or have completed it the previous semester. Contact the Honors Program Office, COM 201, for more information.
ARTH 188 History of Photography (3 Hours)
Prerequisites or corequisites: RDG 126 or College Reading Readiness
This course provides an introduction to the history of photography. Students will examine the aesthetic and technological evolution of photography as an art form, as a visual tool for and influence upon other artistic disciplines, and as a statement of perceived reality. The course will examine the elements that distinguish various aesthetic movements, the styles of major periods and the influences of individual photographers. Attention will be paid to the relationship between photographic imagery and various cultural and historical contexts. Recommended prior course is PHOT 121. 3 hrs. lecture/wk.
ARTH 292 Special Topics: (3 Hours)
Prerequisites or corequisites: RDG 126 or College Reading Readiness
This course periodically offers specialized or advanced discipline-specific content related to the study of Art History not normally taught in the curriculum to interested and qualified students within the program.
ARTH 180
- Title: Art History: Ancient to Renaissance*
- Number: ARTH 180
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 3
- Lecture Hours: 3
Requirements:
Prerequisites or corequisites: RDG 126 or College Reading Readiness
Description:
This course will acquaint students with the arts and ideas of world civilizations from the prehistoric period to the beginning of the Italian Renaissance. The course will examine the aesthetic elements that mark the styles of major periods in two-dimensional, three-dimensional and architectural works. Particular attention will be paid to the relationship between artistic elements and their various cultural and historical contexts. 3 hrs./wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Demonstrate knowledge of the historical development of art and artifacts of selected Western civilizations from the Prehistoric to the Early Italian Renaissance.
- Identify and describe the artistic, cultural and historical importance of selected works of art within their cultures.
- Recognize and describe the aesthetic elements which mark selected periods and artists.
- Discuss ways in which cultural values are communicated through works of art.
- Recognize and describe the function and stylistic elements of selected works of art.
- Define and demonstrate use of the terminology, classifications and methods used in the study of art history.
- Explain the interdisciplinary role of art within the humanities and its relationship to current cultural issues.
- Discover the implications of the course material for understanding oneself.
Content Outline and Competencies:
I. Prehistoric Art in Europe A. Paleolithic period 1. Identify and describe various examples of small sculpture and cave paintings. 2. Compare various theories explaining the creation of Paleolithic art. B. Neolithic period 1. Identify and describe significant artifacts from the Neolithic period including rock-shelter art, architecture, sculpture and ceramics. 2. Describe the issues involved in the production and social use of Neolithic art and architecture. II. Art of the Ancient Near East A. Architecture 1. Identify and describe the similarities, differences, uses and materials used in ziggarats, palaces and city gates. 2. List the characteristics involved in the decoration of these structures. B. Describe and differentiate between sculpture used for religious purposes and that created for political use. III. Art of Ancient Egypt A. The Old Kingdom 1. Explain ways in which religious and political factors influence painting, sculpture and architecture. 2. Identify and describe the canon of proportions used to represent the human figure in both paintings and sculpture. 3. Discuss the evolution of funerary architecture, its various uses and types of decoration. B. The Middle Kingdom 1. Discern the reasons for changes in funerary architecture. 2. Identify the new stylistic characteristics of Middle Kingdom sculpture and painting. 3. Explain the Egyptian concept of town planning. C. The New Kingdom 1. Identify and describe the great temple complexes. 2. Evaluate the impact of the Pharaoh Akhenaten and the Amarna style. IV. Aegean Art A. Describe the idol figures from the Cycladic Islands and discuss the various theories about their meaning. B. Crete and the Minoan Civilization 1. Identify and evaluate the secular palace architecture. 2. Describe and evaluate various theories about various types of sculpture. 3. Describe various significant artifacts including metalwork, ceramics and wall paintings. C. Mainland Greece and the Mycenaean Civilization 1. Compare and contrast the architectural style with that of the Minoans. 2. Identify and describe the stylistic characteristics of significant artifacts including sculpture and metalwork. V. Art of Ancient Greece A. Archaic Period 1. Discuss the development of democratic city-states and the concept that “man is the measure of all things.” 2. Summarize the Greeks’ religious beliefs and distinguish between the major deities. 3. Identify and describe the three Greek architectural orders. 4. Describe the characteristics and uses of temples including architectural sculpture. 5. Identify and describe freestanding sculpture and evaluate the theories about its use. 6. Compare and contrast the significant Greek vase shapes and styles of painted decoration. B. Classical Period 1. Describe the evolution and development of both architectural sculpture and freestanding sculpture. 2. Discuss the stylistic development in vase painting. 3. Identify, describe and evaluate the architecture of Athens. 4. Describe and identify stela sculpture. C. Hellenistic Period 1. Identify and describe the characteristics of Greek theaters. 2. Compare and contrast both freestanding and architectural sculpture with the two earlier stylistic periods. 3. Identify unfamiliar examples of architecture, sculpture and painting. 4. Summarize the Greek influence on art and architecture created presently. VI. Etruscan Art A. Compare and contrast an Etruscan city with its Greek counterpart. B. Describe Etruscan temples and their decoration. C. Identify and compare tombs with those of earlier cultures. D. Evaluate the significance of artifacts made of bronze. VII. Roman Art A. The Republic and beginning of the Empire 1. Compare and contrast government, religious and domestic architecture in both Rome and the provinces and identify significant examples. 2. Identify the stylistic characteristics of Republican sculpture and compare those with Augustan sculpture. 3. Identify significant examples and distinguish between the various styles of wall painting. B. The Empire 1. Identify and describe the significance of major architecture in Rome and throughout the Empire. 2. Distinguish between Roman building techniques and materials with those of earlier cultures. 3. Identify significant examples and then compare and contrast relief sculpture, portrait sculpture and architectural sculpture with the Roman Republic and earlier cultures. 4. Describe and identify examples of wall paintings and mosaics. C. The Late Empire 1. Discuss ways in which the last architecture of the Empire reflects the political changes within the Empire. 2. Identify and describe the significant portrait sculpture and wall paintings of the late period. 3. Evaluate ways in which Roman art and architecture has influenced Western aesthetics to the present era. VIII. Early Christian Art A. Discuss the impact of Dura Europas on Early Judaism and Early Christianity. B. Describe the major events in the iconography of the life of Jesus. C. Architecture 1. Identify and describe the characteristics of both basillican and central plan Early Christian churches. 2. Discuss the role of the church in the late Roman Empire. D. Identify and describe major examples of painting, sculpture and mosaics. IX. Byzantine Art A. Early Byzantine 1. Discuss the role of the Emperor Justinian and the development of Byzantine architecture both in Constantinople and in Ravenna. 2. Describe the significance of pendentive construction. 3. Compare and contrast wall paintings and mosaics with those of the Early Christian style. 4. Describe and discuss the role and significance of manuscript illuminations. B. Late Byzantine 1. Discern the significant differences between late architecture and the architectural style of the early period. 2. Compare and contrast the paintings, mosaics and manuscripts of the late period with examples of both the early Byzantine style and Early Christian. 3. Discuss the role of painted icons in late Byzantine art. X. Islamic Art A. Relate the life and teaching of the Prophet Mohammed to the architecture and decoration common in Islamic art. 1. Distinguish between the major architectural plans for mosques. 2. Identify the characteristics and discuss the significance of palace architecture. 3. Evaluate the role of calligraphy in Islamic architectural decoration and manuscript illumination. B. Describe the secular artifacts from Islamic culture including textile arts, carpets and portable arts. C. Discuss the influence of Islamic culture on the architecture and decorative arts of Western Europe during the Middle Ages. XI. Early Medieval Art A. Migration Period 1. Identify the artifacts created by the Vikings. 2. Discuss the development of monasticism in Western Europe and the role of the monasteries in creating artworks. 3. Describe and compare Hiberno Saxon manuscript illumination and sculpture with Early Christian examples. B. Carolingian Period 1. Discuss the emergence of monumental architecture and how it differs from Roman/Early Christian examples. a. Evaluate the development of the Westwork as a major component of Christian architecture. b. Describe and identify the parts of a typical Medieval monastery. 2. Identify the significant examples of manuscript illumination. C. Ottonian Period 1. Describe and identify significant examples of church architecture. 2. Summarize the emergence of large scale, freestanding sculpture. 3. Describe important examples of book illustration. XII. Romanesque Art A. France and Northern Spain 1. Discuss the meaning of “Romanesque” and evaluate how the phenomenon of Pilgrimage impacts architecture. 2. Identify the characteristics of French and Northern Spanish regional Romanesque architecture and architectural sculpture. 3. Enumerate the stylistic characteristics of freestanding sculpture, wall painting, and book illumination. B. Britain and Normandy 1. Compare and contrast the architecture of Normandy and Norman England with that of the Pilgrimage routes in France and Spain. 2. Identify the important examples and stylistic characteristics of manuscript illumination. 3. Discuss the techniques and subject matter in creating textiles and embroidery. C. Germany 1. Discuss the regional differences found in German Romanesque architecture. 2. Identify significant examples of metalwork and book illustrations. D. Italy 1. Evaluate the important similarities and differences between Italian Romanesque and Early Christian architecture. 2. List the stylistic characteristics and building forms of Italian Romanesque architecture and architectural sculpture. XIII. Gothic Art A. French Gothic 1. Discuss the emergence of the Gothic style in the Ile de France and the reasons for the stylistic changes. 2. Identify and explain the significance of the architectural decoration and stained glass windows of Gothic cathedrals. 3. Discuss the development of independent sculpture and identify ways in which Gothic sculpture leads to the Renaissance. 4. Identify the major artifacts from Gothic books. B. English Gothic 1. Determine ways in which church architecture differs from that created in France. 2. Describe and distinguish the characteristics of castle architecture. C. Determine the regional characteristics of Spanish Gothic architecture. D. German Gothic 1. List the regional characteristics of German Gothic architecture. 2. Identify and describe major works of freestanding sculpture. E. Determine ways in which Italian Gothic architecture falls outside of the mainstream of the Gothic style and ways in which it is similar. F. Proto-Renaissance 1. Ascertain the importance of the outbreak of the Bubonic Plague on Western Europe and its artistic development. 2. Evaluate the evolution of relief and freestanding sculpture and identify specific ways in which these works forecast the coming of the Renaissance. 3. Determine the role of Giotto and other fourteenth century Italian painters in making significant breaks with the painting traditions and techniques of the Middle Ages.
Method of Evaluation and Competencies:
Tests (50-70% of grade): A minimum of three hour exams will be given. In addition, testing may include quizzes and a comprehensive final exam. Writing Assignments (20-40% of grade): These may include response papers, research assignments or daily/weekly exercises. Individual Assignments/Class Participation/Attendance (5-15% of grade)
Caveats:
NoneStudent Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ARTH 180H
No information found.ARTH 182
- Title: Art History: Renaissance to Modern*
- Number: ARTH 182
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 3
- Lecture Hours: 3
Requirements:
Prerequisites or corequisites: RDG 126 or College Reading Readiness
Description:
This course will acquaint students with the arts and ideas of Western cultures from the beginning of the Italian Renaissance to the present. The course will examine the aesthetic elements that mark the styles of major periods in two-dimensional, three-dimensional and architectural works. Particular attention will be paid to the relationship between artistic elements and their various cultural and historical contexts. 3 hrs./wk. This course may be offered as a Learning Communities (LCOM) section, see current credit schedule for LCOM details.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Demonstrate knowledge of the historical development of art and architecture of selected Western civilizations from the Early Italian Renaissance to the present.
- Identify and describe the artistic, cultural and historical importance of selected works of art within their cultures.
- Recognize and describe the aesthetic elements which mark selected periods and artists.
- Discuss how cultural values are communicated through works of art.
- Recognize and describe the function and stylistic elements of selected works of art.
- Define and demonstrate use of the terminology, classifications and methods used in the study of art history.
- Explain the interdisciplinary role of art within the humanities and its relationship to current cultural issues.
- Discover the implications of the course material for understanding oneself by creating personal connections with selected artifacts which liberate and stimulate the imagination.
Content Outline and Competencies:
I. Early Renaissance Art in Europe A. Review the Late Middle Ages to provide a background for the emergence of the Renaissance. B. Describe the use of the International Style in manuscript illumination, painting and sculpture. C. Flemish Art 1. Identify the works of both the first and second generation panel painters. 2. Compare the new oil painting technique with the techniques of fresco and tempera. D. Describe the differing ways in which Flemish art spreads to Spain, Portugal, France and German. E. The Italian Renaissance in Florence 1. Compare secular architecture including Renaissance palace facades with religious architecture. 2. Evaluate the impact of new subject matter, materials and techniques in both sculpture and painting. F. Discern ways in which the Florentine style is adopted and/or modified in the architecture, sculpture and painting of other fifteenth century Italian cities. III. Renaissance Art in Sixteenth-Century Europe A. Describe the effects of the Reformation on art in Europe in the sixteenth century. B. Evaluate the changing status of artists. C. Italian Art 1. Compare and contrast paintings and sculpture created in Florence and Northern Italy with paintings and sculpture created in Rome. 2. Identify the architecture in Rome and its environs including the sixteenth century work on St. Peter’s Basilica. 3. Describe the Venetian painting style and changes in technique of painting. 4. Compare and contrast the architecture in Venice and the Veneto with that of Rome. D. Identify the characteristics of Italian Mannerism in painting, sculpture and architecture. E. Identify important examples of painting, architecture, and the craft arts created in the French court. F. Compare and contrast Netherlandish painting with painting and prints from Germany and the Holy Roman Empire. G. Discuss the role of court painters in England and Spain and compare the architecture, sculpture and painting created by each. IV. Baroque, Rococo and Early American Art A. Roman Baroque 1. Evaluate the impact of the Counter-Reformation, the impact of new scientific discoveries on the arts, and the new role of patrons. 2. List and evaluate the important ways in which Baroque painting, sculpture and architecture differs from that of the Renaissance. 3. Identify and describe the role of illusionistic ceiling painting in Roman Baroque art. B. French Baroque 1. Describe palace architecture and its decoration. 2. Compare and contrast the stylistic difference between the sculpture and painting of France with that of Rome. 3. Discuss the development of the French Academy. C. Demonstrate ways in which Spanish Baroque architecture and painting mimics and differs from French and Roman Baroque styles. D. Flemish Baroque 1. Identify the differences between the Poussinistes and the Rubenistes by comparing French and Flemish Baroque styles. 2. Discuss ways in which patronage impacts Flemish Baroque painting. E. Dutch Baroque 1. Evaluate the impact of the Reformation on the Dutch art market. 2. Identify and describe the categories of paintings and prints which emerged in the Netherlands during the sixteenth century. F. Compare and contrast English Baroque architecture with the architecture created on the continent. G. Describe important examples of German and Austrian Baroque architecture and sculpture. H. The Rococo Style 1. Compare and contrast architecture and its decoration in Germany and Austria with that created in France. 2. Describe examples of Rococo decorative arts and how these artifacts reflected social values of the era. I. Identify important examples of architecture and painting in Colonial America before 1776. IV. Neoclassicism and Romanticism in Europe and the United States A. Evaluate the significance of the French Revolution, the Enlightenment and the concept of the Grand Tour on European society. B. Discuss Neoclassicism and Romanticism in English painting. C. Evaluate the role of Gothic revival architecture in England. D. French Neoclassicism and Romanticism 1. Compare and contrast French Neoclassical painting with the English giving special emphasis to the work of Jacques Louis David and his students. 2. Identify examples of French Romantic sculpture and painting and evaluate the influence of Romantic literature on the visual arts. E. Identify and compare Neoclassical and Romantic architecture in Germany and Spain. F. Neoclassicism and Romanticism in the United States 1. Describe the influence of Neoclassicism on the so-called Federal style of architecture in the U.S. 2. Distinguish American Romantic painting from that of England and France. V. Realism to Impressionism in Europe and the United States A. Explain the influence of the age of Positivism and the Industrial Revolution on the visual arts. B. Evaluate the impact of the France Academy on painting. C. Describe the advent of photography as an art form and identify the photographic pioneers and their works. D. Naturalism and Realism 1. Discuss the movements of Naturalism and Realism in France. 2. Identify the ways in which Naturalism and Realism spread beyond France. E. Art in the United States from 1850 to 1880 1. Compare and contrast Neoclassical sculpture with Civil War sculpture. 2. Explain the importance of Civil War photography on painting and vice versa. F. Discuss painting in England from 1840 to 1880 including the Pre-Raphaelite Brotherhood and the arts and crafts movement. G. Impressionism 1. Compare and contrast the stylistic differences between early French Impressionism and later French Impressionism. 2. Identify the characteristics and influence of Japonisme on Impressionism. VI. The Rise of Modernism in Europe and the United States A. Develop definition for “Modernism.” B. Post-Impressionism 1. Describe ways in which Post-Impressionism both documents modern life and alternatives to modern life. 2. Differentiate between the Post-Impressionists who were interested in examining form with those interested in expressionism. 3. Identify the ways in which Auguste Rodin is considered the father of modernist sculpture. C. Compare and contrast the Expressionist movements of Fauvism, Die Brucke and Der Blaue Reiter. D. Cubism 1. Explain the late nineteenth century origins of Cubism. 2. Compare and contrast Analytic Cubism with Synthetic Cubism. 3. Identify the various responses to Cubism including those in France, Italian Futurism and Russian Suprematism. E. Architecture Before World War I 1. Identify examples of American Beaux-Arts architecture to compare with the early skyscrapers. 2. Evaluate the impact of the early work of Frank Lloyd Wright and the Prairie Style. 3. Describe the characteristics of Art Nouveau architecture. F. European Art and Architecture Between the Wars 1. Compare and contrast postwar classicism with Russian utilitarian art forms and the De Stijl movement in the Netherlands. 2. Describe the emergence and impact of the German Bauhaus followed by the suppression of the avant-garde in Germany. 3. Discuss the Dada movement both in Europe and America. 4. Compare and contrast the various artists and sculpture of the Surrealist movement and the impact of their work. G. American Art from 1900 to 1945 1. Describe the European influences and the competing Realist styles in pre-World War I America. 2. Identify the American Scene painters and photographers. 3. Compare and contrast the Regionists of the 1930s with the resurgence of modernism before World War II. VII. Art in the United States and Europe since World War II A. Identify the key figures and their work in postwar European art. B. Abstract Expressionism 1. Describe the formative years and identify the precursors. 2. Differentiate between Action Painting and Color Field Painting. 3. Describe the role of women in Abstract Expressionism. 4. Identify the ways in which the second generation of Abstract Expressionism differs from the first. C. Alternative Developments following Abstract Expressionism 1. Discuss the role of artists who return to the figure. 2. Describe “Happenings” and discuss the impact of transitory art. 3. Distinguish ways in which Assemblage art differs from more traditional sculpture. 4. Discuss the development and key figures in the Pop Art movement. 5. Compare and contrast the movements of Minimalism and Conceptualism. D. From Modernism to Post-Modernism 1. Identify key architectural buildings and ways in which they differ from pre World War II architecture. 2. Discuss ways in which Post-Conceptual Art differs from the earlier movement. 3. Determine the role of Earthworks in changing the venue for art works. 4. Discuss the development of Feminist Art and its impact. E. Post-Modernism 1. Provide a definition for Post-Modernism. 2. Identify the Neo-Expressionist artists and key examples of their work. 3. Discuss the resurgence of European Art and its impact. 4. Describe ways in which Graffiti Art and Post-Conceptual Art are similar and ways in which they differ. 5. Art and Controversy a. Identify current trends and emerging artists. b. Provide a dialog about the role of the National Endowment for the Arts, public art and public censorship.
Method of Evaluation and Competencies:
Caveats:
Tests (50-70% of grade): A minimum of three hour exams will be given. In addition, testing may include quizzes and a comprehensive final exam. Writing Assignments (20-40% of grade): These may include response papers, research assignments, or daily/weekly exercises. Individual Assignments/Class Participation/Attendance (5-15% of grade)
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ARTH 182H
No information found.ARTH 184
- Title: Art History: Twentieth Century*
- Number: ARTH 184
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 3
- Lecture Hours: 3
Requirements:
Prerequisites or corequisites: RDG 126 or College Reading Readiness
Description:
This course introduces the student to the arts and ideas of Western Europe and the United States from the late 19th century to the present. The course will examine the aesthetic elements that mark the styles of major movements in two-dimensional, three-dimensional and architectural works. Particular attention will be paid to the relationship between artistic elements and their various cultural and historical contexts. 3 hrs. lecture/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Demonstrate knowledge of the historical development of art and architecture of Western Europe and the United States from the late nineteenth century to the present.
- Identify and describe the artistic, cultural and historical importance of selected works of art.
- Recognize and describe the aesthetic elements which mark selected periods and artists.
- Discuss how cultural values are communicated through works of art.
- Recognize and describe the function and stylistic elements of selected works of art.
- Define and demonstrate use of the terminology, classifications and methods used in the study of art history.
- Explain the interdisciplinary role of art within the humanities and its relationship to current cultural issues.
- Discover the implications of the course material for understanding oneself by creating personal connections with selected artifacts which liberate and stimulate the imagination.
Content Outline and Competencies:
I. Modernism A. Define modernism and describe its characteristic elements. B. Trace the origins of modernism in the nineteenth century including the movements of Neoclassicism, Romanticism, Realism and Impressionism. II. Post Impressionism A. Explain the origins of abstraction and the contributions of Seurat and Cezanne. B. Explain the origins of expressionism and the contributions of Gauguin and Van Gogh. III. The Turn of the Century A. Explain the impetus for the Art Nouveau movement and its application in architecture and the decorative arts. B. Explain the revolutionary transformation which sculpture undergoes from 1890 to 1914. C. Discuss the origins of modern architecture from 1880 to 1914 including the development of the skyscraper and the early work of Frank Lloyd Wright. IV. Expressionism A. Compare and contrast the stylistic elements of French Fauvism with the German Expressionist movements of Die Brucke and Der Blaue Reiter. B. Discuss the emergence of printmaking as a major art form among the German Expressionists. V. The Cubist Revolution A. Identify and discuss Picasso's early works. B. Compare the stylistic elements of Analytic Cubism with those of Synthetic Cubism. C. Identify the major Cubist sculptors and their pioneering works. VI. Identify and examine the impact of Cubism on the movement of Italian Futurism, Russian Suprematism and the movement of De Stijl in painting,sculpture and architecture. VII. European Painting and Sculpture Between the Wars A. Evaluate the importance of the Dada movement on artists between the two World Wars. B. Identify the key elements of Surrealism and identify the major artists and sculptors of the movement. VIII. Identify and examine the major Innovations in Architecture Between the Wars Including Expressionism, De Stijl, the International Style, the Continued Evolution of Skyscrapers, and the Final Phases of the Career of Frank Lloyd Wright IX. The School of Paris Between the Wars A. Identify and describe the work of artists who return to representation. B. Identify and compare the late works of Picasso, Matisse, and Miro with their earlier works. X. Evaluate the Development of International Abstraction in Painting and Sculpture Including Constructionism and the Influence of the Bauhaus XI. American Art: 1900-1940 A. Identify the work of the so-called Ash Can School and compare it with paintings from the same period being produced in Europe. B. Evaluate the impact of the Armory Show and the importance of Alfred Steiglitz on the emergence of modernism in America. C. Compare and contrast the 1930s styles of Regionalism and Social Realism. D. Identify the American Scene painters and their subject matter. E. Evaluate the work of the Mexican muralists and their influence on American painters. XII. The New York School: Abstract Expressionism A. Compare and contrast Action/Gestural Painting with Color Field Painting. B. Evaluate the significance of the major post-war American sculptors. XIII. Postwar European Painting and Sculpture A. Evaluate the roles of CoBrA, Concrete Art, L’Art Informel on the continent. B. Discuss the importance of British painters and sculptors in the decade following World War II. XIV. American Art of the 1960s A. Identify the key figures in the Pop Art movement and compare and contrast their work with Happenings. B. Describe and identify key monuments of Assemblage and Environment. C. Compare and contrast the so-called Second Generation Abstract Expressionists with the earlier proponents of this movement. D. Define the similarities and differences between Op Art, Hard-Edge Abstraction and Minimalism. XV. Compare and contrast Europe’s Major Movements of the ’60s: New Realism, Pop Art and Optical and Kinetic Abstraction with the major Movements in the U.S. XVI. Architecture in Europe and America: 1950-1970 A. Identify ways in which the International Style changes and is diffused. B. Evaluate the late architecture of Le Corbusier, Mies van der Rohe and Frank Lloyd Wright. C. Discuss the key issues of urban planning which emerge during this period. XVII. The Pluralistic Seventies A. Define and evaluate the meaning and impact of conceptual art. B. Describe key examples of Performance Art, Body Art and Video Art. C. Discuss the role of Earth and Site Works and how they differ from Process Art. D. Examine the role of the Photo Realist artists and how their work compares with figurative artists. E. Define the role of Pattern and Decoration and Feminist Art. XVIII. The Retrospective Eighties and Post Modern Nineties A. Discuss the importance of both Neo-Expressionism and Appropriation as major movements in the ’80s. B. Discuss the role of Graffiti and Cartoon artists. C. Identify ways in which Video and Electronic Art are shaping the art of the future. D. Define the role of Installations in contemporary art. E. Identify ways in which the Neo-Abstraction of the ’80s differs from abstract art created earlier in the century. XIX. Identify the Major Monuments and Important Concepts of Post-Modern Architecture
Method of Evaluation and Competencies:
Quizzes, Hour Exams and a Comprehensive Final Exam will constitute 50-70% of grade. Writing/Research Assignments will constitute 20-40% of grade. Individual Assignments/Class Participation/Attendance will constitute 5-15% of grade. Grading Scale: A = 100-90% B = 89-80% C = 79-70% D = 69-60% F = 59% or below
Caveats:
None
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ARTH 184H
No information found.ARTH 186
- Title: Art History: Introduction to Asian Art*
- Number: ARTH 186
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 3
- Lecture Hours: 3
Requirements:
Prerequisites or corequisites: RDG 126 or College Reading Readiness
Description:
This course will acquaint students with the arts and ideas that arose in India, China and Japan from the prehistoric to the early modern periods. The course will examine the aesthetic elements that mark the styles of major periods in two-dimensional, three-dimensional and architectural works. Particular attention will be paid to the relationship between artistic elements and their various cultural and historical contexts. 3 hrs. lecture/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Demonstrate knowledge of the historical development of art and visual artifacts of India, China and Japan from the prehistoric to the early modern periods.
- Identify and describe the artistic, cultural, historical import of selected works of art.
- Recognize and describe the function and stylistic elements of these works.
- Demonstrate knowledge of the cultural values that these works communicate.
- Recognize and describe aesthetic elements which mark selected periods and/or artists.
- Define and demonstrate use of the terminology, classifications, and methods used in the study of art history.
- Explain the interdisciplinary role of art within the humanities and its relationship to current cultural issues.
- Discover the implications of the course material for understanding oneself.
Content Outline and Competencies:
I. Early Art in India, China and Japan A. Trace the development of the sociopolitical and technological changes from the Paleolithic period through the first civilizations. 1. List the characteristics of Paleolithic life in Japan. 2. List the characteristics of Neolithic life in China. 3. List the characteristics of life in the Indus Valley civilization. B. Compare aesthetic elements differentiating early art. 1. Recognize and describe the indigenous aesthetic elements which mark Jomon period Japanese ceramics. 2. Recognize and describe the indigenous aesthetic elements which mark the ceramics of Neolithic China. 3. Recognize and describe the aesthetic elements which mark low relief and sculpture in the round of the Indus Valley Civilization. II. Bronze Art from the Shang Through Han Dynasties A. Explain the change in function of bronzes. 1. Compare the power structure of each dynasty. 2. Compare religious/philosophical beliefs of each dynasty. B. Trace the stylistic development of bronzes. 1. Recognize and describe the indigenous aesthetic elements which appear in bronzes from the Shang dynasty onward. 2. Identify new stylistic characteristics of bronzes of each dynasty. 3. Explain the processes used in the production of bronzes. III. Funerary Art and Architecture from the Zhou Through Han Dynasties A. Explain the ways in which religious and political factors influenced the development of funerary art and architecture. 1. Evaluate the reign of Chin Shihuangdi. 2. Evaluate the effect of the Great Wall of China. B. Explain the ways in which popular and formal systems of religious thought were depicted in funerary art and architecture. 1. Interpret the motifs from the Mawangdui banner and the Wu shrine. C. Explain the ways in which indigenous aesthetic elements appear in funerary art and architecture. 1. Identify and describe significant artifacts including banners, relief sculpture and ceramic tile. IV. Expansion of Chinese Culture into Japan A. Compare indigenous Japanese architecture with continental methods of construction. 1. Identify and describe the great shrine complexes. 2. Evaluate the role of nature in shrine architecture. B. Compare indigenous Japanese funerary art and architecture with continental models. 1. Identify and describe the great tomb complexes. 2. Evaluate the role of the emperor system in tomb archaeology V. Buddhist Art in India A. Summarize the major events in the iconography of the Buddha’s life. 1. List the ways the Buddha was depicted aniconically. B. Trace the development of Buddhist architecture. 1. Identify and describe the components of chaitya halls and stupas. C. Trace the development of the major Buddhist images. 1. Distinguish between the Buddha and Bodhisattva images. 2. Distinguish between Mathuran, Gandharan and Gupta styles. VI. Expansion of Buddhist Art and Architecture into China and Japan A. Evaluate the impact of Buddhism on Chinese and Japanese culture. 1. Summarize significant literary, sociopolitical and religious changes. B. Explain the ways in which indigenous aesthetics changed Buddhist art and architecture in China and Japan. 1. Identify and describe significant painting, sculpture and temples. VII. Hindu Art in India A. Summarize the religious beliefs comprising Hinduism and distinguish between the major deities. 1. Identify significant sculptural examples of each deity. B. Identify and describe the aesthetic elements marking Hindu art. 1. Compare and contrast early Hindu and Buddhist art. C. Identify and describe the characteristics and uses of Hindu temples. 1. Differentiate between northern and southern styles of temples. D. List the theories concerning the use of architectural sculpture on Hindu temples. 1. Evaluate the colonial response to Hindu architectural sculpture. VIII. Chinese Secular Art A. Explain the theory of painting recorded in the Six Principles” by Xie He. 1. Evaluate the works of Gu Kaizhi in light of the Six Principles.” 2. Compare and contrast Western attitudes toward original artworks with the value of copying embodied in the Six Principles.” B. Explain the ways in which religious and political factors influenced the development of landscape painting. 1. Identify and describe major motifs in painting prior to the popularization of landscape. 2. Compare Northern and Southern Song dynasty styles of landscape. 3. Compare professional and literati styles of landscape. C. Explain the ways in which Dong Qichang influenced landscape painting. 1. Compare the styles of Orthodox and Individualist painting. D. Evaluate Western influences on Chinese painting and painting theory. IX. Japanese Style Painting ("Yamato-e") A. Explain the ways in which religious and political factors influenced the development of yamato-e. 1. Trace the stylistic development of yamato-e. 2. Explain the techniques used in the production of yamato-e. B. Identify and describe indigenous aesthetic elements in yamato-e. 1. Identify and interpret the differences between yamato-e and Chinese figurative painting. X. Zen Art and Architecture A. Summarize the religious beliefs comprising Zen Buddhism and contrast them with other major Buddhist traditions. 1. Explain the influence of Taoism and Shintoism on Zen. 2. Explain the ways in which Zen matched the needs of the samurai. 3. Explain the role of monasteries in creating artworks. B. Define Zen art. 1. Identify and describe the relationship between Chinese Southern Song dynasty painting and Zen art. 2. Identify and interpret motifs in Zen painting. 3. Explain how Zen gardens are three-dimensional paintings. C. Identify and describe the aesthetic characteristics of tea ceremony art and architecture. 1. Identify and describe significant examples of tea huts and bowls. D. Justify the benefits of the tea ceremony. 1. Evaluate the Western response to the tea ceremony. XI. Japanese Decorative Painting and Prints A. Trace the development of a decorative style of painting on folding screens and sliding doors in the Momoyama and Edo periods. 1. Explain the influence of castle architecture on this development. B. Compare the decorative style with the Chinese ink painting tradition as practiced in Japan. 1. Explain the influence of the merchant class on this development. C. Trace the development of popular culture themes in painting and prints. 1. Explain the influence of sumptuary laws on this development. D. Summarize the introduction of Japanese prints to the West. 1. Evaluate the Western response to Japanese prints.
Method of Evaluation and Competencies:
Tests (50-70% of grade) - A minimum of three hour exams will be given. In addition, testing may include quizzes and a comprehensive final exam. Writing Assignments (20-40% of grade) - These may include response papers, research papers or daily/weekly exercises. Individual Assignments/Class Participation/Attendance (5-15% of grade)
Caveats:
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ARTH 186H
No information found.ARTH 188
- Title: History of Photography*
- Number: ARTH 188
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 3
- Lecture Hours: 3
Requirements:
Prerequisites or corequisites: RDG 126 or College Reading Readiness
Description:
This course provides an introduction to the history of photography. Students will examine the aesthetic and technological evolution of photography as an art form, as a visual tool for and influence upon other artistic disciplines, and as a statement of perceived reality. The course will examine the elements that distinguish various aesthetic movements, the styles of major periods and the influences of individual photographers. Attention will be paid to the relationship between photographic imagery and various cultural and historical contexts. Recommended prior course is PHOT 121. 3 hrs. lecture/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Define terms in the vocabulary of photographic imaging and history.
- Trace the technological evolution of the use of light-formed images from the ancient Phoenicians and the influences of Greece and Rome, through the Renaissance and photography’s development in France in the 1800s, to the modern era.
- Describe the influence of painting and sculpture on the evolution of the photographic print.
- Describe the influence of photographic images on the evolution and style of painting and sculpture.
- Recognize and describe the aesthetic elements which characterize selected periods and styles, such as: Pictoralism, Straight Photography and the “f/64 Group,” and Documentary and Social Photography.
- Recognize and describe the elements which characterize the work of selected photographers. Describe their artistic, cultural, and historical importance and influences.
- Discuss the evolution of photography from being merely a tool for “copying nature” to a powerful means of visual expression in its own right.
- Distinguish major branches of photography, such as: photojournalism, artistic expression, social and political statements, architectural, documentary, and commercial.
- Discover the implications of the course material for understanding oneself by creating personal connections with selected artifacts and images which can stimulate and liberate the imagination.
Content Outline and Competencies:
I. The Elusive Image A. Trace the history of the camera obscura and its relationship to the search for accurate perspective rendering and the attempt to copy reality. B. Explain the first uses of light to alter things and form images. C. Describe the Romans’ use of the pinhole camera. II. Invention A. Describe “sun prints” and the first attempts to fix an image. B. Explain Niepce’s early experiments with heliographs. C. Describe the collaboration of Niepce and Daguerre and the “official birth” of photography. D. Explain the invention of the calotype by William Henry Fox Talbot and its importance. E. Describe the experiments of Sir John Herschel and explain the importance of the discovery of “hypo” for “fixing” images. III. The Daguerreotype: The Mirror with a Memory A. Describe the daguerreotype, its process and characteristics. Explain the problem with speed. B. Explain John Goddard’s solution to the speed problem and its effect: the popularization of portraits. C. Describe the impact of the daguerreotype in America and subsequent mechanical improvements. D. Describe Southworth’s and Hawes’ contributions to American portraiture. E. Explain why the daguerreotype’s popularity faded. Some reasons: one of a kind, fragile, expensive. IV. The Calotype: The Pencil of Nature A. Describe William Henry Fox Talbot’s invention of the talbotype process and its underlying principle: the development of the latent image. B. Describe the work of Hill and Adamson, the first artists successful with the calotype. C. Explain the influence of painting on photography. D. Compare the advantages and disadvantages of the competing photographic processes: calotype, daguerreotype, and talbotype. Analyze the effect of Talbot’s legal action of claiming rights to the process. V. Portraits for the Millions A. Describe the wet collodion process, its advantages over daguerreotypes and calotype, and its inconveniences. B. Describe improvements in lens technology. C. Describe alternative processes and their characteristics: albumen prints, salt prints, carbon prints, and tintypes. D. Explain carte-de-visite vs. Nadar. VI. Art Photography A. Describe the nature of the early debate about the question of “Photography as Art.” B. Explain the use of photographs as allegory: telling stories with photographs. C. Describe the work of Rejlander and Robinson and their use of combination printing. D. Explain the evolution of the acceptance of photography as an art in its own right. VII. A New Form of Communication A. Explain the nature of the belief in the authenticity of the photograph as truth. B. Describe the stereograph process and its impact on society and understanding of foreign locales. C. Describe the work of war photographer Roger Fenton and the impact of his images of the Crimean War. D. Describe the work of society and war photographer Matthew Brady and the impact of his images of the American Civil War. E. Describe the images and their effects of “expeditionary photographers.” Example: the establishment of national parks and opening of the wilderness. VIII. The Conquest of Action A. Describe Eadweard Muybridge’s study of “animal locomotion” and explain its significance. B. Compare Muybridge’s motion photographs with the work of Marray. C. Explain the importance of the development of the dry-plate process. D. Describe the significance of the establishment of Kodak and George Eastman’s contributions to the popularization of “photography for the masses.” E. Describe the impact of the development of small, hand-held cameras and the “detective” camera. F. Explain the importance of Jacob Riis’ documentary projects and their impact on society. IX. Pictorial Photography A. Review the work of the early pictorialists Henry Peach Robinson and Peter Henry Emerson. Explain their effect on the revision of the concepts of photography as an art. B. Describe the organization “The Linked Ring” and its influence. C. Explain the importance and influence of Alfred Steiglitz, his galleries and publications. D. Describe the influence of the photographer organizations the Photo Secession and the Camera Club of New York. X. Straight Photography A. List and describe characteristics of “straight” photography. B. Contrast straight photography with pictorialism. C. Discuss the influence of Steiglitz and Paul Strand. D. Describe the “f/64 Group.” Explain its philosophy and influence on Western photography. XI. In Conquest of Form A. Describe the influence of the other visual arts on photography. B. Review the interrelationship of movements like Cubism and Dadaism and photography. C. Describe the contribution of Alexander Rodchenko and other Eastern Europeans. D. Describe how photographers began expressing social and political issues. XII. Instant Vision A. Explain the impact of amateur photographers and the increasing popularity of snapshots. B. Review the work of Jacques Henri Lartigue as a prime sample of the dedicated amateur. C. Describe the beginnings of photojournalism, its importance and influence. D. Review the photography of Erich Solomon and Andre Kertesz. Describe their influence. E. Describe the work and philosophy of Henri Cartier-Bresson. Explain the concept of “The Decisive Moment.” F. Describe the work of Harold Edgerton and his invention of the electronic flash. Review his work with the flash to reveal previously unseeable phenomena. XIII. Documentary Photography A. List the characteristics of documentary photography. B. Review the work of early documentary photographers Lewis Hine and Jacob Riis. C. Explain what the Farm Security Administration was and the impact of the work of its photographers on society, American visual history, and on other photographers. D. Review the work of European documentary photographers Eugene Atget and August Sander. XIV. Photojournalism A. Describe the characteristics of journalistic photography. B. Discuss the use by magazines such as Harper’s Weekly of photographs as “proof.” C. Explain the importance of the invention of the half-tone printing process. D. Review the rise of the “photo essay” and the impact of magazines such as Life. XV. In Color A. Describe how early photographers added color to photographs. B. Review the technological development of color films. Explain the importance of Kodachrome. C. Describe the additive and subtractive color processes. D. Review the work of photographers who use(d) color as an integral part of their aesthetic. XVI. New Directions A. Describe the Polaroid process and its impact. B. Review technological improvements and their impact on imaging and aesthetics. C. Identify the work and describe the influence of the major late 20th century art photographers, such as: Uelsman, Callahan, Siskind, Arbus, White, Larry Clark, Weston, Adams.
Method of Evaluation and Competencies:
Tests: 2 to 4 written quizzes which stress factual knowledge. (25% – 50%) Slide recognition quiz(s): 1 to 3. (10% – 25%) Paper(s): 1 or 2 written reports or essays on instructor assigned topics or photographers. (25% – 50%) Final exam: Comprehensive test derived from questions from the previous quizzes. (10% – 25%)
Caveats:
NoneStudent Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ARTH 292
- Title: Special Topics:*
- Number: ARTH 292
- Effective Term:
- Credit Hours: 3
- Contact Hours: 3
- Lecture Hours: 3
Requirements:
Prerequisites or corequisites: RDG 126 or College Reading Readiness
Description:
This course periodically offers specialized or advanced discipline-specific content related to the study of Art History not normally taught in the curriculum to interested and qualified students within the program.
Course Fees:
Textbooks:
http://bookstore.jccc.edu/Supplies:
Objectives
Upon successful completion of this course the student should be able to: 1. Undertake complex readings and research in the designated topic 2. Define key terms and both explain and apply concepts within the scope of the topic 3. Utilize research and analysis skills relevant to the area and issues of study 4. Engage in a reasoned and scholarly discussion about the Special Topic 5. Develop a personal point of view about the Special Topic that can be supported with textual evidence, research, and other media.
Content Outline and Competencies:
Because of the nature of a Special Topics course, the course Content Outline and Competencies will vary, depending on the Special Topic being offered. The Special Topics course outlines must be designed in the standard format for all JCCC-approved courses and must include the standard course objectives for a Special Topics class. The course Content Outline and Competencies must be written in outcome-based language. In order to maintain course consistency, rigor, and uniqueness, each section of this course first must be reviewed and approved by the Art History faculty prior to its being offered. The Arts, Humanities and Social Science Division Curriculum Committee and the Division Dean will review each Special Topics course to be offered and approve the course content. The AHSS Division will also determine when and if the course may be taught based on the instructional needs of both the department and the division. Individual faculty members are responsible for the creation of Special Topics courses and for seeking approval to teach them. Any specific Special Topics topic may not be repeated within a two-year sequence.
Method of Evaluation and Competencies:
Evaluation of student mastery of course competencies will be accomplished using the following methods:
Evaluation will be based on typical assignments such as readings, discussion, written assignments (such as critical reviews or research papers), web-based research, individual or group projects, etc., dependent upon the needs of the topic and the instructor.
Caveats:
1. Course work may transfer to universities only as elective credit
2. A student cannot take more than two Special Topics courses in Art History.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.