Complete Visual Arts Program Application - Aquinas College

Application for State Approval of Teacher Preparation 

Specialty Programs 

Michigan Department of Education, Office of Professional Preparation Services 

P.O. Box 30008, Lansing, Michigan 48909 

Phone: (517) 335-4610 *** Fax: (517) 373-0542 

Institution: Aquinas College 

Name, title, address, and contact information for the head of the professional education unit: 

Michael Williams, PhD. Dean, School of Education 

(Name) (Title) 

School of Education, Brown Center, 1607 Robinson Rd. SE Grand Rapids, MI 49506 

(Complete Mailing address) 

(616) 632-2437 

(Phone) 

I certify that all the information contained in this application is correct: 

(Unit Head Signature) (Date) 

Contact person for questions regarding this application: 

Ron Pederson Chair, Art Department 

(Name) (Title) 

(616) 632-2406 

(Phone) 

Institution’s name for this program: Aquinas College 

MDE Endorsement Area and Code (from Attachment 1): LQ 

Directions: 

• For each new, amended, or experimental program, a separate application is required. 

• Application and all documentation are to be submitted electronically. 

• Fax or mail only the cover page that is signed by the unit head. 

• All correspondence regarding this application should be addressed to the consultant/coordinator 

identified on Attachment 1. 

Institution 

MDE Endorsement Area and Code 

(from Attachment 2) 

Date of this Application 

Name and Title of Unit Head 

Signature of Unit Head 

I. Application Information 

Aquinas College 

LQ 

7/30/04 

Ron Pederson, Chair, Art Department 

Michigan Department of Education, Office of Professional Preparation Services, November 22, 2002 

2

II. Contact information for Questions Related to This Application 

Contact Person’s Name and Title Ron Pederson, Professor of Art, Art Department Chair 

Contact Person’s Phone Number (616) 632-2406 

Contact Person’s Fax Number 

732-4487 

Contact Person’s E-Mail Address pederron@aquinas.edu 

III. Type of Request for Approval (Indicate One) 

New program for institution 

USOE Code, if vocational occupational area 

Compliance with State Board of Education new or modified program 

criteria 

Experimental program 

Program amendment (See Section VI for guidelines.) 


X 

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IV. Institutional Representatives 

Please list individuals available to Serve on Michigan Department of Education Ad-Hoc Committees 

Related to this Specialty Program (e.g. program review, standards development, test development, forum 

planning). Include both higher education faculty and K-12 representatives. 

Name/Title Specialty Mailing 

Address 

Program 

Summary 

E-Mail 

Address 

V. Program Information 

Phone Fax 

The Art Education program at Aquinas College is consistent with the philosophy and 

integrated into the curriculum of the Art Department. The mission of the Art Department is to 

function as both a service department for non-majors and as a training ground for future artists, art 

teachers, and art historians. 

For the non-art majors we serve, we seek to increase the visual literacy of the general 

student population. We provide exposure to the history of art, exposure to creative problem solving 

that blends and balances right and left brain thinking, and opportunities to make and evaluate art. 

Some of those non-majors include candidates for elementary certification. We are confident that 

our courses help them in both their own intellectual and personal development, and in their 

preparation to be elementary teachers. 

Our departmental pedagogical goals are perfectly appropriate for art majors who seek K- 

12 certification. We seek to produce graduates who possess the skills and knowledge to make 

excellent visual decisions (including in their own art), to visually evaluate cultural products and 

environments, and to understand their art historical heritage. Those goals are in sync with the goal 

for art education students to be able to model and teach their future students the same set of skills, 

knowledge, and sensibilities they learn while studying at Aquinas. 

Our art major requires thirty semester hours in studio art, and fifteen hours in art history. 

The foundation of our program consists of two design courses that focus on the elements and 

principals of formal composition, two drawing courses that continue to build compositional skills 

while adding the technical and observational abilities typical of traditional drawing curricula, and a 

video-based course that emphasizes concept-driven art-making methods. Together this foundation 

provides a common vocabulary, a set of skills that enables the student to create works of art and 

approach other media and experience expressing their thoughts in group critiques. 

In the second, third and fourth year the student takes fifteen hours of upper level media 

based courses that include painting, figure drawing, printmaking, photography, ceramics and 

sculpture. These courses allow art certification candidates to explore the aesthetics of particular 

materials and processes, thus preparing themselves to teach a variety of approaches to creating art. 

Teacher candidates must take three courses (9 credit hours) in one area. The most important 

component of the media-based courses is the critique. In small groups and individually, students 

participate in critiques led by their instructor. In so doing, they employ vocabulary and concepts 

learned in the above-mentioned foundation courses, and hone their abilities to evaluate their own 

art work and that of their colleagues. The students’ direct experience in critiques results in their 


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eing prepared to give instruction in critical thinking to their own future students. 

The art history component of our art major (15 credit hours) is critically important in 

providing a breadth and depth of understanding and appreciation for the context within which we 

work as artists. It is the historical heritage that underpins all we do as artists and teachers, and is 

invaluable to our candidates as they begin their own careers. 

The required art history sequence provides an ancient to modern survey (two courses), a 

more condensed survey of developments that led to modern and contemporary art (two courses), 

and a course chosen from among electives, which allows the student to explore more carefully a 

period of art history he or she may have been briefly exposed to in one of the survey courses. 

The K-12 candidate in art graduates with a solid foundation in visual art and art history. 

Group and individual critiques and written responses to aesthetic issues are required in every class. 

Our graduates are trained to consider many aspects of the creative process and to share their 

thoughts on art and art making. 

The Art Education program requires an additional 12 credit hours (4 courses) in Art 

Education: 

AT 370 Foundations in Art Education 

AT 372 Elementary Methods in Art Education 

AT 374 Secondary Methods in Art Education 

AT 376 Studio Practices in Art Education 

These courses, which are taken during the sophomore, junior and senior years, 

complement coursework taken in the Education Department and explore philosophical and 

theoretical ideas unique to art education, including stages of child development and age-appropriate 

instruction, as well as practical aspects of teaching art in a K-12 classroom. Together, the 

objectives of our program are to prepare teacher candidates who: 

-can articulate a personal philosophy of art education. 

-have knowledge of how art education fits into the contemporary curriculum. 

-understand the stages of child development and have experience developing appropriate 

instructional tools. 

-have an excellent knowledge of art history and broad experience in a variety of studio 

media. 

-have become particularly competent in one medium through having 

completed at least 9 credit hours in it. 

-can create a safe and ecologically responsible classroom environment. 

-have expertise in enabling students to discuss and critique visual ideas and works of art. 

-have experience creating curricula that meets National and Michigan Visual Arts 

Standards and is appropriate for special needs populations as well as the general 

population. 

-have an understanding of the developmental and socio-cultural factors that influence 

student learning and the art classroom environment. 

-can employ a variety of classroom management strategies that are unique to the 

discipline. 

-can assess k-12 student learning. 

Beyond the studio art, art history and art education courses described above, Aquinas 

College requires that candidates for teacher endorsement complete a 39 hour professional 

preparation program in taught and administered in the Aquinas College School of Education. 

While many of these courses are general in nature, some of them are discipline specific and focus 

on art education. Introduction to Education, taken in the sophomore year, involves a placement of 

forty hours in an art classroom, and a weekly seminar session. The Directed Student Teaching 

courses also include a weekly discipline-focused seminar that complements, clarifies and enriches 

the fourteen week placement in an art classroom. 

The combination of art education courses taught by the Art Department, discipline 

specific education courses, taught in the School of Education, and exposure to K-12 art teachers 

and classrooms through placements and visits, provides our students with an exceptional 

conceptual and practical preparation for success in teaching. In the history of the Aquinas 

Department of Art, no Art Education candidate has ever failed the state certification test. 

The systematic education of Aquinas Art Education students regarding appropriate 

instruction for various leaning styles occurs within the context of required School of Education 


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Coursework 

courses. That knowledge is built upon in Art Education courses, and practiced in the field 

placements noted above, in both the sophomore and senior years. Our students are given a variety 

of field placements in urban, inner city, and suburban schools. They are thus exposed to a number 

of different learning environments in which they can observe varied instructional approaches, and 

under supervision, test the effectiveness of their own methods. 

Within the Art Department, K-12 candidates are exposed to experiences and instructional 

approaches that vary according to the medium, the instructor, and the studio facilities. Since there 

are nine studio art and art history faculty on our staff, our students are guaranteed exposure to 

numerous instructional approaches. 

Aquinas’ K-12 candidates are fortunate in that broad cultural, global, and gender-equity 

perspectives are built into both the art curriculum and the general education requirements of the 

College. Among the general education courses, Inquiry and Expression, Humanities, and foreign 

language study are mandated to expose students to the cultural expressions, including art, of a great 

variety of non-western cultures and ethnic groups. Gender issues are part of both Inquiry and 

Expression and Humanities. 

The Art curriculum builds on that. Art History courses make a point of integrating 

consideration of non-western art into the course of study of every historical period. In courses that 

cover movements in the 19 th and 20 th centuries, the historical record makes it increasingly feasible 

to particularly examine the contributions of women artists. 

Since the women’s movement of the 1960’s and 70’s was closely linked with the 

development of Postmodernism, gender issues are a dominant part of two of our courses which 

provide a historical and an experiential perspective on Postmodernism. The courses are 

Contemporary Art, an elective art history course, and New Forms, a studio course that takes a 

postmodern tack in emphasizing a concept-driven approach to making art. Many of the historical 

artists to whom students are exposed in those courses use women’s issues as a conceptual basis for 

their art. 

Additionally, in the make-up of the art faculty, the Art Department models gender equity. 

Of the five full-time faculty members, two are women. Of the four part-time faculty members, two 

are women. 

That variety of faculty, as noted earlier, exposes the K-12 candidate to a variety of 

evaluation methods concerning works of art, ranging from formal to technical to conceptual 

concerns. Every studio course involves individual and group critiques that enable the K-12 

candidates to build their ability to evaluate their own art and that of their colleagues, and to 

articulate their evaluation using the particular vocabulary of the discipline that is introduced in the 

2d and 3d design courses. Doing visual analysis of historical art works is a regular component of 

art history courses also, so by the time of graduation, K-12 candidates are well versed in assessing 

and articulating the quality of individual works of art. 

That ties into students’ ability to assess the value and success of a course or a set of 

assignments within a course. Beginning with evaluating a single artwork or a group of related 

artworks, students are taught to work backward to the assessment of the assignment that resulted in 

that artwork. That progression continues logically to the assessment of sets of assignments, to the 

assessment of a course, eventually to the assessment of the course groupings of a curriculum. 

Assessing skills are addressed in both art education methods courses and in Education 

Department courses, and practiced during the fourteen to sixteen week student teaching placement. 

The foregoing adds up to an exceptionally strong, systematic preparation for K-12 

candidates. They are provided with a conceptual vocabulary that enables clear communication in 

discussing and evaluating art. They are given compositional and technical instruction, and are 

exposed to an extensive, substantial, and balanced art history regimen that includes global, 

multicultural, and gender-equity perspectives. They are pushed to become the best artists they can 

be. They are trained in teaching methods and given opportunities to put them into practice. They 

leave with the ability to articulate the great need for art as an integral part of any school curriculum. 

See attachment 3 


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VI. Content Guidelines/Standards Matrix 

See Attachment 4, Content Guidelines/Standards Matrix 

Field 

Experiences 

Instructional 

Methods 

Course 

Descriptions 

VII. Supporting Documentation 

Student Teaching by Art Education Teacher Candidates 

at Aquinas College 

Field experience for teacher candidates is covered in seven courses: EN 201 Introduction to 

Education, AT 370 Foundations in Art Education, AT372 Elementary Methods in Art Education, 

AT374 Secondary Methods in Art Education, and AT376 Studio Practicum in Art Education, 

EN495 Directed Student Teaching, Elementary School, and EN498 Directed Student Teaching, 

Secondary School. (EN495 and EN498). 

EN201 Introduction to includes forty hours of placement by teacher candidates in selected 

elementary and secondary classrooms and weekly seminars. EN201 field assignments are made 

according to major, meaning K-12 Art candidates are placed in K-12 art classrooms. 

Art Education courses include visits to art classrooms, some of which include presentations of 

lessons to children, but they do not include extended field placements. 

EN 495 and EN 498 involve supervised practice teaching in elementary and secondary schools 

respectively. The attached syllabi provide details regarding these courses. For the sake of 

ensuring some variety of practice teaching experiences, effort is made to place each candidate in 

schools that contrast with those to which they have been exposed during their EN 201, e.g. inner 

city vs. suburban, public vs. private, etc. 

Coursework, field experience, studio work, critiques, exams-oral and written, classroom 

observation, field trips, papers, lectures and related experiences. 

AT 130 Basic Drawing I (3). This is a studio art course that focuses on drawing from 

observed life and on the development of traditional drawing skills and design. The 

student is directed toward developing a sensitivity to form, materials and design that is 

responsive to the unique visual properties of the subject. Exploration of materials also 

constitutes an important part if this course. Art work completed in the course will reflect 

a search for the creative potential inherent in each material studied. 

AT 131 Basic Drawing II (3). This is a continuation of AT 130 with emphasis on visual 

problem solving and the integration of design into the student’s drawing method. The 

course will concentrate on the student’s creating a limited number of finished drawings, 

on exploring a variety of drawing materials and on critiquing and reworking the drawings 

as they progress. Eight units of two weeks each will center on a particular subject matter. 

The subject will be explored with a variety of materials and approaches. Each unit will 

culminate in one to three finished drawings that represent two weeks of work. Working 

critiques will be held at least once per unit. The evolution of the drawing and the final 

image(s) should reflect consideration of issues raised in these discussions. Prerequisite: 

AT 130 

AT 140, Two Dimensional Design (3). This is a studio art course that examines the 

formal qualities of two-dimensional art. Students will study the elements and principles 

of two-dimensional design as a foundation for understanding art works. Individual 

design elements will be introduced and examined in a series of abstract exercises. 

Orchestration of design issues will develop as the semester progresses. 


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AT 141, 3-D Design (3). Structural spatial and organizational problems centered 

around basic 3-dimensional materials. This course is intended to introduce students to 

factors unique to three-dimensional design: vocabulary, composition of form and space, 

critical evaluation, and 3-d materials and techniques. 

AT 150 Art Survey I (3). Selected major monuments of painting, sculpture, architecture 

from cave to early Renaissance, arts of China and Japan. 

AT 151 Art Survey II (3). Major monuments of painting, sculpture and architecture of 

the western world from early Renaissance to 19 th century. 

AT 201, Life Drawing (3) This is a studio art course focuses on drawing from the 

observed figure, developing traditional drawing skills, experimenting with materials, and 

nurturing an awareness of an emerging individual style. Everyone will work from the 

figure during class sessions. Everyone will follow the same critique schedule. 

Homework assignments, however, will vary depending on course level. Individual 

homework calendars are outlined below. A critique of homework and in-class drawings 

will be held once every two weeks. Remaining classes will be devoted to drawing from 

the nude. In addition to academic correctness, we will focus on developing a sensitivity 

to form, materials and design which is responsive to the unique visual qualities of the 

subject. Exploration of materials will also constitute an important part of the course. 

Work completed in the semester will reflect a search for the creative potential inherent in 

each material used. By the end of the semester, the student will create a group of mature, 

finished drawings. Prerequisite: AT 131 

AT 202 Advanced Drawing (3). Continuation of AT 201; Broadened technical and 

conceptual approaches introduced. Strong emphasis on recognizing and developing 

individual direction. Prerequisite: AT 202 

AT 212, Photography I (3). Exploration of Photography as a Fine Art. Includes: basic 

camera handling, black and white film development and printing, aesthetic discussion 

and critiques. Equipment required: 35mm camera. 

AT 213 Photography II (3). Continuation of Photo I. Includes further development of 

camera techniques, darkroom skills, and manipulation of print. Postmodern issues in 

photography are covered. Individual directions are encouraged. Written and verbal 

critiques are included. Prerequisite: AT 212 

AT 214-219 Photography III-VII (3). Advanced photography course emphasizing 

personal artistic growth. Frequent critiques. Exploration of advanced techniques. 

AT 230 New Forms (3). Based in a post modern aesthetic, this course will allow 

students to make art using a concept driven approach. Ideas will be developed via 

reading, journaling, writing, sketching video, and photography. Final artworks will use 

media appropriate to the idea. 

At 275 Renaissance Art And Society (3). An investigation of the masters and 

monuments from 1250 – 1550. Emphasis is placed on Italy culminating in a study of 

Leonardo, and Raphael and their legacy; however, Northern masters and styles will be 

introduced. 


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AT 302-307 Advanced Drawing II-VIII (3). Advanced drawing course emphasizing 

personal artistic growth. Frequent critiques. Exploration of advanced techniques. 

Individual problems defined by student and instructor. Scheduled in the same time slot as 

AT 201, this course will also make use of the figure. Prerequisite: AT 202 

AT 311 Painting 1 (3). Beginning course in oil and alkyd painting. Introduction to basic 

tools and techniques including direct and indirect painting. Integration of design 

principles into the image making process. Safety issues related to oil paints and 

mediums, powdered pigments and fumes will be covered. Prerequisite: AT 130 

AT 312 Painting II (3). Advanced oil painting course emphasizing personal artistic 

growth. Frequent critique, exploration of advanced techniques and the creation of a 

cohesive body of work. Prerequisite: AT 301 

AT 321 Sculpture I (3) Traditional life-sized figurehead project modeled in clay and 

either kiln-fired or cast in plaster. Additional figurative sculptural problems. 

AT 322 Sculpture II (3) On a rotating basis, opportunities to work in steel, clay, plaster, 

stone, bronze, and assemblage. The conceptual emphasis will be on 20 th century 

approaches to sculpture. Individual sculptural directions will be encouraged. 

AT 331 Ceramics I (3). Introduction to Ceramics as a fine art form. Handbuilding, wheel 

thrown, and glazing techniques Safety issues related to clay dust, glaze, use of wheels 

and use of kilns. Frequent critiques will build skills in evaluating art objects. No prior 

experience in art is assumed. 

AT 332 Ceramics II (3). Continuation of AT 331. Greater involvement with wheelthrowing, 

glazing and firing techniques. Frequent critiques will push students to find 

consistencies in their work. 

AT 341 Printmaking I (3). Beginning course in lithography, intaglio and relief 

printmaking. Equipment, tools, materials and techniques used in each medium 

will be covered. Safe and efficient use of materials, tools and equipment will be 

an important part of this course. 

AT 342 Printmaking II (3). Advanced printmaking course emphasizing personal 

artistic growth. Individual problems assigned in a variety of media. Frequent critique, 

exploration of advanced techniques and the creation of a cohesive body of work. 

Prerequisite: AT 301 

AT 350 Van Gogh to Picasso (3). Survey of painting, sculpture and Architecture of the 

western world c. 1880-1925, including post-Impressionism and cubism. 

AT 351 Dali to Abstraction (3). Survey of painting, sculpture and architecture of the 

western world c. 1925-1960 


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AT 370 Foundations in Art Education (3) This course focuses on theoretical, 

philosophical, and technological issues in art education. One of its goals will be to help 

the student prepare for the State of Michigan certification test. The course will feature 

reading in and responses to art education philosophy, and criticism/evaluation of child 

art. Students will write a major paper articulating their philosophy of art education 

through the K-12 curriculum, taking into account normal, gifted, and special needs 

populations. Students will think and write about the role of art in the school curriculum, 

and will learn how to become effective advocates for art. The course will examine the 

use of technology for the purposes of research, curriculum planning, and classroom art 

activities. Students will consider and write about the impact of technology on art content 

and the world of art. 

AT 372 Elementary Methods In Art Education (3). An introduction to teaching art 

in the elementary classroom. Theoretical and practical concepts of teaching art in 

the elementary school will be examined. Off campus classroom observations, 

demonstration lessons and written responses to observed art education situations 

will be required 

AT 374 Secondary Methods in Art Education (3). Theoretical and practical concepts 

of teaching art in the junior and senior high school will be examined. Off campus 

classroom observations, demonstration lessons and written responses to observed art 

education situations will be required. Professional standards in art education will be 

introduced and a personal pedagogical approach will be encouraged. A firm 

understanding of many studio techniques and extensive knowledge of art history are 

required for success in this course and will enrich your experience. 

AT 376 Studio Practicum in Art Education (3). This course focuses on practical 

aspects of teaching art in elementary and secondary classrooms. Among topics covered 

will be budgeting, procuring art materials, legal issues in Art Education, safety issues 

(OSHA standards) for most art materials, proper operation of necessary equipment such 

as kilns, setting up and managing a well-designed dedicated art classroom, organizing 

and managing a traveling art curriculum, and mounting school exhibitions of student 

artworks. 

AT 391 Contemporary Art (3) An exploration of the primary currents in the visual arts 

from 1945 through the present. Leading figures and artistic currents will be discussed as 

will the expanding role of art theory and criticism. 

AT 412-417 Painting III-VIII (3). Advanced courses in painting. Individual problems 

and directions designed to build strengths in color, composition and individual artistic 

direction. 

AT 422-427 Sculpture III-VIII (3). Advanced courses in sculpture. Individual 

problems and directions designed broaden technical knowledge and foster an individual 

artistic direction. 

AT 432-437 Ceramics III-VIII (3). Advanced courses in ceramics. Emphasis on 

individual solutions to problems in design, clay, glaze composition, forming and firing. 

AT 442-447 Printmaking III-VIII (3). Advanced courses in printmaking. Individual 

problems and directions will be designed to broaden technical knowledge and foster 

artistic growth in an individual direction. 


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Syllabi See attached syllabi 

Faculty 

See attached resumes 

Technology The Woodhouse Library 

The Aquinas College library is organized into the following areas: Administration, Public Services 

(Electronic Services, Reference Services, Circulation, Media and Interlibrary Loan), Technical 

Services, and Serials [& … Information Literacy]. There are 9.75 staff positions: six librarians, 

three support staff and twenty-one student assistants. 

One of the most significant recent accomplishments of our library is the installation of Innovative 

Interfaces Inc. The automated system is fully integrated and allows for downloading the Online 

Computerized Library Center's MARC records into the local database. The system also handles 

electronic orders based on records found in the OCLC database. Consequently the Online Public 

Access Catalog (OPAC), the electronic card catalog, provides a complete listing of the library's 

holdings and their availability. 

The Media Department assists faculty in the production of materials for classroom use and 

supports student production of materials for classroom presentations. … In 1991 the Media 

Department assumed responsibility for the development of a K-12 curriculum materials collection. 

Currently the collection has over 386 bibliographic records and 1,707 items. The primary purpose 

of the Curriculum materials is to support students in the teacher certification program. 

Fall 2002: 

Currently, the six librarians each teach three, one credit courses, of Information Literacy to the 340 

freshmen. And information Literacy continues to play a significant role in upper level classes. 

The Woodhouse Library participates in the OCLC network, Michigan Innovative Users Group, 

Interlibrary Loan, and Grand Rapids Area Union List of Serials (GRAULS). 

Art areas of the Woodhouse Library contain the following: 

Reference Books: 140 Titles 

Major sets: 

Encyclopedia of World Art 

Grove's Dictionary of Art 

McGraw-Hill Dictionary of Art 

Pelican History of Art 

Circulating Books: 4100 Titles 

Juvenile Books: 100 Titles 

Audio Visual: 155 Titles 

Periodicals: 

African Arts 

The American Art Journal 

American Artist 

The Art Bulletin 


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Art in America 

Art Journal 

Artforum 

ARTnews 

Burlington Magazine 

CAA News 

Critical Inquiry 

The Journal of Aesthetics and Art Criticism 

Leonardo 

New Art Examiner 

October 

School Arts 

Online Indexes and Databases 

The Woodhouse Library has the following online indexes and databases: 

Full text: 

ACS: American Chemical Society Journals 

CQ Researcher 

eBooks (from Michigan Electronic Library) 

EBSCO Online 

EthnicNewsWatch 

FirstSearch 

ATLA Religion Database 

ECO (Electronic Journals Online) 

WilsonSelect Plus 

Grove Dictionary of Art 

InfoTrac 

Expanded Academic ASAP 

Health Reference Center Academic 

Kids Edition K-12 

GenderWatch 

IDEAL (Academic Press) 

Lexis Nexis Academic 

Lexis Nexis Congressional 

Lexis Nexis Statistical 

Literature Resource Center 

Oxford English Dictionary 

Project Muse 

ProQuest Direct 

Indexes: 

Art Abstracts (FirstSearch) 

Humanities Abstracts (FirstSearch) 

FirstSearch (numerous other databases) 

ERIC 

MLA 

Uses of Technological Resources 

In the Aquinas College Art Education Program 

• Students use the computer/projector combination to give class presentations. Most are 

familiar with Powerpoint 

• Students use a digital camera to photograph artwork and the computer to alter and enhance the 

images. 

• Students are assigned to acquire visual elements (type, etc.) from the computer to use in their 

2-d art projects. 

• Students conduct web searches and use online data bases as part of their research for projects 

and papers. 

• Three of the required Art History courses each have a support web site which houses the 


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Vocational 

Work 

Experience 

syllabus, detailed directions for assignments, rubrics for assessment, chapter study guides, a 

resource page with listing of current web sites and links to some of the best information in 

art history on the web. In addition, each support web site has a virtual slide library for 

students to use in reviewing images for testing or for class assignments. The virtual slide 

library is pass-protected. 

• Some sections of AT 161, Art Appreciation, are web based courses. They are technically 

hybrid courses which meet twice during the term. The rest of the course, assignments and 

learning team projects are conducted on the web, through e-mail and through the discussion 

boards. 

Not applicable 


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Purpose 


Design 


Duration 

VIII. Experimental Program Description (Rule 53) 




IX. Guidelines for Applying for Amendments to Currently Approved 

Teacher Preparation Programs 



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Contact Information for Program Review Consultants 


2 

Attachment 1 

All communication regarding the approval of specialty programs should be addressed to the 

following individuals according to content area: 

Dr. Ghada Khoury 

517-373-1925 

khouryg@michigan.gov 

Bonnie Rockafellow 

517-373-7861 

rockafellowb@michigan.gov 

Sue Wittick 

517-241-0172 

witticks@michigan.gov 

Chemistry Communication Arts Social Studies 

Physics Language Arts Economics 

Earth/Space Science English Geography 

Physical Science Speech History 

Mathematics Reading Political Science 

Agricultural Education Reading specialist Psychology 

Family & Consumer Sciences All foreign languages Sociology 

Library Media All bilingual education Anthropology 

Computer Science Music Education Cultural Studies 

Guidance & Counseling Dance Behavioral Studies 

Cognitive Impairment English as a Second Language Integrated Science 

Speech and Language 

Impairment 

Humanities Biology 

Physical or other Health 

Impairment 

Academic Study of Religions All business education 

Emotional Impairment Philosophy Industrial Technology 

Visual Impairment Early Childhood Education Visual Arts Education 

Hearing Impairment Health 

Learning Disabilities Physical Education 

Physical Education for 

Students with Disabilities 

Recreation 

Autism Environmental Studies 

Middle Level Educational Technology 

Vocational Agriscience and 

Natural Resources 

Fine Arts 

Vocational Family and 

Consumer Sciences 

Technology & Design 

Vocational Business Services 

Vocational Distributive 

Education 

Vocational Technical 

2

AX COMMUNICATION ARTS 

BX LANGUAGE ARTS 

BA English 

BC Journalism 

BD Speech 

BT Reading 

BR Reading Specialist 

RX SOCIAL STUDIES 

CA Economics 

CB Geography 

CC History 

CD Political Science 

SOCIAL SCIENCE* 

CE Psychology 

CF Sociology 

CH Anthropology 

CL Cultural Studies 

CM Behavioral Studies 

DX SCIENCE** 

DI INTEGRATED SCIENCE 

DA Biology 

DC Chemistry 

DE Physics 

DH Earth/Space Science 

DO Astronomy 

DP Physical Science 

EX MATHEMATICS 

FOREIGN LANGUAGE 

FA French 

FB German 

FC Greek 

FD Latin 

FE Russian 

FF Spanish 

FG Other 

FH Italian 

FI Polish 

FJ Hebrew 

FL Japanese Language and Culture 

Michigan Department of Education Endorsement Areas and Codes 

August 2002 

BILINGUAL EDUCATION 

YA Bilingual French 

YB Bilingual German 

YC Bilingual Greek 

YE Bilingual Russian 

YF Bilingual Spanish 

YH Bilingual Italian 

YI Bilingual Polish 

YJ Bilingual Hebrew 

YK Bilingual Arabic 

YL Bilingual Other 

YM Bilingual Vietnamese 

YN Bilingual Korean 

YO Bilingual Yugoslavian 

YP Bilingual Chaldean 

YR Bilingual Chinese 

YS Bilingual Filipino 

YT Bilingual Japanese 

GX BUSINESS EDUCATION 

GA Accounting 

GH Business Administration 

GI Secretarial Science 

GM Distributive Education 

HX AGRICULTURAL 

EDUCATION 

IX INDUSTRIAL 

TECHNOLOGY 

JX MUSIC EDUCATION 

KH FAMILY AND CONSUMER 

SCIENCES 

LX ART EDUCATION *** 

LQ VISUAL ARTS EDUCATION 

LZ VISUAL ARTS EDUCATION 

SPECIALIST 

MX HEALTH, PHYS. ED. AND 

RECREATION 

MA Health 

MB Physical Education 

MD Recreation 

MH Dance 

MISCELLANEOUS 

NB National Board Certification 

NC Driver and Safety Education 

ND Library Media 

NJ Environmental Studies 

NP Educational Technology 

NR Computer Science 

NS English as a Second Language 

NT Guidance and Counseling 

OX FINE ARTS 

PX HUMANITIES 

PR Academic Study of Religions 

PS Philosophy 

SPECIAL EDUCATION 

SA Cognitive Impairment 

SB Speech and Language 

Impairment 

SC Physical or Other Health 

Impairment 

SE Emotional Impairment 

SK Visual Impairment 

SL Hearing Impairment 

SM Learning Disabilities 

SP Physical Education for Students 

with Disabilities 

SV Autism 

TX TECHNOLOGY AND 

DESIGN 

ZA EARLY CHILDHOOD 

EDUCATION **** 

ZD MIDDLE SCHOOL **** 

ZL MIDDLE LEVEL **** 

ZG GENERAL EL K-5 **** 

VOCATIONAL EDUCATION 

VA Vocational Agriscience and 

Natural Resources 

VB Vocational Business Services 

VD Vocational Distributive 

Education 

VH Vocational Family and 

Consumer Sciences 

VT Vocational Technical 

Attachment 2 

* There is no endorsement for the Social Science group (formerly CX), only individual endorsements. 

** The DX endorsement may not be offered to new candidates after the fall semester of the 2003-2004 academic year. 

*** The LX endorsement may not be offered to new candidates after the fall semester of the 2002-03 academic year.

Summary of Course Requirements for Specialty Studies Program 


3 

Attachment 3 

(Form XX) 

Institution: Aquinas College Date: 4/05/04 

Specialty Studies Program: LQ 

Program Standards: SBE 6-12-01 Standards Date: June, 12 2001 

Program Contact Person(s): Ron Pederson 

Course Title (1) 

Course 

Number 

Sem. 

Hours 

(2) 

Secondary (3) 

Elementary (3) 

K-12 (3) 

Maj. Min. Maj. Min. Maj. Min. 

Basic Drawing I AT 130 3 X 

Basic Drawing II AT 131 3 X 

2-D Design AT140 3 X 

3-D Design AT141 3 X 

New Forms AT 230 3 X 

Art Survey I AT 150 3 X 

Art Survey II AT 151 3 

Van Gogh to Picasso AT 350 3 X 

Dali through Abstraction AT 351 3 X 

Foundations in Art Education AT 370 3 X 

Elementary Methods in Art 

Education 

AT 372 3 X 

Secondary methods in Art 

Education 

AT 374 3 X 

Studio Practicum in Art Education AT 376 3 X 

Contemporary Art (History) AT 391 3 

Studio Art Electives 

(including 9 hours in one area) 

15 X 

Art Department subtotal 57 

X 

School of Education requirements 39 

Total required credit hours 96 X 

X 

X 

Additional 

Endorsements 

(4) 

3

Standards for the Preparation of Teachers Attachment 4 

Visual Arts Education (LQ) 

Adopted by the Michigan State Board of Education 

June 12, 2001 


4 

4

Standards for the Preparation of Teachers in Visual Arts Education (LQ Endorsement) and 

Visual Arts Education Specialist (LZ Endorsement) 

Preface 

Development of the Proposal 

During 2000-2001, a referent group of professional educators developed a proposal to modify current requirements 

for preparation as an art education teacher, create a new graduate-level visual arts education specialist endorsement, 

and to adopt standards for the preparation of teachers in these areas. These standards align with standards developed 

by the National Art Education Association, the National Association of Schools of Art and Design, and Michigan’s 

Content Standards for Arts Education. 

As summarized in the following comparison chart, the current option for a 24 semester-hour group major, 36 

semester-hour group major (or completion of both the group major and minor) would be phased out and replaced by 

a 50 semester-hour (minimum) comprehensive, K-12 group major in visual arts education for secondary 

certification. With this new, comprehensive group major program, no additional minor would be required. The 

comprehensive nature of this new program would ensure adequate preparation of visual arts education teachers for 

K-12 classroom assignments. 

A new, 68 semester-hour, K-12, visual arts specialist endorsement is also proposed at the graduate level. The 68 

semester hours would be cumulative based on prior preparation in visual arts education: if a candidate had 

previously completed the new 50-semester hour comprehensive group major, 18 additional graduate-level semester 

hours would be required; if a candidate had previously completed a 36 semester-hour group major, 32 additional 

semester hours would be required (including 18 semester hours at the graduate level); if a candidate had previously 

completed a 24 semester-hour group minor, 44 semester hours would be required (including 18 semester hours at the 

graduate level); and if a candidate had previously completed both a 36 semester-hour group major and a 24 

semester-hour group minor, 18 additional graduate-level semester hours would be required. 

To provide information and gather feedback on the proposal, a copy was forwarded to selected groups/organizations, 

all Michigan teacher preparation institutions, and a random sample of intermediate and local school districts for 

review and comment. The standards reflect the feedback received. 

State Board adoption of these standards mandates the creation of a new certification test for teachers prepared in 

visual arts education (LQ). It is anticipated that test development for a new Michigan Test for Teacher Certification 

in visual arts education will begin in 2001 and the test will be available for administration in fall 2003. Candidates 

completing visual arts education specialist programs will not have to pass an additional MTTC test, unless they have 

not been previously endorsed in visual arts education (through completion of LX or LQ programs).

Approval of Programs 

Teacher preparation institutions that wish to continue to offer programs to prepare visual arts education teachers are 

required to submit an application for program approval that demonstrates how the standards for visual arts education 

(LQ) are met throughout the proposed curriculum. Following initial approval, the teacher preparation program will 

be reviewed every five years through the Periodic Review/Program Evaluation process. 

Institutions that wish to develop programs to prepare visual arts education specialists may submit applications for 

program approval at any time. Approval applications are available on the web: 

www.state.mi.us/mde/off/ppc/progapp.doc. 

Phase-out of Art Education (LX) Group Majors and Group Minors 

The 36 semester-hour art education group major and 24 semester-hour group minor may not be offered to new 

candidates after the 2002-03 academic year. Candidates must complete all preparation program requirements, 

except for passing the Michigan Test for Teacher Certification (LX test), by June 2006. The last administration of 

the MTTC art education (LX) test (for those candidates only) will be in July 2007.

Content Guidelines/Standards Matrix 

College/University Aquinas College Code 

Source of 

Guidelines/Standards 

Michigan State Board of Education, 2001 Program/Subject 

Area 

2 

LQ 

Visual Arts Education K-12 

Comprehensive Group Major 

Visual Arts (LQ) Standards June 12, 2001

Requirements 

Candidates for this endorsement are required to have 50 semester hours in a Comprehensive Group Major 

comprised of courses in 3 areas: 

� 12 semester hours of art education 

� 12 semester hours of art/design history, aesthetics, and/or criticism 

� 26 semester hours of studio art, to include advanced-level courses in one studio area: 

� 18 hours from studio, design, media, or technology and 

� 8 hours advanced-level semester hours in one studio area 

Notice: 

The Visual Arts Education LQ Comprehensive Group Major is a K-12 endorsement for secondary certificates. Candidates completing this 

program will not need to complete a minor before recommendation for certification can be made. 

DIRECTIONS: List required courses on matrix and provide additional narrative to explain how standards are met. 

If electives are included, they should be clearly indicated. Adjust size of cells as needed. 

2 


Standard/Guideline Courses and/or Experiences that Fulfill the Standards for 

K-12 Comprehensive Group Major 

1.0 Faculty 

Visual arts teacher preparation programs provide 

candidates with faculty who are competent and 

committed to preparing future teachers of art Visual 

arts teacher preparation programs provide 

faculty who: 

. 

1.1 hold advanced degrees, have extensive knowledge 

and practice in art and art education, and have 

demonstrated competence in teaching K-12 for at 

least three years. 

1.2 demonstrate a thorough understanding of 

comprehensive art education and familiarity with the 

complex relationships among the disciplines 

demonstrated in the art of today and the past; to 

include art making, art and design history, art 

criticism, aesthetics, visual, and cultural studies and 

media literacy. 

1.3 remain active in the profession through their 

participation in professional art and art education 

associations at the local, state, and national levels. 

The person we will seek to teach the Art Education courses will hold an 

advanced degree in Art Education and will have at least three years of K-12 art 

experience, preferably more. Though two art department faculty members have 

experience teaching in high school, the department will depend on the new 

part-time Art Education faculty for true and current expertise in K-12 art 

education theory and practice. 

The Aquinas Art faculty is strong in this regard. It is a large department 

considering the student population of the College. With varied educational 

backgrounds, almost-uniform attainment of terminal degrees, and varied 

personal approaches to art-making or art scholarship, the faculty offers Aquinas 

Art majors a rich mix of knowledge, experience, and convictions. In that 

context, all students including K-12 candidates are given an excellent 

opportunity to achieve their maximum potential as artists. 

The faculty is active in professional associations. Institutional memberships 

include the College Art Association and NAEA/MAEA. Individual 

memberships include CAA, Foundations in Art Theory and Education, the 

International Sculpture Center, American Craft Council, and the National 

Association of Independent Artists, all national organizations. Locally and 

regionally members of the faculty are involved in such organizations as 

Michigan Potters Guild, the Urban Institute for Contemporary Arts and in 

Grand Valley Artists. The Aquinas Art Department will seek an art education 

instructor who is an active member of state and national art education 

organizations. 

*There is no endorsement for the Social Science group (formerly CX), only individual endorsements. 

**The “Z” codes are used only by teacher preparation institutions for recommending these grade levels to the Michigan Department of Education. They do not appear on a 

teaching certificate. 

3



1.4 model teaching methods and approaches appropriate 

for learning both within the higher education 

classroom and the art educational settings for which 

their students are being prepared. They 

continuously plan and implement instruction as a 

series of sequential learning experiences as they 

prepare students to do the same in their own 

classrooms. 

1.5 conduct a variety of appropriate assessments of 

student learning within art education. 

The art curriculum has developed sequentially, beginning with building in the 

student a solid foundation in basic drawing (one year), 2d and 3d 

composition(one year), photography and new forms(one year), the latter of 

which exposes the student to post-formal conceptualization, and two years of 

art history surveys. Upon that foundation, the student begins to make choices 

appropriate to his or her inclinations and gifts as an artist. The curriculum as a 

whole is thus sequential, as it is within each course, where increasingly 

complex skills and knowledge are introduced, mastered, and integrated into the 

art-making process. The process serves as a model which can be followed, with 

age-appropriate adjustments, in the curricula and courses our students will 

design and teach. 

Each of the courses lay out clear expectations and standards for evaluation of 

individual artworks and of student performance. The Art Faculty conducts 

semester reviews, annual competitive exhibitions, and annual competitions for 

scholarships. Collectively, they are program assessment tools that provide 

information on the solidity of the program, and suggestions on how 

components of the program might be improved. 

Assessment is also an important component in all studio, art history and art 

education courses. Assessment tools used in class include papers, research 

projects, quizzes, mid-term and final exams, design analysis papers, individual 

critiques, group critiques, student led critiques, observations, and lesson plans. 

In all courses, students are involved in and take leadership roles in selfassessment 

and in the assessment of peers’ work. 

Core courses in education introduce and define assessment. Art Education 

courses relate assessment to teaching visual problem solving. Studio courses 

require the student to assess his own art and the art of others. Student teaching 

caps this experience. 




4



1.6 monitor and supervise the progress of candidates 

while encouraging them to also assess their own 

teaching and learning. 

1.7 provide consistent and meaningful supervision of 

clinical experiences reflecting an awareness of the 

realities of the classroom and a sensitivity toward 

both developing art education students and 

cooperating teachers in the schools which includes 

access to diverse and alternative educational settings 

such as museums, community centers, and afterschool 

programs. 

Art Education candidates, as Art majors, participate fully in the Art Department 

classes, reviews, competitions, and exhibitions noted above. One of the 

strengths of the Aquinas Art program is rooted in its relatively small student 

population. Faculty members learn to know the students very well. Each faculty 

member usually has more than one class with each Art major. The result is, the 

student’s progress from semester to semester can be monitored. Art faculty 

members are also very aware of the artwork students are doing in other studio 

classes. The environment is thus one of both awareness of student progress and 

encouragement to student growth. Another facet of the program that encourages 

self-assessment is an excellent exhibitions and visiting artist program, which 

exposes Art students to excellent professional examples, and gives each student 

the opportunity to compare his or her own work to a professional standard. 

This criterion is met most directly through supervised school placements that 

are part of EN 201 Introduction to Education, AT 372 Elementary Methods in 

Art Education, AT 374 Secondary Methods in Art Education, EN 495 Directed 

Student Teaching, Elementary School, and EN 498, Directed Student Teaching, 

Secondary School. 

The Aquinas College School of Education monitors placements to ensure a 

diverse and well rounded clinical experience. Students experience public and 

private classrooms, affluent and under- funded classrooms, majority and 

minority classrooms. 

Additionally, the course plans for many studio art courses incorporate museum, 

gallery and not for profit institution visits and experiences. 




5



1.8 are committed to learning about, furthering and 

modeling the innovative use of computer technology 

within the field as both an art medium and as a tool 

for communication, research, and instructional 

purposes. 

1.9 are cognizant of the research within art education; 

either as contributors to the research enterprise, 

participants in research studies, or as consumers of 

research. 

1.10 take advantage of faculty educational opportunities 

that can enhance their professional lives. 

2.0 

Content 

Visual arts teacher preparation programs focus on 

the content of the visual arts 

Visual arts teacher preparation programs 

provide and require: 

2.1 significant coursework in the processes of art 

making that involve: 

Art Department courses in which the use of computers is a structured 

component are AT 140 2d Design, AT 141 3d Design, AT 212 Photography I, 

AT 230 New Forms, AT 341 Printmaking, and in all the Art History courses, 

wherein the computer is used as a tool for research. Through ARTSTOR, all 

Art History classes use on-line images in classroom lectures. AT 370 

Foundations in Art Education, systematically examines the impact of the 

computer on the world of art, use of the computer as a classroom tool for 

manipulating imagery, as a means of connecting with the art education 

community, as a tool for curriculum-building, and as a tool for scholarly 

research. 

Additionally, Aquinas requires three one hour courses in computer technology 

that are chosen with the student’s major in mind. 

For cognizance of specific research within the field of Art Education as it 

pertains to K-12, the Aquinas Art Department will depend on the Art Education 

specialist that will be hired when this proposal is accepted. As continually 

active artists and scholars, the Art faculty can legitimately lay claim to being 

consumers of research, always expecting to apply pertinent insights to teaching. 

Art Department members consistently participate in national and regional 

conferences, department trips to Chicago and Detroit, and sabbatical leaves to 

foster growth as artists. 




6



2.1.1 traditional studio approaches. AT 130 Basic Drawing I, and AT 131 Basic Drawing II, are part of the 

foundation, and include instruction in traditional drawing media as well as 

application of compositional theory learned in AT 140 2-D Design, and AT 141 

3d Design. Nearly all the upper level studio courses are taught traditionally, 

with a thorough grounding in technical and visual aspects of a particular 

medium preceding personal expression. Process is emphasized. The artwork 

and visual idea produced is the result of process. 

All art history courses define and explore how traditional studio methods were 

used in the time period covered, and how that use has changed over time 

2.1.2 contemporary studio approaches. AT 230 New Forms, addresses most intentionally a postmodern, post-formal 

way of approaching art-making. It begins with a concept, employs research and 

structured thinking to develop the concept and to choose the most appropriate 

way to convey the idea. Only then is the artwork produced. Physical process is 

sublimated to conceptual process, and non-traditional uses of photography and 

video are frequently used. If students find that a concept-driven approach 

works best for them, they have the freedom to use it in the advanced levels of 

any studio class, such as Sculpture II, Painting II, Printmaking II, etc. 

If computer technology is still considered to be in the category of contemporary 

approaches to art, it is pertinent to state here that computer technology is 

incorporated into several studio classes including AT 140 2d Design, AT 141 

3d Design, AT 212 Photography, AT 230 New Forms, and AT341 Printmaking. 

All studio instructors are current and active artists, interested in achieving a 

balance between our filial heritage as artists and our desire to produce art work 

of contemporary significance. Our teaching is informed by that dynamic. Thus 

our Art majors, including K-12 Art Education students, are fully exposed to 

that “contemporary” goal. 

2.2 Comprehensive studio experiences that develop 

basic concepts and skills related to: 

2.2.1 creative processes. All our studio courses model criterion 2.2.1. Any studio course utilizes the 

creative principle—a dependence on an investigative process with materials, 

images, or ideas, begun without foreknowledge of the eventual outcome, ended 

with delight at unexpected insights gained or fresh imagery attained. 




7



2.2.2 organizational structures. AT 140 2d Design and AT 141 3d Design most explicitly address the 

organization or composition of artwork. Knowledge gained in those foundation 

courses regarding pictorial or sculptural organization is incorporated into all 

other studio art courses. 

2.2.3 techniques. AT 130 Basic Drawing I, AT 131 Basic Drawing II, AT 201 Life Drawing, and 

AT 202 Advanced Drawing teach the tools and techniques of drawing. All 

advanced studio classes teach the tools, materials, and techniques of ceramics, 

painting, photography, printmaking, and sculpture, respectively. 

2.2.4 expressive content. By the time students begin taking upper level studio art classes, they have been 

grounded in sound technical and compositional skills. That grounding provides 

the strong foundation that allows further exploration as students seek their 

personal “voice” as artists. The pedagogy in each advanced studio course 

includes opportunity and encouragement for students to take risks and push 

their personal envelopes. Thus, they learn the value of expressive content in 

their own and others’ artwork. Knowledge gained through studio experiences is 

amplified and underscored through the study of art historical examples, both in 

studio lecture situations and in every art history course. 

2.2.5 social functions. AT 230 New Forms includes instruction regarding the social implications of 

Postmodernism. AT 372 Elementary Methods of Art Education, AT 374 

Secondary Methods of Art Education, and AT 370, Foundations in Art 

Education all deal with the philosophy of art education and the rationale for and 

place of art in a school curriculum. Part of the justification for art in a school 

curriculum is the function of visual art in society. 

2.2.6 communicative qualities. AT 140 2-D Design directly addresses communicative qualities by stressing the 

value of formal clarity in design. AT 230 New Forms stresses the need to 

effectively communicate an idea through visual imagery. 

Art History methodology includes a discussion of the communicative aspects of 

examples of art in each historical period. 




8



2.2.7 technical knowledge. AT 376 Studio Practicum in Art Education, emphasizes knowledge of OSHA 

safety standards for all materials used, safe studio practices, and environmental 

responsibility based on that knowledge. Operation of machines and kilns is also 

included in the Studio Practicum curriculum. Each upper level studio course 

includes technical instruction regarding the material(s) and tools used in that 

course. 

2.3 Coursework in art history which encompasses: 

2.3.1 western art and artists from historical perspectives. This is systematically addressed in AT 150 Survey of Art History I and AT 151 

Survey of Art History II. Further, all studio courses make extensive use of our 

video, DVD, book and slide collections. 

2.3.2 western art and artists from contemporary 

perspectives. 

2.3.3 non-western art and artists from historical 

perspectives. 

2.3.4 non-western art and artists from contemporary 

perspectives. 

This is systematically addressed in the required art history course AT 351 Dali 

to Abstraction. It is more directly addressed in an AT391 Contemporary Art. 

Instruction in all upper level studio courses includes slide lectures covering 

contemporary artists in each medium. AT230 New Forms includes lecture and 

discussion regarding Postmodern thought as it relates to visual art. 

Non-western art is a significant component in AT150 Survey of Art History I 

and AT151 Survey of Art History II. All Aquinas students are also required to 

take six hours in Humanities, GE201 and GE202, which cover non-western art 

in survey fashion. 

Contemporary non-western art is discussed in AT351 Dali through Abstraction 

and AT391 Contemporary Art. All Aquinas students are also required to take 

six hours in Humanities, GE201 and GE202, the second of which introduces 

selected examples of contemporary non-western art. 

2.3.5 design history. The history of design is included in AT150 Survey of Art History I and AT151 

Survey of Art History II. It is more fully discussed in AT350 Van Gogh to 

Picasso and AT351 Dali through Abstraction, with particular attention given to 

the impact of the Bauhaus on design history. AT140 2d Design also includes 

instruction in design history. 




9



2.3.6 cultural studies. The required art history courses AT150, Survey of Art History I, AT151 

Survey of Art History II, AT350 Van Gogh to Picasso, AT351 Dali through 

Abstraction, and AT 391 Contemporary Art, all consider art historical examples 

within the appropriate cultural context. Required Humanities courses GE 201 

and 202 do so also. 

2.3.7 media literacy. If this refers to literary media such as art journals, all required Art History 

courses AT150 Survey of Art History I, AT151 Survey of Art History II, 

AT350 Van Gogh to Picasso, AT35 Dali through Abstraction, and 

AT391Contemporary Art, include research components and instruction that 

builds familiarity with library holdings of art history journals and on-line media 

resources. 

If this refers to the materials of art, required Art History courses AT150 Survey 

of Art History I, AT151 Survey of Art History II, AT 350 Van Gogh to Picasso, 

AT351 Dali through Abstraction, and AT391 Contemporary Art all include 

discussion of the relationship between images being studied and the medium 

and related processes that were used to create the image. Art historical 

instruction includes visiting museums to examine actual works of art for the 

purpose of studying all aspects including the relationship of media used to 

image produced. 

2.3.8 gender studies. Required Art History courses AT150 Survey of Art History I, AT151 Survey of 

Art History II, AT350 Van Gogh to Picasso, AT351 Dali through Abstraction, 

and AT391 Contemporary Art, all include consideration of the work of women. 

Since most early historical surveys have much more documentation of the work 

of male artists than that of female artists, gender issues are more prevalent in 

the 300 level survey courses, as well as in 391 Contemporary Art. AT230 New 

Forms, examines the role of feminism in the development of Postmodernism. 

2.4 Introductory level of aesthetic knowledge which 

encompasses: 

2.4.1 major traditional theories of art and design. All studio courses and all required art history courses AT 150 Art Survey I, 

AT151 Art Survey II, AT 350 Van Gogh to Picasso, and AT351 Dali through 

Abstraction, explore traditional theories of art and design. Among the studio 

courses, AT140 2d Design most explicitly studies design theory. 




10



2.4.2 major contemporary theories of art and design. AT212 Photography I, AT230 New Forms, AT 351 Dali through Abstraction, 

and AT391 Contemporary Art directly address contemporary theories of art and 

design. 

2.4.3 the influence of these theories on the creation of art. Students are exposed to a variety of theories, both in lecture classes and in 

studio classes. For example AT140 2d Design provides instruction in formal 

design theory, while AT 230 New Forms emphasizes post-formal design 

theory. In upper level classes, an atmosphere is created in which students have 

the freedom to use the approach which has proven to be most effective for 

them. 

2.5 Introductory level of art and design criticism that 

prepares students to: 

2.5.1 make analytical and interpretative evaluations of art 

and design from a variety of theoretical 

perspectives. 

AT140 2d Design requires written and oral design analysis based upon formal 

criteria. AT150 Survey of Art History I, AT151 Survey of Art History II, AT 

350 Van Gogh to Picasso, AT351 Dali through Abstraction, and AT391 

Contemporary Art, combine historical, cultural, and biographical criteria with 

formal criteria in evaluating art, primarily in written work. AT230 New Forms 

encourages a consideration of conceptual and feminist theory in evaluating art 

work, primarily in the context of critique. Upper level studio courses, the 200 

and 300 level courses, require students to make analytical and interpretative 

evaluations of art and design from a variety of theoretical perspectives. This 

becomes most evident in critiques and class discussions. 

2.5.2 share these views in written and oral forms. Perhaps the most important activity in all studio courses is the class critique. By 

verbalizing their evaluative thoughts regarding other students’ art work and 

listening to comments regarding their own, students move intuitive knowledge 

into a more concrete, conscious mode, and increase the likelihood they will be 

effective communicators when they become teachers. Many studio classes and 

all art history classes require written analytical and evaluative work. 

2.6 Experiences for candidates in presenting art 

according to the developmental levels of students 

that involve: 




11



2.6.1 traditional methods of presentation. Students are exposed to traditional methods of presentation throughout their 

Aquinas experience. Art History and studio courses involve visits to galleries, 

museums, and alternative exhibition spaces. Students learn to make use of 

traditional methods of presentation in all studio courses, and are required, in 

their senior year to participate in the annual student art exhibition, which they 

hang themselves. A large majority of our students participate in the annual 

student exhibition each of their four or five years. 

AT212 Photography students are required to set up an exhibition of their work 

each semester. 

EN495 Directed Student Teaching, Elementary Schools, and EN498 Directed 

Student Teaching, Secondary Schools, often include opportunities for the 

student to mount in-school or in-classroom exhibitions of student work. 

AT376 Studio Practicum in Art Education includes instruction and practice in 

organizing and setting up exhibitions of student work. 

2.6.2 contemporary methods of presentation. AT212 Photography and AT230 New Forms employ unusual forms of 

presentation such as projecting images on to buildings, using videos, doing 

performance art, or utilizing computer presentation software. 

2.6.3 opportunities to examine and reflect on emotional 

responses to the meaning and nature of students’ 

own artwork and the artwork of others. 

As noted in 2.5.2, class critiques are a significant part of all studio classes. In 

studio classes, a contemplative atmosphere is established. Students are 

encouraged to recognize their gut-level responses, and to understand through 

reflection, why they respond in a particular way. It is a cognitive process 

through which students become more self-aware, and which prepares them to 

guide their future students through a similar process. 

Reflective writing in response to works of art is a component of AT140 2d 

Design, AT141 3d Design, AT230 New Forms, AT370 Foundations of Art 

Education, AT372 Elementary Methods of Art Education, AT374 Secondary 

Methods of Art Education, AT150 Art History Survey I, AT151 Art History 

Survey II, AT350 Van Gogh to Picasso, AT351 Dali through Abstraction, and 

all art history electives. 




12



3.0 Theory, Practice, and Research 


teacher candidates with a thorough knowledge of 

theory, practice, and research in the field of art 

education. 



3.1 Coursework on theories of art education that: 

3.1.1 introduce historical developments and prevailing 

theories. 

3.1.2 prepare candidates to discuss historical precedent 

and philosophical positions in relationship to 

contemporary art education. 

3.2 Coursework on the roles for art in general education 

that: 

3.2.1 provides an understanding of the philosophical and 

social foundations for the inclusion of art in 

education. 

AT370 Foundations in Art Education, AT372 Elementary Methods in Art 

Education, and AT374 Secondary Methods in Art Education introduce 

historical developments as well as theoretical and philosophical issues in Art 

Education. 

AT370 Foundations in Art Education, includes a comprehensive, in depth 

consideration of art education theory, and requires the student to develop a 

substantial articulation, both orally and in writing, of a personal K-12 art 

education philosophy. AT372 Elementary Methods in Art Education, and 

AT374 Secondary Methods in Art Education, discuss aesthetics and art 

education theory, as well as practical application of theory in elementary and 

secondary classrooms. 


Education, and AT374 Secondary Methods in Art Education, all include 

instruction and discussion of rationale for including art in the school 

curriculum. This is also a component of EN 201 Introduction to Education, 

EN411 History of Modern Education, EN415 Philosophy of Education, EN495 

Directed Student Teaching, Elementary School, and EN498 Directed Student 

Teaching, Secondary School. 




13



3.2.2 guides candidates to develop and express a personal 

philosophical position concerning the relevance and 

importance of art in education. 

3.2.3 prepare candidates to develop, write, and adapt 

interdisciplinary curricula where art is the essential 

component. 

AT370 Foundations in Art Education, AT 372 Elementary Methods in Art 

Education, and AT374 Secondary Methods in Art Education, all require the 

student to develop a personal art education philosophy, and include instruction 

in arts advocacy. This is also a theme through several School of Education 

courses including EN201 Introduction to Education, EN406 Application of 

Learning Theories for Elementary Classroom Teachers, EN408 Application of 

Learning Theories for Secondary Classroom Teachers, EN 495 Directed 

Student Teaching, Elementary School, and EN 498 Directed Student Teaching, 



Education, and AT374 Secondary Methods in Art Education, include 

instruction and development exercises for interdisciplinary curricula. EN 495, 

Directed Student Teaching, Elementary Schools, and EN 498, Directed Student 

Teaching, Secondary Schools, provide practical experiences in that regard. 

School of Education courses that help meet this criterion are EN 406 

Applications of Learning Theories for Elementary Teachers, EN 408 

Applications of Learning Theories for Secondary Teachers, and EN 453 

Methods of Secondary Education. 

3.3 Opportunities to develop art education instruction 

that responds to the specific interests, abilities, and 

needs of all students, including students with special 

needs, and address: 

3.3.1 theories of human and cognitive development. Education courses that address this criterion include EN 201 Introduction to 

Education, EN 302 Educational Psychology, EN 304 Human Growth and 

Development, EN390 Teaching the Gifted and Talented, EN 406 Application 

of Learning Theories for Elementary Teachers, EN 408 Application of 

Learning Theories for Secondary Teachers, EN461 Inclusion, EN495 Directed 

Student Teaching, Elementary School, and EN498 Directed Student Teaching, 



Education, and AT374 Secondary Methods in Art Education necessarily 

include structured consideration of this criterion in the process of helping 

students develop their personal philosophy of art education. 




14



3.3.2 educational pedagogy. Addressed in AT370 Foundations in Art Education, AT372 Elementary 

Methods in Art Education, AT374 Secondary Methods in Art Education, 

AT376 Studio Practicum in Art Education, EN 201 Introduction to Education, 

EN390 Teaching the Gifted and Talented, EN461 Inclusion, EN 495 Directed 

Student Teaching, Elementary School, EN 498 Directed Student Teaching, 


3.4 Thorough understanding of social, emotional, and 

physical development as it relates to: 

3.4.1 visual perception and other sensory modalities. Education courses that address this criterion include EN 302 Educational 

Psychology, EN 304 Human Growth and Development, and EN390 Teaching 

the Gifted and Talented. It is also a component of AT370 Foundations in Art 

Education, AT372 Elementary Methods in Art Education, and AT374, 

Secondary Methods in Art Education. 

3.4.2 artistic production. AT 370 Foundations in Art Education, AT 372 Elementary Methods in Art 

Education, AT374 Secondary Methods in Art Education, and AT376 Studio 

Practicum in Art Education, all address the issue of age and developmentally 

appropriate expectations regarding the art that children are capable of 

producing. 

3.4.3 Aesthetic response. Education courses that address this criterion include EN302 Educational 

Psychology, EN304 Human Growth and Development and EN390 Teaching 

the Gifted and Talented. It is also addressed in AT370 Foundations in Art 

Education, AT372 Elementary Methods in Art Education, and AT374, 

Secondary Methods in Art Education. 

3.4.4 critical thinking. Education courses that address this criterion include EN 302 Educational 

Psychology, EN 304 Human Growth and Development, and EN390 Teaching 

the Gifted and Talented. AT370 Foundations in Art Education, AT372 

Elementary Methods in Art Education, and AT374, Secondary Methods in Art 

Education all include instruction in what can be expected in particular age and 

ability groups, with regard to critical thinking. 

3.5 Thorough understanding of special populations, 

including: 




15



3.5.1 the needs of students with disabilities and handicaps. This is addressed in EN461 Inclusion. In AT370 Foundations in Art Education, 

AT372 Elementary Methods in Art Education and AT374 Secondary Methods 

in Art Education, the issue is addressed as part of the discussion of learning 

theory as it applies to the art classroom. 

3.5.2 teaching strategies appropriate to students with a 

variety of special needs. 

3.5.3 access to school and community resources to 

support these students. 

3.5.4 rationale for practice of inclusion and approaches for 

supporting inclusion in the schools. 

3.6 Varied opportunities for the candidates to have 

supervised experiences in classroom settings prior to 

the traditional student teaching experience. These 

should: 

3.6.1 include different educational levels, as well as, 

community settings with a variety of cultural and 

economic levels. 

All the Art Education classes include discussion and instruction on this issue, as 

do EN 390 Teaching the Gifted and Talented, and EN 461 Inclusion. EN 495 

Directed Student Teaching, Elementary School, and EN 498 Directed Student 

Teaching, Secondary School, provide practical experiences as special needs 

students are often mainstreamed into art classrooms. 

AT376 Studio Practicum in Art Education includes elements relating to the use 

of community resources for special needs students. This standard is addressed 

in EN461 Inclusion. Exposure to school and community resources to help 

special needs students is provided through EN495 Directed Student Teaching, 

Elementary School, and EN498 Directed Student Teaching, Secondary Schools. 

This is addressed in EN 461 Inclusion, AT 370 Foundations of Art Education, 

AT 372 Elementary Methods in Art Education, and AT 374 Secondary 

Methods in Art Education. 

Classroom visits prior to Directed Student Teaching are a structured part of 

EN201 Introduction to Education, AT370 Foundations in Art Education, AT 

372 Elementary Methods in Art Education, AT 374 Secondary Methods in Art 

Education, and AT 376 Studio Practicum in Art Education. For any given 

student, the visits in those five classes are monitored to insure exposure to a 

variety of settings. 




16



3.6.2 allow candidates to observe art teachers and teach a 

variety of populations, including those with special 

needs. 

3.7 Coursework in art education curriculum and 

instruction which: 

3.7.1 helps candidates to develop, write, and adapt art 

curricula that reflect national, state, and local 

standards using a variety of instructional formats. 

Both AT372 Elementary Methods in Art Education, and AT374 Secondary 

Methods in Art Education, require the student to prepare and teach an art lesson 

in an elementary and a secondary classroom, respectively. School assignments 

are made with variety in mind, so students can experience and compare 

contrasting school demographics. In assigning schools for Directed Student 

Teaching (EN 495 and EN 498), the School of Education also strives to give 

the student two contrasting experiences. 


Education, AT374 Secondary Methods in Art Education, and AT376 Studio 

Practicum in Art Education, all contribute to the development of practical art 

curricula that reflect published standards. AT370 is weighted toward the 

theoretical and philosophical, and uses reading, research (including on-line 

research), and writing primarily. The methods courses seek to balance theory 

and its application. The Studio Practicum emphasizes the practical logistics 

needed to establish a classroom environment wherein a planned lesson can be 

successfully delivered. 

EN 406 Application of Learning Theories for Elementary Teachers, and EN408 

Application of Learning Theories for Secondary Teachers, provide opportunity 

to the candidate to write curricula. EN 495 Directed Student Teaching, 

Elementary School, and EN498 Directed Student Teaching, Secondary School, 

provide the opportunity to apply lessons written in 406 and 408 in a supervised, 

hands-on, sustained teaching experiences. 




17



3.7.2 provides candidates with knowledge of current 

teaching methods, materials, and resources 

appropriate for various educational settings and 

levels of education. 

3.7.3 helps candidates create classroom environments 

conducive to discussion, multiple interpretations, 

and the open exchange of ideas. 

Since the field assignments in EN201 Introduction to Education are disciplinespecific, 

the course initiates students in the practical aspects of combining 

curricula with materials and resources. 


Education, and AT 374 Secondary Methods in Art Education, directly address 

this standard in the classroom, and provide field experience that underscores 

and amplifies this knowledge. AT376 Studio Practicum in Art Education 

includes practical instruction regarding materials and resources. EN 406 

Application of Learning Theories for Elementary Teachers, EN 408 

Application of Learning Theories for Secondary Teachers , and EN453 

Methods of Secondary Education address this standard. EN495 Directed 

Student Teaching, Elementary School, and EN498 Directed Student Teaching, 

Secondary School, provide substantial field experiences that apply theory in 

practical pedagogy, including age-appropriateness in both lessons and 

materials, and knowledge and information regarding resources. 

AT376 Studio Practicum in Art Education, most directly addresses the 

establishment of a workable physical classroom environment. The other three 

Art Education courses address the issue of establishing a successful intellectual 

and psychological classroom atmosphere that is conducive to learning. 

EN 406 Application of Learning Theories for Elementary Teachers, EN 408 

Application of Learning Theories for Secondary Teachers , and EN453 

Methods of Secondary Education address this standard. Directed Student 

Teaching provides two examples—Elementary and Secondary—of functioning 

classroom environments. Ideally those environments will be good models for 

the students. But even if the classroom environments are poor examples, 

students have an opportunity to learn, through analysis of the situation and 

reflective writing, how to avoid similar mistakes when they begin their own 

teaching careers. 




18



3.7.4 develops knowledge of research and assessment 

methods appropriate to the study and evaluation of 

student work, their own teaching, and their art 

program as a whole. 

3.7.5 prepares candidates to reflect on and refine their 

practice of art education. 

3.7.6 familiarizes candidates with current research in the 

field of art education. 

3.8 Continuing self-evaluation and emphasize the 

importance of professional development as an 

essential component of effective teaching. 

Candidates: 

The underpinning for such knowledge as it relates to assessment of student 

work is the student’s own particular education and growth as an artist and as a 

scholar. 

The standard is more specifically addressed in AT370 Foundations in Art 

Education, AT372 Elementary Methods in Art Education, and AT374 

Secondary Methods in Art Education, which cover all levels of assessment— 

student work, teaching, and programs. 

Reflective, responsive, and analytical thinking is intrinsic to all the disciplines. 

Students entering the Education program have already demonstrated their 

capability in that sense through general coursework. EN201 Introduction to 

Education utilizes reflective writing assignments in response to education 

issues in general and to specific field settings, which for Art Education majors 

are in art classrooms. EN 406 Application of Learning Theories for Elementary 

Teachers, EN 408 Application of Learning Theories for Secondary Teachers, 

EN495 Directed Student Teaching, Elementary School, and EN498 Directed 

Student Teaching, Secondary School, provide opportunities and requirements 

for structured reflective writing about their experience in the teaching of art. 


Education, and AT374 Secondary Methods in Art Education all directly address 

this standard. 

This standard is specifically addressed in AT370 Foundations in Art Education, 

AT372 Elementary Methods in Art Education, and AT374 Secondary Methods 

in Art Education. 




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3.8.1 are provided with methods and opportunities to 

reflect on their academic and clinical experiences 

throughout their preparation. 

3.8.2 understand that the process of reflection and 

collegial dialogue contributes to professional 

growth. 

3.8.3 are introduced to state and local requirements and 

resources for on-going professional development 

throughout their teaching career. 

4.0 

Facilities 


training in facilities and management appropriate to 

the field of art education. 



College-wide, structured reflective writing assignments are a normal part of 

most scholarly courses the student will take. It is an explicit part of EN201 

Introduction to Education, wherein students write and participate in discussions 

in response to their field experiences. The same is true of AT372 Elementary 

Methods of Art Education and AT374 Secondary Methods of Art Education. 

EN406 Application of Learning Theories for Elementary Teachers, and EN408 

Application of Learning Theories for Secondary Teachers, continue an 

ongoing project, the portfolio, that is begun in EN201 and reaches its 

culmination in the seminars that are a part of EN495 Directed Student 

Teaching, Elementary School, and EN498 Directed Student Teaching, 

Secondary School. One of the primary purposes of the portfolio project 

spanning several semesters is for students to reflect on their process of learning 

to teach through academic and clinical experiences. 

In all the courses mentioned in 3.8.1, reflective writing is accompanied by 

discussion with fellow students, instructors, and supervising teachers. Through 

experiencing such dialogue, students come to appreciate its value in their 

growth and improvement as teachers. 

Concerning the profession of teaching, this criterion is addressed in AT370 

Foundations in Art Education, and in AT 376 Studio Practicum in Art 

Education. 

Concerning the profession of being an artist, which keeps teaching fresh, the 

student is exposed in upper level studio art courses to a continual growth goal, 

taught and modeled by the Art faculty. 




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4.1 skills necessary to design an art 

classroom/environment in which safe and effective 

art instruction can take place with consideration for 

space utilization, storage of materials, equipment, 

and student work. 

4.2 training in health and safety issues in the school and 

classroom setting including knowledge of 

developmentally appropriate and safe art materials 

and tools, as well as their storage, cleaning, use, and 

disposal. 

4.3 knowledge of emergency procedures when a student 

is hurt in the art room. 

4.4 training in classroom budget management and the 

acquisition of financial, human, and material 

resources which includes fund raising and grant 

writing. 

5.0 Advocacy 


training in advocacy. 



5.1 use of surveys and publicity for art education 

programs in the media. 

This criterion is explicitly addressed in AT376 Studio Practicum in Art 

Education, as well as in EN406 Application of Learning Theories for 

Elementary Teachers, and EN408 Application of Learning Theories for 

Secondary Teachers. 

EN 495 Directed Student Teaching, Elementary School, and EN 498 Directed 

Student Teaching, Secondary School, provide an opportunity for the student to 

see and evaluate specific aspects of two functioning classroom environments. 

This is specifically addressed in AT376 Studio Practicum in Art Education. 

This is addressed in AT376 Studio Practicum in Art Education. 

Orientation to emergency procedures in a given school is a normal part of EN 

495 Directed Student Teaching, Elementary School, and EN 498 Directed 

Student Teaching, Secondary School. 

These issues are addressed in AT376 Studio Practicum in Art Education. 

This is touched upon in AT370 Foundations in Art Education, in the context of 

considering the function of art, and of specific art programs, in a community 

and in a school. AT376 Studio Practicum in Art Education, looks at function of 

surveys and publicity in discussing strategies for effective community relations. 




21



5.2 knowledge and training in communications and 

outreach to include colleagues in other disciplines, 

school administrators, the board of education, 

parents, community members, and state and national 

legislators as concerning the role of the visual arts in 

education and in society. 

6.0 

Educational Law 


students access to resources on educational law. 



6.1 access to resources on educational law to include– 

tenure law, LRE, ESL, ADA, special education, safe 

use of materials, and school finance. 

AT370 Foundations in Art Education, AT372 Elementary Methods of Art 

Education, and AT374 Secondary Methods in Art Education, treat this standard 

theoretically as students are required to develop their own philosophy of art 

education. It has to be developed in the context of all levels of the school and 

community, and prepares future teachers to be effective advocates, including 

electronic media advocacy. This standard is also addressed in EN406 

Application of Learning Theories for Elementary Teachers and EN408 

Application of Learning Theories for Secondary Teachers. 

AT376 Studio Practicum in Art Education, EN 495 Directed Student Teaching, 

Elementary School, and EN498 Directed Student Teaching, Secondary School, 

provide and model practical, supervised experiences that include 

communication with the various levels noted above. 

This standard is covered in AT376 Studio Practicum in Art Education. 




22

Instructional Faculty 

23 

23 

Attachment 5 

Institution: Aquinas College Date: SEP 14, 2004 

Specialty Studies Program: LQ Certification/Endorsement CODE: LQ 

Please include all faculty teaching the courses shown on the Summary of Course Requirements for Specialty Studies Program (Attachment 3), 

including those who may be temporary or non-tenure stream. 

Courses 

Art 

history 

electives 

AT391 

Faculty Member 

Joseph P. Becherer 

Highest 

Degree in this 

Specialty Area, 

Indicating 

Study Focus and 

Research Area 

MFA, Ph.D. 

M.F.A., Sculpture 

Ph.D., Art History 

Specialties: 

Renaissance and 

Baroque Art 

Professional Development 

Experience in the Last 

3 Years 

Curator of Sculpture, Frederik 

Meijer Gardens and Sculpture 

Park. Monographs on 

Richard Hunt (2001), Philip 

Grausman (2001), and Sir 

Anthony Caro (2003) 

Continued next page 

Familiarity 

with 

K-12 

Curriculum 

Framework 

and 

MEAP 

Assessment 

Special Awards and 

Recognition 

Governor’s Special 

Achievement Award for Art 

and Culture, for curatorial 

efforts culminating in 

Perugino: Master of the 

Italian Renaissance, 1998. 

and others 

P-12 

Collaborative 

Work

AT 130, 

AT 121, 

AT230 

AT 140, 

AT 141, 

AT 321 

Dana Freeman MFA, Photography, 

Drawing, Video, 

Performance Art 

Installation 

Kurt Kaiser MFA, Three 

Dimensional Art 

AT331 Madeline 

Kaczmarczyk 

AT 150, 

AT151, 

AT350, 

AT351 

Marie Celeste 

Miller 

BA plus 30 years as 

professional ceramist 

Ph.D. Art and 

Literature 

Lectures, Kendall College of 

Art&Design, Grand Rapids, and 

Australian Catholic University, 

Brisbane, Australia. 

Solo Exhibitions at Central 

Michigan University and 

Aquinas College. 

Member, Arts Council of Grand 

Rapids. 

Presentation at F.A.T.E. 

Conference, 2001, exhibits 

regularly at regional and national 

venues including Frederik 

Meijer Gardens, Grand Rapids, 

MI, St. Vincent Gallery, 

Latrobe, PA, Dominican Center, 

Grand Rapids MI 

Owns and operates business as a 

successful ceramic artist. Many 

regional and national exhibitions 

each year, as well as coverage in 

publications such as Ceramics 

Monthly. 

Paper presented at Michigan 

Potters Association Regional 

Conference, Grand Valley State 

University (2001). 

Ongoing research in non-leaded 

glaze formulation for classroom 

use. 

Focus for the last several years 

has been the integration of 

technology into the teaching of 

art history. Developed webbased 

course and has mastered 

the use of a new web-based 

image-delivery system. 

24 

Sabbatical leave to travel to 

Australia for study and 

research, and to prepare a 

sabbatical exhibition, 

“Landscape for the Newly 

Born.” 

24

AT370 

AT372 

AT374 

AT376 

AT140, 

AT 141, 

AT 321, 

AT 130, 

AT 131, 

AT 201 

AT 341 

Position to be 

filled: Adjunct 

Associate Professor 

of Art Education 

Ron Pederson 

Advanced degree in 

Art Education, plus at 

least three years 

experience teaching 

K-12 art. 

MFA, Sculpture 

Stephen Schousen MFA, Printmaking 

and Drawing 

Membership in MAEA/NAEA. 

Practicing sculptor and exhibitor 

(see resume). 

Juror and lecturer locally and in 

statewide venues including 

Michigan Education Association 

Annual High School 

Competitive Exhibit1ion 

Regular exhibitor at LaFontsee 

Gallery, Grand Rapids. 

AT 311 Sharon Sandberg MFA, Painting Local and regional lecturer on 

art (see resume). Regular 

exhibitor at LaFontsee Gallery 

25 

Familiar w/ K- 

12 curriculum 

and MEAP 

assessment. 

Awarded sabbatical leave to 

make sculpture and produce 

sabbatical exhibit, “Evidence 

of Things Unseen,” a 

collaborative exhibit of 

sculpture and poetry, with the 

poet Miriam Pederson 

Awarded year-long sabbatical 

grant to make prints and 

drawings, including studying 

printmaking in Belgium. 

Awarded 2004 grant to spend 

spring semester 2004 

studying and teaching in 

Japan. 

25 

P-12 

collaborative 

experience.

CURRICULUM VITAE OF AQUINAS ART DEPARTMENT 

FACULTY, INCLUDING ADVERTISING COPY FOR THE ART 

EDUCATION POSITION THAT WILL BE LISTED AT THE 

TIME THIS APPLICATION IS APPROVED 

26 

26

Position: Instructor of Art Education 

Institution: Aquinas College 

Location: Grand Rapids, MI 

Aquinas College is currently seeking an instructor of Art Education. This is an Adjunct Assistant Professor position, 

starting in the fall of 2005. In this role you will teach four courses in Art Education on a rotating basis, one course 

per semester, and possibly during summer sessions. The courses: 

• Foundations in Art Education 

• Elementary Methods in Art Education 

• Secondary Methods in Art Education 

• Studio Practicum in Art Education 

A successful candidate will hold an advanced degree in Art Education, have a minimum of three years experience 

teaching K-12 Art, possess a record of professional membership in NAEA/MAEA, and demonstrate a familiarity 

with State of Michigan standards for K-12 Art . College teaching experience would be a plus. Minorities and 

women are strongly encouraged to apply. 

Aquinas College, an inclusive educational community rooted in the Catholic Dominican tradition, provides a liberal 

arts education with a global perspective. At Aquinas, we emphasize career preparation with a focus on leadership 

and service to others. An Aquinas education fosters a commitment to lifelong learning dedicated to the pursuit of 

truth and the common good. 

Founded by the Dominican Sisters of Grand Rapids in 1886, Aquinas has a Catholic heritage and a Christian 

tradition. The Dominican tradition of working and serving remains alive at Aquinas. It is lived out by Aquinas 

students who volunteer their time and talents in the Grand Rapids community and by those who travel to places such 

as Oaxaca, Mexico; Appalachia, Kentucky; or any of several other service-learning locations. 

The college is accredited by The Higher Learning Commission and is a member of the North Central Association. 

To apply for the Art Education position send a letter of interest, curriculum vitae, and names, addresses and 

telephone numbers of at least three individuals who would be able to knowledgably endorse your application to: Ron 

Pederson, Chair, Art Department, Aquinas College, 1607 Robinson Road, Grand Rapids, MI 49506. To be assured 

of full consideration, all materials must be received by (date?). 

27 

27

JOSEPH P. BECHERER 

November 2002 

Curriculum Vitae 

Home: 443 Cambridge SE Office: 1000 East Beltline NE 

Grand Rapids, MI 49506 Grand Rapids, MI 49525 

(616) 454-8633 (616) 977-7685 

EDUCATION 

Ohio University, B.F.A., Summa Cum Laude, 1987. 

*Major: Art History 

*Minor: Studio, English 

Ohio University, M.F.A., Art History, 1989. 

*Areas of Concentration: Classical, Renaissance-Baroque, 19 th Century-Modern Art, Studio 

*Thesis: “Georges Rouault: Images of Suffering Views of Salvation” 

Ohio State University, CIC Traveling Scholar’s Program, Completion, 1991. 

*Area of Study: History of Architecture, Architectural Preservation 

School for Management, Midwest Regional Institute, 1996-1997. 

Indiana University, Hope School of Art, History of Art 

*Comprehensives, April 2000 

*Dissertation Defense, September 2001 

*Major Area: Renaissance and Baroque Art 

Dissertation: An Old Master in the New World: the Oeuvre of Pietro Perugino through 

the Lens of Paintings in North American Public Collections 

*Minor Area I: 19 th Century and Modern Art 

*Minor Area II: History of Architecture 

WORK HISTORY 

Curator of Sculpture, Frederik Meijer Gardens and Sculpture Park, Summer 1999-present. 

Responsible for development of sculpture program, including acquisitions and exhibitions. Liaison to 

education programs and community outreach programs 

Lena E.S. Meijer Professor in the History of Art, Aquinas College, Summer 1999-present. Responsible 

for courses in pre-modern and contemporary periods and re-development of the art history program and 

major. 

Dean, School of Social Sciences and Humanities, Grand Rapids Community College, 1997-1999. 

Administrative and academic leader of seven departments (Behavioral and Social Sciences, English, 

Hospitality, Languages, Visual and Performing Arts) 

Assistant Dean, School of Social Sciences and Humanities, Grand Rapids Community 

College. 1996-1997. Responsible for developing and monitoring schedule and budgets of seven academic 

departments, adjunct faculty hiring and evaluation, and implementing community outreach programs. 

Chair, Department of Art and Art History, and Assistant Division Chair, Fine and Performing Arts 

Division, Grand Rapids CommunityCollege. 1994-1996. Responsible for all aspects of a 13 member 

studio and art history faculty serving more than 1,600 student annually (including approximately 115 

majors). Led Department through research and renovation of entire curriculum and degree requirements. 

Established academic assessment plans for North Central Accreditation. 

28 

28

Consultant, Grand Rapids Art Museum. 1991-2000. Education and curatorial consultant on special 

exhibitions and permanent collection. Developed the premier American exhibition of Renaissance master, 

Pietro Perugino, in coordination with renown Italian and American lending institutions and scholars. 

Consultant, Prentice-Hall: Humanities Division. 1993-present. Editorial and pedagogical 

consultant; text and illustration reviewer of Art History survey, Renaissance, Baroque, and Modern Art 

manuscripts. Author of three books. 

Art History Instructor, Department of Art and Art History, Grand Rapids Community College. 1991- 

1996. Responsible for the development and instruction of an Art History Curriculum (including survey and 

upper division courses) both on campus and through community outreach programming. 

Assistant Director/Assistant Professor, Ohio University, Italy Program (Rome/Florence). Summer 

1991, 1989. Instructor of Classical through Baroque seminar for graduate and undergraduate students while 

supervising all academic affairs with regard to student population. 

Visiting Assistant Professor, School of Art, Ohio University. Winter - Spring, 1991. Taught Art 

History survey and undergraduate and graduate courses in European Modernism; supervision of four 

teaching assistants. 

Curator of Art and Artifacts/Assistant to the Director, Kinsey Institute, Indiana University, Summer 

1989 - December 1990. Responsible for all curatorial and administrative duties surrounding the world 

renown collection. Additionally organized the premier exhibition and publication on the collection. 

29 

29

Assistant Director of Education, Fort Wayne Museum of Art. 1988 - 1989. Responsible for 

volunteer training and coordination, developing and executing extensive programming on permanent 

collections and special exhibitions for adult, young adults, and children. 

Assistant to the Director, Trisolini Gallery, Ohio University. 1985-1987. Curatorial, 

editing, and tour responsibilities as assigned by the director; also responsible for coordinating gallery 

to faculty workshops and in-service. 

Supervisor of Peer Counseling Staff, College Adjustment Program, Ohio University. 1984-1986. 

Responsible for hiring, training, and supervision of staff working with first and second year students in 

academic and/or financial need. 

Advisor, College of Fine Arts, Ohio University. August - September 1985, 86, 87, 88. Academic 

advisor and peer counselor for all incoming freshman and transfer students regarding testing, placement, and 

scheduling. 

Teaching Assistant, Department of Art History, School of Art, Ohio University. 1987-1988 (main 

campus), Summer 1987 (Rome/Florence), Summer 1986 (London). Lecturing and testing in Art History 

survey and period-specific courses. 

PUBLICATIONS 

Sir Anthony Caro: the Emma Series (in-progress, May 2003) 

Gardens of Art: The Sculpture Collection of the Frederik Meijer Gardens and Sculpture Park, 

Marquand Books/Wayne State University Press, 2002 

2001. 

Monumental Elegance: The Sculpture and Drawings of Philip Grausman, Frederik Meijer Gardens, 

Richard Hunt: American Visionary, Frederik Meijer Gardens, 2001. 

“A Renaissance Approach to Higher Education” Community College Journal (1999). 

“Andrea del Verrocchio,” Encyclopedia Americana, 1999. 

“Pietro Perugino,” Encyclopedia Americana, 1999. 

“Perugia,”Encyclopedia Americana, 1999. 

“The Umbrian School,”Encyclopedia Americana, 1999. 

“Four Paintings by Pietro Perugino,” Proceeds of the Perugino: Master of the Italian 

Renaissance Conference (forthcoming: Spring 1998). 

“The History of Art and the Community College,” Journal of the Association of 

Art History, Fall 1997. 

Pietro Perugino: Master of the Italian Renaissance, Rizzoli International, 1997. 

A Basic History of Art - An Instructor’s Manual, Prentice-Hall, January 1997. 

“The Survey Course in Art History,” (editorial), The Chronicle of Higher Education, vol. 

30 

30

XLII, #40, June 14, 1996. 

Francey, Mary F., Brian Madigan and Joseph P. Becherer, Art History: Instructor’s Manual with 

Tests, Volume II, Prentice Hall, 1996. 

Francey, Mary F., Brian Madigan and Joseph P. Becherer, Art History: Instructor’s Manual with 

Tests, Volume I, Prentice Hall, 1995. 

Becherer, Lisa A. and Joseph P. Becherer, Walking through the Landscape: A Guide to 20th Century 

Landscape Paintings from the Metropolitan Museum of Art, Grand Rapids Art Museum, 1992. 

1990. 

Selections from the Collections of the Kinsey Institute, Bloomington, Indiana, the Kinsey Institute, 

“Notes on the Collections,” in the New Kinsey Institute Report on Sex: What You Must Know to 

be Sexually Literate, St. Martin’s Press, 1990. 

Georges Rouault, Images of Suffering, Views of Salvation, M.F.A. Essay, Ohio University, 1989. 

What is a Museum?, Fort Wayne Museum of Art, 1989. 

IV. HONORS AND AWARDS 

Governor’s Special Achievement Award for Art and Culture, for curatorial efforts culiminating in 

Perugino: Master of the Italian Renaissance, 1998. 

Jay and Betty Van Andel Foundation, for the development and execution of a major international 

exhibition of Renaissance Art, 1996-1998. 

1998. 

1996. 

Burke Porter Foundation, for curatorial endeavors resulting in 1997-1998 Perugino Exhibition, 1996- 

National Endowment for the Humanities, for research work as lead scholar 

for publication on Pietro Perugino (ca. 1450-1523) and Renaissance Umbria, 1994, 

Michigan Humanities Council - Research Grant, for research work as lead scholar for publication on 

Pietro Perugino (ca. 1450-1523) and Renaissance Umbria, 1994, 1996. 

Who’s Who in the Midwest, inducted 1996. 

Who’s Who Among America’s Teacher’s, inducted 1996. 

I.I.P.D. Research Grant, Grand Rapids Community College, to conduct research and deliver lectures 

on Renaissance master, Pietro Perugino and the Umbrian School of Painting, 1995 (Rome, Florence, and 

Perugia, Italy), 1996 (Washington D.C., and New York). 

Perugia Fellowship, City of Grand Rapids, for development of educational and cultural programming 

between the city of Grand Rapids and the Galleria Nazionale’ dell’ Umbria and the Accademia di Belle Arti in 

Perugia, 1994. 

I.I.P.D. Research Grant, Grand Rapids Community College, for the development of a Humanities/Art 

History seminar, “the Classical World,” with a Department colleague, through collections research on Hellenistic, 

Etruscan and Roman objects in Italian collections, 1994. 

31 

31

Teaching Excellence Award, State of Michigan, sponsored by Central Michigan 

University, 1992-1993. 

I.I.P.D. Research Grant, Grand Rapids Community College, for research to expand art history courses to 

include objects from museum collections in Detroit, Chicago, Cleveland, Washington, New York, and 

Atlanta, 1993. 

Hope School of Art Research Grant, Indiana University, for archival research on 16th century 

decorative programs in Venice, 1991. 

Hope School of Art Research Grant, Indiana University, for on-site research of decorative 

programs in 15th and 16th century villas of the Veneto, 1990. 

Art History Fellowship, Hope School of Art, Indiana University, 1989, 1990, 1991. 

Art History Fellowship, School of Art, Ohio University, 1987, 1988. 

Outstanding Graduate Student Instructor, Ohio University, 1987-1988. 

Scholarship Recipient, School of Art, Ohio University, 1985, 1986, 1987. 

Regent’s Scholar Finalist, Ohio Board of Regents, 1987. 

P.A.C.E. Research Grant, for the study of decorative programs at Or San Michele and the 

Pazzi Chapel, Florence, Italy, 1985. 

Mortar Board Honorary Society, inducted 1986. 

Omicron Delta Kappa Honorary Society, inducted 1986. 

National Dean’s List, 1985, 1986, 1987. 

V. ADDRESSES AND PAPERS 

“Rodin: Cornerstone of Modern Art”, Frederik Meijer Gardens, January 2001. 

“The Emergence of Landscape Painting”, keynote address for the Yale University exhibition 

Constable to Canaletto, Grand Rapids Art Museum, October 1999. 

1999. 

“Michelangelo and Leonardo: Titans of the High Renaissance”, Frederick Meijer Gardens, April 

Session Chair and Moderator, Italian Renaissance Art, Mid-West Art History Society, Detroit, 

Michigan, March, 1999. 

“Divine Visions: Images of Saints and Angels,” Grand Rapids Art Museum, Grand Rapids Art 

Museum, December 1998. 

“A Journey from the Early Renaissance to the High Renaissance and the Role of Leonardo da 

Vinci,” Dennos Museum of Art, Traverse City, Michigan, March, 1998. 

“Three “R’s” for Teaching and Learning in the Post-Modern Era,” Keynote Address, 31st Annual 

Liberal Arts Network Conference, February, 1998. 

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“Perugino: Master of the Italian Renaissance” 

-Italian Cultural Foundation, New York; May, 1997 

-Grand Valley Artists, Grand Rapids; May, 1997 

-Renaissance Society of America, New York; February, 1997 

-Grand Rapids Art Museum, Grand Rapids; April, 1996 

-City of Perugia, Perugia, Italy; July, 1996 

-City of Grand Rapids, Grand Rapids; October, 1996. 

“Perugino and Workshop in the Cambio”, Collegio del Cambio, Perugia, Italy, July, 1995. 

“The Renaissance in Umbria”, Galleria Nazionale dell’ Umbria, Perugia, Italy, July, 1995. 

“Women in the Renaissance and Renaissance Women Artists”, Delta Tau Society, Membership 

Convention, Canton, Ohio; May, 1995. 

“Perugino and Renaissance Umbria”, International Relations Committee, City of Grand Rapids, 

Grand Rapids; October, 1994. 

“Defining a ‘Corporate Image’ in Architecture”, Grand Rapids Art Museum Grand Rapids; 

November, 1994. 

“The Nude in Art: Renaissance Florence, Venice, and Rome”,Grand Rapids Art Museum, Grand 

Rapids, February, 1993. 

“Matisse and French Expressionism”, Fort Wayne Museum of Art, Fort Wayne, April, 1990. 

“Impressionistic Concerns of the 19th Century”, Fort Wayne Museum of Art, Fort Wayne, 

November, 1989. 

“The Tomb of Julius II and the Sistine Ceiling”,IUPUI, Fort Wayne; April, 1989. 

VI. EXHBITIONS (Recent and In-Progress) 

“Picasso: the Artist as Sculptor”, Frederik Meijer Gardens and Sculpture Park, opening September 2002. 

“Magdalena Abakanowicz: the Skulls”, Frederik Meijer Gardens and Sculpture Park, opening October 

2002. 

“Bound and Entwined: Recent Projects by Claes Oldenburg and Coosje van Bruggen”, Frederik 

Meijer Gardens and Sculpture Park, (May – August, 2002). 

“Rodin: Cornerstone of Modern Sculpture”, Frederick Meijer Gardens (April, 2001 - January, 2002). 

“Monumental Elegance: The Sculpture and Drawings of Philip Grausman”, 

Frederick Meijer Gardens (June - October 2001) and Aquinas College (September - October 2001). 

“Sculptor on Sculpture: The Photographs of Alexander Liberman”, Frederik Meijer Gardens (January 

- March 2001). 

“Richard Hunt: American Visionary”, Frederick Meijer Gardens (September 2000 - January 2001) 

“From Reason to Romance: European Prints and Drawings of the 18th and 19th century”, Grand 

Rapids Art Museum, October 1999-January 2000. 

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“Divine Visions: Images of Saints and Angels”, Martin D’Arcy Gallery of Art, Loyola University, 

Chicago, September-November 1999, Grand Rapids Art Museum, December 1998-March 1999. 

“Perugino: Master of the Italian Renaissance”, Grand Rapids Art Museum, November 1997- 

February 1998. 

VII. MEMBERSHIPS AND AFFILIATIONS 

-American Association of Museums 

-Association for Art History (Executive Board) 

-College Art Association 

-Grand Rapids Sister Cities International (Executive Board) 

-Humanities Council (Grand Rapids chapter) 

-Italian Art Society 

-Mid-West Art History Society 

-Renaissance Society of America 

-Very Special Arts (Michigan) 

VIII. REFERENCES 

Marilyn Bradshaw, Professor of Art History, School of Art, Ohio University, 614-594- 3205. 

*Jennings House, Ohio University, Athens, Ohio, 45701 

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David Ebony, Associate Managing Editor, Art in America, 212-941-2846 

*575 Broadway, New York, New York, 10012 

Marion Gottleib, Assistant Editor: Humanities Division, Prentice-Hall, 

201-236-7483. 

*One Lake Street, Upper Saddle River, New Jersey, 07458 

Richard Hunt, Sculptor, 773-929-6161 

*Richard Hunt Studio, 1017 West Lill Street, New York, New York, 60614 

Janet Kennedy, Chair, Department of the History of Art, Distinguished Professor of Fine Arts, 

Indiana University, 812-855-9556. 

*Hope School of Art, Indiana University, Bloomington, Indiana, 47405 

6161. 

Hon. John Logie, Mayor, City of Grand Rapids, 616-456-3168. 

*300 Monroe, Grand Rapids, Michigan, 49503 

Morton Lowengrub, Vice President for Academic Affairs, Yeshiva University, 212-960-5217 

*500 West 185 th Street, New York, New York, 10033 

Arnaldo Pomodoro, Sculptor, 39-02-89401303 (FAX) 

*Arnaldo Pomodoro Studio, via Vigevano 5, 20144, Milan, Italy 

Claes Oldenburg and Coosje van Bruggen, phone available on request 

*c/o 556 Broome Street, New York, New York, 10013 

Hon. Peter Secchia, U.S. Ambassador to Italy (1991-1993), and Chairman Universal Corp., 616-364- 

*2801 East Beltline, Grand Rapids, Michigan, 49506 

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Associate Professor of Art 

Undergraduate Faculty 

Appointed 1993 

1. Academic Degrees 

DANA ALLYN FREEMAN 

Masters of Fine Art University of California, Santa Barbara, Ca. June 1992 photo, drawing, video, installation 

Studies in Art Studio (no degree) University of California, Davis, Ca. 1988 drawing, photography 

Bachelor of Art Pomona College, Claremont, Ca. June 1981 painting, assemblage sculpture 

Study of Italian Art History (no degree) Syracuse University, Florence, Italy Fall 1979 Renaissance Art History 

2. Professional Experience 

1993-present Associate Professor, Aquinas College, Grand Rapids, Mi. 

Drawing, photography, video, performance, installation, professionalism, assistant bronze caster. 

1990-1992 Teaching Assistant, University of California, Santa Barbara, Ca. 

Foundation drawing, lower division photography, advanced photography/new genre, including 

installation, performance and video. 

1990-1993 Studio Assistant to artist Ann Hamilton. 

Nov. 1990 Performance Workshop Instructor, San Jose State University, San Jose, Ca. 

1985-1990 Instructor, University of Calif., Davis, Craft Center & Gallery, Davis, Ca. 

Drawing, painting, ceramics, screen printing, stained glass, copy camera. 

1989-90 Interim Manager, U.C. Davis Craft Center & Gallery, Davis, Ca. 

Developed, implemented and evaluated program for a facility of 12 art/craft studios offering 50+ 

classes/quarter with an annual budget of $91,000.00. 

1985-1989 Assistant Manager, U.C. Davis Craft Center & Gallery, Davis, Ca. 

Main information resource for 12 art/craft studios, managed a staff of 30+ students and volunteers, 

responsible for all operational details including gallery space. 

3. Faculty and Administrative Load 

Fall Semester, 2001 

AT 130 Beginning Drawing 3 semester credits 

AT 212 Beginning Photography 3 semester credits 

AT 213-218 Intermediate & Advanced Photography 3 semester credits 

Spring Semester, 2002 

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AT 130 Beginning Drawing 3 semester credits 



Summer, 2002 



Recent Guest Lectures 

2002 Kendall College of Art & Design, Grand Rapids, Mi. 

2001 Australian Catholic University, Brisbane, Australia 

2000 Cal Poly San Luis Obispo, San Luis Obispo, Ca. 

Recent Solo Exhibitions 

October 2004 “Shifting Horizon”, in collaboration with artist Carol Jurgens, Buckham Gallery, Flint, Mi. 

Sculptural installation with wall murals 

May 2002 “Landscape for the Newly Born”, Central Michigan University, Mt. Pleasant, Mi. 

Photographic and sculptural installation 

January 2002 “Landscape for the Newly Born”, Aquinas College Art Gallery 

Photographic and sculptural installation 

Recent Group Exhibitions 

March 2001 “Aquinas Faculty Exhibit”, Australian Catholic University, Brisbane, Australia 

Other Recent Projects 

May 2001 Set Design, Actor’s Theater, Grand Rapids, Mi. 

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Kaczmarczyk, Madeline 

Senior Lecturer 

Undergraduate Faculty 

Appointed 1998 


B.A. Aquinas College 2002 Art 


1998-Present Aquinas College, Instructor of Ceramics 

2001 Michigan Potters Association conference, Grand Valley University, presenter. 

1997 Rockford Michigan Jr. High School ceramic class 

1985-1992 Very Special Arts Workshops, Grand Rapids, Mi. 

1990 Western Michigan Potters Association Workshop 

1988 American Art Clay Workshop,. Indianapolis, In. 

1985 Oakland Community College Workshop 

1980 Michigan Council for the Arts Minority Artists Economic Development Program 

Workshop 

1977 Thunder Bay Potters Guild Workshop, Ontario, Canada 

1975 Calvin College Clay Workshop 

1975 Artrain Workshop 

1974 Grosse Pointe High School, Mi. Ceramic Workshop 

1974 Pontiac Creative Arts Center Clay Classes 

1973 Mercy College of Detroit-Clay Demonstration 



AT 331,332, 432-436 Ceramics 3 semester units 


At 331, 332, 432-436 Ceramics 3 semester units 

4. Current Professional and Association Memberships Academic 

Urban Institute for Contemporary Art 

American Craft Council 

Michigan Potters Guild 

National Association of Independent Artists 

5. Current Professional Assignments and Activities (non-teaching) 

South University Ann Arbor Art Fair Committee 

Personal Exhibition Schedule 2002: 

Frederick Meijer Gardens, Western Michigan Ceramics Faculty Exhibit, Grand Rapids, Michigan 

Del Mano Gallery, "Hot Tea" , L.A. Ca. 

Fountain Street Church, "Mosaic and Tile Show, Grand Rapids, Mi. 

Chiarocaro Gallery, Teapot Show, Chicago, Il. 

Alianza Gallery, Teapot Show, Boston, Ma. 

Gallery Arcadia, Grand Rapids, Mi. 

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6. Publications 

Ceramics Monthly, Cover and Portfolio Section, Sept. 1992, pp. 37-44 

Traverse Magazine, July 2002 p.67 

Creative Ideas for Living, June 1987,pp 14-15 

7- Papers Presented 

Michigan Potters Association Regional Conference, Grand Valley State University, Oct. 2001 

8-Research 

A study of low-fire glaze formulas for classroom application without leaded chemicals. In progress. 2001-2002 

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KAISER, KURT 


Faculty Data Summary Sheet 

Professor of Art 

M.F.A. University of Colorado, 1980 Three-dimensional art 

B. A. St. John’s University 1967 Art major. 


2001-2004 Aquinas College, Art Department Chairperson 

1997-Present Aquinas College, Associate Professor of Art. Began tenure Fall 2001 

1990-1997 Aquinas College, Adjunct Professor of Art 

1994-1997 Kendall College of Art and Design, Grand Rapids, Michigan, Adjunct 

Professor 

1986-1990 University of Nebraska, Lincoln, Associate Professor in Department of 

Textiles, Clothing, and Design 

1981-1985 North Dakota University, Assistant Professor of Design 

1977-1978 University of Colorado, Sculpture Teacher’s Assistant 

1968-1971 St. John’s University, Collegeville, Minnesota, Instructor of Art 

1967-1968 St. John’s Preparatory School, Collegeville, Minnesota, Instructor of Art 


Fall Semester 2001 

AT 140 2-D Design (Sections 1&2) 6 semester units 

AT 161 Art Appreciation 3 semester units 

Art Department Chair 3 semester units 

Spring Semester 2002 

AT 140 2-D Design 3 semester units 

AT 141 3-D Design 3 semester units 

Department Chair 3 semester units 

C. Other Collegiate Assignments 

2001-Present Aquinas College, Art Department Chair 

4. Current Professional and Academic Association Memberships 

*FATE Foundations in Art, Theory, and Education 

5. Publications 

"The Meditation of Endless Patterns" an article published in Center Point, a publication of the 

Catholic Information Center and the Paulist Order in Grand Rapids, winter edition, 1998. 

6. Presentations 

"Problems with 3-D Problems", a presentation on the 3-D curriculum in the Art Dept. at Aquinas, 

presented in Boston at the 8th Biennial FATE (Foundations in Art, Theory, and Education) 

Conference in Boston, March 2001. 

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"Originating, Developing, and Evaluating Studio Art Foundations Problems and Projects". Invited 

member of a panel of the same title at the Biannual Conference of FATE (Foundations in Art, Theory, and 

Education), School of the Chicago Art Institute, Chicago, Illinois, 1990. 

"Cornershelves and Other Ancestral Shrines", a video tape of an art installation of the same title, 

presented at EDRA 19, the 19th annual conference of the Environmental Design Research 

Association, California Polytechnic University, Pomona, California, 1988. 

Multicultural Liturgical Music Institute, Panel Member, Aquinas College and Marywood, 1997. 

7. Art Exhibitions 

Master Teachers, an invitational exhibition of the work of sculpture professors of lower West 

Michigan, Frederic Meijer Gardens, Spring 2001. 

Aquinas College Faculty Exhibition at Australian Catholic University, Bisbane, Australia, Spring 

2001. 

Ancient Images/Modern Expressions: the First Biennial Juried Catholic Arts Exhibition, St. Vincent 

Gallery, Latrobe, PA, March 2001. 

One person show, "Kitchen Tables and Other Sacred Altars", Dominican Center at Marywood, Grand 

Rapids, Michigan, January, 2001. 

Jump Start Your Heart, Urban Institute for Contemporary Art, Grand Rapids, Michigan, 1995 & 

1999-2001. Invited featured artist, 2000. 

Live Coverage, Urban Institute for Contemporary Arts, Grand Rapids, MI, 1998, 1999. 

The Fall of the House of Usher Exhibition, Urban Institute for Contemporary Art, Grand Rapids, 

Michigan, 1998. 

In a Renaissance Garden (invitational, Grand Rapids Art Museum, Grand Rapids Michigan, 1997. 

Aquinas College Annual Faculty Shows, 1990-2002. 

Seats on Show (invitational), Grand Rapids Art Museum, Grand Rapids, Michigan, 1993. 

Celebration, A Festival of Religious Art (juried), First United Methodist Church, Grand Rapids, 

Michigan, 1993. 

Assemblage, one-person exhibition, Art and Music Center Gallery, Aquinas College, 1993. 

Festival 1993 (juried), Grand Rapids, Michigan. 

Festival 1991 (juried). (Received jurors' award.) 

Greater Midwest International Exhibition 1990 (juried), Central Missouri State University, 

Warrensburg. Missouri. 

Fred Wells Central Time Zone Juried Exhibition 1990, Elder Gallery, Nebraska Wesleyan University, 

Lincoln, Nebraska. 

Allied Artists of America, Inc. 76th Annual Juried Exhibition, Artists' Club, New York, New York 

1989. 

Dodge City 14th Annual Art Exhibition (national, juried), Dodge City, Kansas, 1989 (honorable 

mention). 

Sioux City Art Association 49th Competition (regional, juried), Sioux City, Iowa, 1989. 

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Wichita National '89 (juried), Wichita Art Association, Wichita, Kansas. 

Divine Line (national, juried), Galeria Mesa, Arizona, 1989. 

Fiberart '89 International (juried), Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania. 

Nebraska Crafts Council 9 (regional), Museum of Nebraska Art, Kearney, Nebraska, 1989. 

Topeka Competition 13 (regional), Gallery of Fine Arts, Topeka, Kansas, 1989. 

Central Time Zone Sculpture Exhibition (invitational), Nebraska Wesleyan University, 

Lincoln, Nebraska, 1988. 

Nebraska Educators' Show (juried), Nebraska Wesleyan University, 1987 (award). 

Farm Crisis Outdoor Sculpture Exhibit (invitational), Nebraska Wesleyan University, 1987. 

Wichita National Decorative Arts Exhibition (juried). Wichita Art Association, Wichita, 

Kansas, 1985. 

Twenty-sixth Midwestern Annual Invitational, Roark Gallery and Plains Art Museum, 

Moorhead, Minnesota, 1985. 

One person show, "Cornershelves and Other Ancestral Shrines", Plains Art Museum, 

Moorhead, Minnesota, 1985. 

One-person show, Benedicta Arts Center, College of St. Benedict, St. Joseph, Minnesota, 

1982. 

Two person show, 80 Langton Street (currently called New Langton Arts), San Francisco. 

California, 1982. 

Three person show, Boulder Center for the Visual Arts, Boulder, Colorado, 1981. 

"Art '81" (juried, regional), Boulder Center for the Visual Arts (jurors' choice award). 

"Site Specific Instillation (sic)" (invitational), Boulder Art Center), Boulder, Colorado, 1979. 

"Art '79" (juried, regional), Boulder Art Center, (Spivak's Art 

Hardware Award). 

"Sculpture" (invitational), Boulder Art Center, 1978. 

Seventeenth Boulder Art Association Regional (juried), Boulder Art Center, 1978. 

Colorado Liturgical Arts Society Traveling Exhibition (regional, juried), Agape Gallery, 

Denver, Colorado, 1977. 

Boulder Art Association Annual Exhibit (regional, juried) Boulder, Colorado, 1974. 

One person show, St. John's University Art Gallery, Collegeville, Minnesota, 1969. 

"Art '79" (juried, regional), Boulder Art Center, (Spivak's Art 

Hardware Award). 

"Sculpture" (invitational), Boulder Art Center, 1978. 

Seventeenth Boulder Art Association Regional (juried), Boulder Art Center, 1978. 

Colorado Liturgical Arts Society Traveling Exhibition (regional, juried), Agape Gallery, 

Denver, Colorado, 1977. 

Boulder Art Association Annual Exhibit (regional, juried) Boulder, Colorado, 1974. 

One person show, St. John's University Art Gallery, Collegeville, Minnesota, 1969. 

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Faculty Data Sheet 

Miller, Marie Celeste, Ph.D. 

Associate Professor of Art 

Appointed, 1986 

1. Academic Degrees: 

Ph.D., Emory University, 1983 

M.A., Middlebury College, l976 

B.A., Aquinas College, 1968 

2. Professional Experience: 

1985 – Present Aquinas College 

1984 – 1985 Centre College, Assistant Professor of Art 

1983 – 1984 Aquinas College, Visiting Assistant Professor of Art 

1977 – 1978 Gaylord, Michigan, High School English Teacher 

1966 – 1977 Saginaw, Michigan, High School English Teacher 

3. Faculty Load: 2001 – 2002 

Fall Semester: 

AT 150 ( Sec 1) Art Survey I 3 Sem Hrs 

AT 150 ( Sec 2) Art Survey I 3 Sem Hrs 

AT 350 Van Gogh to Picasso ( Modern 1) 3 Sem Hrs 

AT 161 Art Appreciation 3 Sem Hrs 

Spring Semester: 

AT 151 ( Sec 1) Art Survey II 3 Sem Hrs 

AT 151 ( Sec 2) Art Survey II 3 Sem Hrs 

AT 351 Dali Through Abstraction (Modern 2) 3 Sem Hrs 

AT 161 Art Appreciation 3 Sem Hrs 

Other Collegiate Assignments, 2001 – 2002 

Director of Art Department Slide Library 

Member, Technology Council 

Member, College Admissions Committee 

Academic Advisor 

8. Research and Study: 

During the last several years, I have focused on two areas of study: one involving 

development of course content, and the other on the integration of technology into the courses 

and mastering a new delivery system, distance learning on the World Wide Web. 

In my formal education in Art History, there was never an opportunity to study the art of nonwestern 

cultures. I have acquired an introductory knowledge of the art of some of the Asian 

cultures and have gained some very basic understandings of some African work. 

I have taken workshops through ALN, LERN and course work through Michigan Virtual 

University, their Master Online Instructor Training. These, as well as other informal training 

opportunities, have prepared me for teaching the Art Appreciation course on the web. 

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RESUME 

RON PEDERSON 

235 HAMPTON SE 

GRAND RAPIDS, MI 49506 

616-458-3354 

PERSONAL 

Born Sept. 18, 1947, Willmar, MN, Married to Miriam Pederson, 

two children, Ben and Madeline. 

EDUCATION 

M.F.A. 1977 University of Minnesota, Minneapolis, Sculpture. 

B.A. 1969. Bethel College, St. Paul, MN. 

TEACHING AND PROFESSIONAL EXPERIENCE 

2004- Art Department Chairperson, Aquinas College 

1996-2001 Coordinator, Art and Music Division, Aquinas College, Grand 

Rapids, MI. 

1994-2001 Art Department Chairperson, Aquinas College. 

1992-present Professor of Art, Aquinas College. 

1992,94,99 Resident Faculty/Director, Aquinas College Semester in Ireland 

program, Tully Cross, County Galway, Ireland. 

1989-1991 Assoc. Professor of Art, Department Chairman, Aquinas College. 

1987-1989 Assoc. Professor of Art, Department Co-chairperson, Aquinas 

College. 

1982-1987 Asst. Professor of Art, Department Chairperson, Aquinas College. 

1982 Asst. Professor of Art, Calvin College, Grand Rapids, MI. 

1977-1981 Instructor of Art, Calvin College. 

1975-1977 Teaching Associate, University of Minnesota, Mpls, MN. 

1974-1975 Teaching Assistant, Bethel College, St. Paul, MN. 

EXHIBITIONS 

2004 “Evidence of Things Unseen,” a collaborative exhibition of 

sculpture and poetry, with poet Miriam Pederson, Aquinas 

College, Grand Rapids, MI 

2002 Aquinas Art Faculty Exhibit, AMC Gallery, Aquinas College. 

2001 “Master Teachers,” Frederik Meijer Gardens Gallery, Grand 

Rapids, MI. 

Aquinas College Faculty Exhibition at Australian Catholic University, Bisbane, 

Australia. 

Annual Collegiate Exhibition, Urban Institute for Contemporary 

Art(UICA), Grand Rapids, MI. 

Two Person exhibit. Cascade Gallery, Grand Rapids, MI. 

2000 Aquinas Art Faculty Exhibit, AMC Gallery, Aquinas College. 

“Death Matters,” UICA, Grand Rapids, MI. 

1999 Sculpture Invitational, Overbrook Art Gallery, Muskegon 

Community College, Muskegon, MI. 

Aquinas Art Faculty Exhibit, AMC Gallery, Aquinas College. 

1998 “Flashback, Flashforward,” UICA, Grand Rapids. 

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“Celebration 98,”First United Methodist Church, Grand Rapids, 

MI. 

Rankin Center Gallery, Ferris State University, Big Rapids, MI. 

Sculpture/Poetry Collaboration w/ M.Pederson. 

1997 "Double Take," Aquinas College,Grand Rapids, MI. 

Sculpture/Poetry collaboration with Miriam Pederson. 

“Enduring Conversations," UICA, Grand Rapids, MI. 

Sculpture/Poetry collaboration with Miriam Pederson. 

1995 "Jump Start Your Heart" ULCA annual group exhibition, 

Underground Studio, Grand Rapids MI 

"The Heavens," Aquinas College AMC gallery. Group exhibition 

including collaborative work done with physicist Charles 

Frydrych. 

1995 Aquinas College Foster Planet Walk project. Art/Science 

collaboration and permanent installation with Charles Frydrych, 

Nancy Hart, and Jen Zimmerman, Grand Rapids, MI. 

"Jump Start Your Heart" UICA annual group exhibition, 

Underground Studio, Grand Rapids, MI. 

Two person exhibition, with Tim Van Laar, Trinity College, Palos 

Heights, IL. 

"The West of Ireland," Grand Rapids Dominican Center Gallery, 

Grand Rapids, MI. Collaboration with Miriam Pederson. 

Aquinas Art Faculty Exhibition, AMC Gallery, Aquinas College. 

Festival 95 Competition, VanAndel City Museum, Grand Rapids, 

MI. 

1994 Aquinas Art Faculty Exhibition, AMC Gallery, Aquinas College. 

Sculpture Invitational, T.C.Downtown Gallery, 

Grand Rapids, MI. 

1993 Michigan Annual XXI, The Art Center, Mt. Clemens, MI. 

Regional Competitive Exhibition, Lowell Area Arts Council, 

Lowell, MI. 

Designers Showcase Exhibition, Grand Rapids, MI. 

Festival 93 Competition, Grand Rapids Art Museum, Grand 

Rapids, MI. 


1992 Sixth Annual Outdoor Sculpture Invitational, International Art 

Galleries, Grand Rapids, MI. 

1991 Hefner Gallery, Grand Rapids, MI. Two Exhibitions: a gallery 

artists' group show and a three-person show. 

Greenville College, Greenville, IL. Two-person exhibition of 

sculpture and poetry, with Miriam Pederson. 


1990 Artist-generated Dolls Invitational, UICA, Grand Rapids, MI. 

Designers Showcase Exhibition, Grand Rapids, MI. 

Hefner Gallery, Grand Rapids, MI. Two-person show. 

1989 "The Adding We Do In Our Sleep," Two-person exhibition of 

poetry and sculpture, with Miriam Pederson (sabbatical show), 

Aquinas College. 

Hefner Gallery, Grand Rapids, MI. Group show. 

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Third Annual Outdoor Sculpture Invitational, International Art 


1988 Second Annual Outdoor Sculpture Invitational, International Art 


Sculpture Invitational, Aquinas College. 

1987 Outdoor Sculpture Invitational, City Art Gallery, Grand Rapids, 

MI. 

Two Faculty Exhibitions(spring and fall), Aquinas College. 

1986 Asbury College, Wilmore, KY. Two person show with 

Tim Van Laar. 


1985 "Hot Stuff" Invitational Bronze Exhibition, DePree Art Center 

Gallery, Hope College, Holland, MI. 

6th Annual Michigan Competition, Battle Creek Art Center, Battle 

Creek, MI. 

1983 Designers Showcase Sculpture Exhibition, Grand Rapids, MI. 

Springfest Exhibition, Grand Rapids Art Museum, Grand Rapids, 

MI. 

Aquinas Art Faculty Exhibition, Aquinas College. 

"Four Artists, Four Media," City Art Gallery, Grand Rapids, MI. 

National "Chairs" Competition and Traveling Exhibition: 

Central Michigan University, Mt. Pleasant, MI, Virginia McCune 

Art Center, Petosky, MI, Jessie Besser Museum, Alpena, MI, Old 

Town Center, Traverse City, MI, Birmingham/Bloomfield Art 

Association, Birmingham, MI, William Bonfas Fine Arts Center, 

Escanaba, MI. 

Michigan Sculptors Invitational, Overbrook Art 

Gallery, Muskegon Community College, Muskegon, MI. 

Outdoor Sculpture Invitational, Festival 1983, Grand Rapids, MI. 

1982 Competitive Exhibition, Battle Creek Art Center, Battle Creek, 

MI. 

"Small Works" group show, Race Street Gallery, Grand Rapids, 

MI. 

Festival 1982 Competition, Grand Rapids, MI. 

Hope College Outdoor Sculpture Competition and Exhibition, 

Holland, MI. Finalist. 

1981 Solo show, Creative Arts Gallery, Central Michigan University, 

Mt. Pleasant, MI. 

Solo show, Spring Arbor College, Spring Arbor, MI. 

Festival Invitational Exhibition, Gallery Luisa, Grand Rapids, MI. 

Old Mill Art Invitational, Holland, MI. 


1980 "National Sculpture 80", Competition and Traveling Exhibition: 

McKissick Museum, University of Southern Carolina, Columbia, 

SC, Ashville Museum, Ashville, NC, Huntsville Museum of Art, 

Huntsville, AL, University of Alabama, Birmingham, AL, Auburn 

University, Auburn, AL, Clemson University, Clemson, SC. 

All Michigan Drawing Show, Central Michigan University, Mt. 

Pleasant, MI. 

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Michigan College Faculty Competition, University of Michigan, 

Flint, MI. 


Michigan Artists 80/81, Grand Rapids Art Museum. 

Two person-show with Tim Van Laar, Muskeqon Museum of Art, 

Muskeqon, MI. 

1979 Group show, UICA, Grand Rapids, MI. 

Calvin Faculty Show, Hope College, Holland, MI. 

Artforms Gallery, Grand Rapids, MI. 

1978 Grand Rapids Blood Center, Grand Rapids, MI. 

Sculpture On and Off the Plaza, Grand Rapids, MI. 


Art Faculty Exhibition, Calvin College. 

Group Show, Grand Rapids Art Museum. 

Solo show, Bethel College, St. Paul, MN. 

1977 Group show, UICA, Grand Rapids, MI. 

Invitational Exhibition, Grand Valley State Colleges, Allendale, 

MI. 

MFA Thesis Exhibition, University of Minnesota, Minneapolis, 

MN. 

RELATED PROFESSIONAL EXPERIENCE 

2003 Awarded Sabbatical leave and materials grant to work on 

sculpture, Aquinas College. 

2002 Juror and Lecturer on Sculpture, Grand Valley Artist Association, 

Grand Rapids, MI 

2001 Lecturer on Sculpture, Frederik Meijer Gardens, Grand Rapids. 

2000 Juror, Michigan Education Association Annual High School 

Competitive Exhibition, Lansing, MI. 

1999 Juror and Lecturer on Art, Grand Valley Artist Association, Grand 

Rapids, MI. 

Interview (with Miriam Pederson) on Connemara Community 

Radio on the subject of our sculpture and poetry collaborations. 

1998 Lecturer on Sculpture and Poetry collaboration, Rankin Center 

Gallery, Ferris State University, Big Rapids, MI. 

Awarded year-long sabbatical leave to create sculpture, Aquinas 

College. 

1996 Juror, South Haven Arts Council Annual High School 

Competitive Exhibition, South Haven, MI. 

Member, Frey Foundation Public Art Advisory Group, Grand 

Rapids, MI. 

1995 Visiting Artist, Grand Rapids Christian High School, Grand 

Rapids, MI. 

Juror, Newago School District Art Competition, Newago, MI. 

1994-6 Member, International Sculpture Center, Washington, DC. 

1993 Visiting Artist, Creston Christian School, Grand Rapids, MI. 

Juror, Western Michigan University Annual Student Exhibition, 

Kalamazoo, MI. 

Lecturer: "Art and the Jurying Process", Western Michigan 

University, Kalamazoo, MI. 

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Lecturer on Art, Grand Valley Artists' Association, Grand Rapids, 

MI. 

Visiting Scholar, Schoenhal Fine Art Symposium, Greenville 

College, IL, Delivered two lectures and participated in a-seminar 

on artistic collaboration. 

Director of Exhibitions, Aquinas College Art Dept. 

1990 Awarded an Aquinas Faculty Development Grant to publish 

poetry/sculpture chapbook. 

1988 Awarded a spring semester 1989 sabbatical leave from Aquinas 

College to create sculpture. 

1986-87 Art Reviewer, The Grand Rapids Press. 

Member, Contemporary Arts Group, Grand Rapids Art Museum. 

Member, International Sculpture Center. 

1986 Lecturer on Sculpture, Asbury College, Wilmore, KY. 

1985-86 Member, Program Committee, Grand Rapids Art Museum. 

Advisory Board Member, UICA. 

1984-86 Aquinas' representative to the Grand Rapids Arts Council. 

1981-82 Director of Exhibitions, Calvin College. 

1981 Visiting Lecturer on Sculpture, Spring Arbor College, Spring 

Arbor, MI. 

Participant, National Sculpture 1981 Invitational Slide Exhibition, 

sponsored by the Southern Assn. of Sculptors. 

Juror, Hispanic Art Competition, First United Methodist Church, 

Holland MI. 

1980 Article: "Kipp at Calvin," Spark Magazine, Grand Rapids, MI, 

May 1980 (subject: the sculptor Lyman Kipp). 

Art Curriculum Consultant, Northwestern College Art 

Department, Orange City, IA 

1979 Article: "In Defense of 'Enfant Terrible'," Grand Rapids Press, 

June 1979. 

Visiting lecturer on Sculpture and Juror of two shows, Hope 

College, Holland, MI. 

1977-79 Resident Artist, Urban Institute for Contemporary Art, Grand 

Rapids, MI. 

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EDUCATION: 

SHARON SANDBERG 

2731 Cascade Springs Drive SE 

Grand Rapids, Michigan 49456 

(616) 942-6310 

Université d’Aix-Marseilles III 

Insititute d’ Etudes Francaise pour Etudiantes 

Etrangers, Aix-en-Provence, France 

1987 M.F.A University of Michigan 

Ann Arbor, Michigan 

1980 B.F.A. Grand Valley State University 

Allendale, Michigan 

1978 Slade School of Fine Art 

University College, London, England 

G.V.S.U. Summer Program 

JURY PANELS AND BOARDS 

1993 Jury Panelist for FY94 Visual Fellowship Awards, South Carolina Arts 

Commission 

(Three person “out of state” panel.) 

1992-1996 Appointed Member, Alumni Society of Governors, School of Art, 

University of Michigan, Ann Arbor, Michigan. (Elected President, 1996) 

1988-1990 Elected to Advisory Board for Ongoing Michigan Artist Program 

(OMAP), Detroit Institute of Art. 

PROFESSIONAL LECTURES 

2001 Slide Lecture for Grand Valley Artists, February. 

2000 “Traveling the World for Art’s Sake”, LaFontsee Gallery Talk Series. 

1998 “A Sense of Things”, Gallery talk for docents. The Grand Rapids Art 

Museum, April 

1997 “Is There Still Life?” with Mary Brecht Stephenson, slide 

lecture/luncheon. The Plymouth Art Center, Plymouth, Michigan. 

November. 

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Visiting Artist, Slide lecture, Calvin College, Grand Rapids, Michigan. 

October. 

1994 Slide-lecture, “A Closer Look: the poetry of silence”, Aquinas College, 

Grand Rapids, 

Michigan, October. 

Invited as Panel Participant, Career Pathways in Art Seminar for BFA 

Undergraduates, School of Art, University of Michigan, Ann Arbor. 

February. 

1995 “Still Life Influences,” Brown Bag Series, School of Art, University of 

Michigan, Ann Arbor. 

August. 

1993 “Arrangement and Metaphor,” Lecture for Docents, Kalamazoo Institute 

of Arts, January. 

1991 Slide-lecture for Lakeland Painters group, Grand Haven, Michigan. 

1990 Artist Dialogue: “The Still-Lifes of Sharon Sandberg,” Lecture for Grand 

Rapids Art Museum. 

1987 Gallery Talk, South Bend Art Center, Indiana. 

HONORS AND AWARDS: 

1996 Merit Award, “27 th Annual Visual Arts Exhibition, Festival ‘96”, Grand 

Rapids Art Museum, 

Grand Rapids, Michigan. 

1987 Jean Paul Slusser Award Finalist, University of Michigan (Juried by 

School of Art Faculty). 

Was one of two graduate students chosen as a finalist out of 2 nd year 

M.F.A. candidates in Scholarship Exhibition. 

HONORS AND AWARDS: (cont.) 

1987 (cont.) University of Michigan Rackham Fellowship 

1987 Painting Award, State-wide Competition, Art Center of Battle Creek, 

Battle Creek, 

Michigan. 

1986 University of Michigan, School of Art Scholarship. 

1980 FMB Lumberman’s Bank Award – Painting, “53 rd Annual West Michigan 

Regional”, 

Muskegon Museum of Art, Muskegon, Michigan. 

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TEACHING EXPERIENCE: 

1997-present Adjunct Assistant Professor of Art. Aquinas College, PAINTING, 

DESIGN, and DRAWING. 

1994 Visiting Professor, School of Art, University of Michigan, Ann Arbor, 

SUMMER PAINTING 

WORKSHOP, August. 

1989-1996 Adjunct Faculty, Grand Valley State University, 2-DIMENSIONAL 

DESIGN, INTRODUCTION TO DRAWING, INTERMEDIATE 

DRAWING. 

1988 Adjunct Faculty, Kendall College of Art & Design, BASIC DESIGN. 

1985-1986 Teaching Assistant, University of Michigan, School of Art, BASIC 

DRAWING I and II, 

COLOR THEORY and LIFE DRAWING. 

EXHIBITIONS (Selected): 

ONE PERSON, TWO PERSON & THREE PERSON EXHIBITIONS: 

2000 Ferris State University, Rankin Center Gallery, “Don Kerr and Sharon 

Sandberg, Still Life and 

Figure Painting”, Two person exhibition. November. 

Saginaw Art Museum, “Sharon Sandberg, Paintings from the Nineties to 

the Present”. 

SOLO EXHIBITION, October-November. 

LaFontsee Galleries, “Points of View”, Three person exhibit, (Dellas 

Henke, Ivan Fortushnik), 

Grand Rapids, MI. April-June. 

1998 The Grand Rapids Art Museum, “Sharon Sandberg: The Essential Still 

Life”, SOLO EXHIBITION. 

March, April, and May. 

1997 Plymouth Art Center, Community Arts Council, Two person exhibition. 

“Is There Still Life?” 

(Mary Stephenson), Plymouth, MI, October. 

Aquinas College, Grand Rapids, Michigan. Faculty Show, Three person 

exhibit, (Dana Freeman, Kurt Kaiser, Sharon Sandberg.) November- 

December. 

1997 LaFontsee Galleries, “Still Fresh”, Two person exhibit, (Patricia 

Hendricks), Grand Rapids, MI. 

May-June. 

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1996 Kingston University, Knights Park Gallery, “Works On Paper”. 

Two person show: (Don Kerr), 

Kingston upon Thames (London), England. November. 

Creekside Studios, Deptford, London, England. Art in Perpetuity Trust: 

“Open Studios” exhibition. Two person show: Sandberg/Kerr. 

September. 

1995 Aquinas College, “A Closer Look: the poetry of silence”, Grand Rapids, 

Michigan, SOLO 

EXHIBITION. September-October. 

1993 Krasl Art Center, St. Joseph, Michigan. SOLO EXHIBITION. October- 

November. 

Center Art Gallery, Calvin College, Grand Rapids, Michigan. 

“Objectification’s,” A still life invitational featuring Ilene Curtis, Sharon 

Sandberg and Carol VermEulen. October-November. 

ONE PERSON, TWO PERSON & THREE PERSON EXHIBITIONS: (cont.) 

1992-1993 Kalamazoo Institute of Arts, Kalamazoo, Michigan. “Arrangement and 

Metaphor: Extending the Still Life Tradition”, Two person show: 

Sandberg/Curtis. December-February. 

1991 Hefner Galleries, Grand Rapids, Michigan. Three person show: 

Everhart/Pederson/Sandberg. 

October-November. 

1990 Sazama Gallery, Chicago, Illinois. SOLO EXHIBITION. September. 

Hefner Galleries, Grand Rapids, Michigan. SOLO EXHIBITION. April- 

May. 

1989 Keeler Gallery, Fountain Street Church, Grand Rapids, Michigan. Two 

person: Kerr/Sandberg. 

1988 Frauenthal Center, Bettye Clark-Cannon Gallery, Muskegon, Michigan. 

“Inside-Outside,” 

Mayer/Overvoorde/Sandberg. 

1987 South Bend Art Center, W.A.L Gallery, South Bend, Indiana. Two 

person: Ruffe/Sandberg. 

Slusser Gallery, University of Michigan, School of Art, Ann Arbor, 

Michigan. Master of Fine Arts Exhibition. 

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1986 Aquinas College, Grand Rapids, Michigan. Two person. Kerr/Sandberg. 

1985 Creative Arts Gallery, Central Michigan University, Mt. Pleasant, 

Michigan. SOLO EXHIBITION. 

1983 Urban Institute for Contemporary Arts, Race Street Gallery, Grand 

Rapids, Michigan. Two person show 

in conjunction with Stage 3 production of one-act plays. Ruffe/Sandberg. 

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SCHOUSEN, STEPHEN, M.F.A. 

Professor of Art 



M.F.A. University of Massachusetts 1982 Printmaking 

B.A Marietta College 1977 Art 

Teaching Certification Marietta College 1978 


1982-present Aquinas College studio 

instructor 

1980-1982 University of Massachusetts teaching 

assistant 

1981 studio assistant to Alfred Leslie 

1979-1980 Wood County Schools, Parkersburg ,W.Va. teacher 

3. Faculty Load 


AT 130 Basic Drawing I 

3 semester hours 

AT 340 Printmaking 3 

semester hours 

AT 111 Art for Non-Majors 3 



AT 131 Basic Drawing II 


AT 201 Figure Drawing 


AT 340 Printmaking 3 


Other Collegiate Assignments, 2002 

Committee On Studies Sp. 02 

Advisory Council on General Education F. 02 

4. Current Professional and Academic Association Memberships 

College Art Association 

5. Selected Exhibitions 

Aquinas College Faculty Show 2002 

Group Show, LaFontsee Gallery 2002 

Group Faculty Exhibition, Brisbane Australia 2001 

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6. Research 

Imagery created with four plate, color intaglio process 

Continued development of graphite drawings. 

7. Gallery Association 

LaFontsee Gallery 

Grand Rapids Michigan 

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ART DEPARTMENT COURSE SYLLABI 

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AT 130 Basic Drawing I Steve Schousen 

8:00-10:50 TF Office – AMC 134 

Fall 2001 Ext. 3427 or home 454-2729 

COURSE DESCRIPTION 

This is a studio art course that will focus on drawing from observed life and on the development of 

traditional drawing skills and design. We will work towards developing a sensitivity to form, materials and 

design that is responsive to the unique visual properties of the subject. Exploration of materials will also 

constitute an important part if this course. While you are not expected to master each of the materials 

introduced this semester, your work should reflect a search for the creative potential inherent in each. 

GOALS 

1. To provide the student with an opportunity to engage in visual problem solving using a variety of 2dimensional 

black and white media. 

2. To provide the student with a general knowledge of academic drawing. 

3. To encourage the student to become increasingly sensitive to the visual qualities of their environment. 

At the end of this course the student will be able to: 

OBJECTIVES 

1. Prepare a portfolio of drawings demonstrating mastery of issues covered. 

2. Demonstrate competency in his/her ability to draw from life (using plumb lines and measuring). 

3. Create a convincing 3-dimensional illusion using line only. 

4. Create a convincing 3-dimensional illusion using graded tone only. 

5. Demonstrate mastery of 1 and 2 point linear perspective. 

6. Demonstrate how atmosphere perspective can control the illusion of 3-dimensions. 

7. Competently evaluate a drawing’s formal strengths and weaknesses. 

8. Discuss and write about 2-dimensional works of art. 

9. Demonstrate the ability to integrate basic design principles with the drawing process. 

10. Demonstrate familiarity with the following drawing materials: pencil, charcoal, pen and ink, and ink 

wash. 

REQUIREMENTS 

1. Excellent attendance. (see attendance policy). 

2. Participation in all class exercises, textbooks discussions, and critiques. 

3. Satisfactory completion of all drawing assignments. 

4. Completion of all homework assignments. 

5. Portfolio. A portfolio of all drawings completed during the semester must be submitted on 

December 14. In anticipation of that need, please do not roll your drawings as this makes them 

impossible to spread out and view. Use a flat portfolio (homemade or purchased) to transport your 

drawings to and from class, and use your assigned flat file drawer to store them in the drawing 

room. 

6. Writing assignment. Each week during the first eight weeks of class, you will be assigned a 

master drawing to copy. A written analysis of the composition and the artists’ use of materials 

must also be turned in with the copy. 

GRADING PERCENTAGES 

60% quality and craftsmanship of finished drawings and final portfolio contents 

20% homework 

10% participation in critiques and discussions 

10% writing assignments 

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attendance ( see attendance policy). 

GRADING 

The following factors are considered when evaluating work: 

1. Acquisition of drawing skills (60%) 

This semester, we will work with a number of design issues, traditional drawing methods and new 

drawing media. Your effort should be sufficient to demonstrate mastery of these methods, 

materials, and design issues. This means that you will occasionally need to put in extra time and 

rework some of your assignments. Simply completing all of the assigned projects does not insure 

a passing grade in this course. Shape analysis, line variation and shading are three key skills for 

you to concentrate on this semester. 

2. Homework (20%) 

Expect to put in 5 (five) hours per week outside of class time. 

3. Participation (10%) 

4. Writing Assignments (10%) 

5. Attendance (see attendance policy) 

ATTENDANCE POLICY 

Department policy states: "absences in excess of five will result in an automatic no credit." Further, more 

than three absences will result in a lower grade. 

Do not come late to this class. Discussions, examples, slides and directions are frequently presented during 

the first 15 minutes of each class. The instructor reserves the right to consider absent anyone who is more 

than 10 minutes late. 

DO NOT COPY PHOTOGRAPHS IN THIS CLASS!! 

NO CARTOONS IN THIS CLASS!! 

MATERIALS 

Paper: 

1- 18x24 newsprint pad 

1- 18x24 pad Strathmore 400 

18x24 charcoal paper - white, gray and black as needed 

Pencils: 

1 - 2H, 1-2B, 1-HB 

color pencils: 1-black, 1-white, 1-gray 

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Charcoal: 

1 - package vine charcoal 

compressed charcoal 

Conte crayons: 1-black, 1-white 

Erasers: 

1-synthetic pink pearl 

1-kneaded 

Ink, Brushes and Pens: 

1 - holder 

2 - pen tips 

1 - bottle of India ink 

1 - small and 1-large brush (Japanese brushes work well) 

3 - jars with lids 

Assorted: 

masking tape 

ruler or yard stick 

spray fixative 

sandpaper 

pencil sharpener 

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OUTLINE OF CLASSES AND ASSIGNMENTS 

8/28 class: orientation/supplies 

8/31 class: blind contour 

homework: due 9/7 

copy: Hockney 

-3, 10min blind contour drawings 

-3, 20 min contour drawings of a cut flower 

-1, 60 min contour drawing of a cut flower w/ eraser corrections 

9/4 no class (Labor Day) 

9/7 class: contour 


- copy: Dine 

-3, 10 min. blind self portraits 

-1, 60 min. contour drawing self portrait 

-2, 45 min. tree trunk studies 

9/11 class: contour tree trunks / in-process critique 

9/14 class: negative space 


-copy: Demuth 

-1, 60 min neg. space drawing 

-1, 1-2 hr. drawing pos and neg space drawing 

9/18 class: measuring, angles, proportions 

9/21 class: measuring, angles, proportions 


-copy: Morandi 

-1, 60 min still life horizon line in middle of still life 

-1, 60 min drawing horizon above of still life 

9/25 class: cross contour 

9/28 class: cross contour 


-copy: Kollowitz 

-2 hour self-portrait w/cross contour 

-2 hour drawing cloth and fruit using cross contour 

10/2 class: straight line drawing 

10/5 class: perspective 


-copy: Van Gogh 

-2 drawings of a chair, (1 in 1 pt. perspective and 1 in 2 pt. perspective) 



10/16-10/19: Your assignment during this week- in class and homework- is to create a drawing 

that sums up what you have learned so far, a midterm project. Subject matter will be your choice but 

remember that you are to work on this drawing in class and during your homework time. This drawing 

should demonstrate mastery of the issues covered so far. 

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10/23 no class (mid term break) 

10/26 no class (mid term break) 

10/30 class: value scales, pencil and charcoal 

11/2 class: three tone images 


-1, three tone image 

-1, three tone image evolved into many tones 

11/6 class: three tone image 

11/9 class: toned sphere 


-toned sphere 

11/13 class: toned sphere 

11/16 class: ink wash 


-interior 

11/20 class: ink wash 

11/23 class: eraser drawings 


-self portrait in charcoal 

11/27 no class (Thanksgiving) 

11/30 class: eraser drawings 

12/4 class: drapery 



12/14 class: last class and critique 

-finish up and turn in portfolios 

12/17-21: individual critiques 

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This course AT 130 Basic Drawing I, meets the following guidelines from the Standards for the Preparation of 

Teachers, Visual Arts Education (LQ). 

1.4 model teaching methods and approaches appropriate for learning both within the higher education classroom and 

the art educational settings for which their students are being prepared. They continuously plan and implement 

instruction as a series of sequential learning experiences as they prepare students to do the same in their own 

classrooms. 

1.5 conduct a variety of appropriate assessments of student learning within art education. 

1.6 monitor and supervise the progress of candidates while encouraging them to also assess their own teaching and 

learning. 

2.1.1 traditional studio approaches. 

2.2.1 Creative processes 

2.2.3 techniques. 

2.2.5 social functions. 

2.2.7 technical knowledge. 

2.4.3 the influence of these theories on the creation of art. 

2.5.2 share these views in written and oral forms 

2.6.3 opportunities to examine and reflect on emotional responses to the meaning and nature of students’ own artwork 

and the artwork of others. 

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AT 131 

Steve Schousen 

Basic Drawing II 

AMC 134 

Spring ’02 ext.3427 (H) 454-2729 

Course Description 

This semester we will concentrate on creating a limited number of finished 

drawings, on exploring a variety of drawing materials and on critiquing and 

reworking the drawings as they progress. I have broken the semester down 

into eight units of two weeks each. Each unit will center on a particular 

subject mater and we will explore the subject with a variety of materials and 

approaches. Each unit will culminate in a finished drawing, (occasionally 

two or three), that represents two weeks of work. Working critiques will be 

held at least once per unit and the evolution of the drawing and the final 

image should reflect consideration of issues raised in these discussions. 

A typical unit will progress something like this: 

Day 1. Introduction of drawing material, introduction of subject 

matter, initial experiments with materials and subject. 

Day 2. Continued experimentation, critique of initial drawings and 

ideas, start of finished drawing 

Day 3. Working session on finished drawing, group critique of work 

in progress. 

Day 4. Working session. 

Each two-week project will be graded and I will keep track of the following 

information: 

1. Experimentation 

2. Compositional interest 

3. Understanding of basic skills 

4. Visual interest 

5. Grade at critique 

Successful completion of these drawings requires confidence in the skills 

presented last semester. While I don’t expect you to have mastered all of 

them I do hope that you are familiar with things like perspective, blind 

contour and shading and that you can work independently on your drawings. 

Realize that all of the skills introduced last semester will continue to develop 

as you work toward completion of these drawings. 

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Occasionally I will assign homework projects that are separate from the 

work we do in class. For the most part, however, your homework 

assignment this semester will be to work on the in-class drawings and push 

them towards completion. This is an opportunity for you to really 

concentrate on a limited number of drawings and to integrate the exploration 

of materials, development of basic skills and design into a finished 

statement. For this to succeed you need to take responsibility for the 

direction of your work. Rather than concentrating on meeting requirements 

I want you to begin to experiment with materials, process and subject and 

learn to follow the direction your work seems to want to go. I want you to 

become aware of an emerging stylistic consistency in your work. To get to 

this level you need to budget enough time for experimentation and 

refinement. If you are not putting in at least 4-5 hours outside of class per 

week you are shortchanging yourself and will have a hard time progressing 

to a self directed level. Remember, any system but neglect will work. 

Working a little each day makes sense as does budgeting 2 or 3 longer 

sessions per week. If you try to cram the time in and rush things at the end it 

will show and the work will suffer. 

Do not copy photographs in this class. 

Critiques 

Your participation in the critiques – both your attendance with your drawing 

and your comments and critiques of your colleagues drawings – is a critical 

part of this class. At times these critiques get long and boring. At times we 

tend to say the same thing about almost every drawing. Regardless of how 

long the critique is or how repetitive the comments are it is vitally important 

for you to concentrate on each drawing and express your honest opinion to 

each person. When you leave the critique you should have a good idea 

about what works in the drawing, what seems confusing, and what you will 

do next. 

Goals 

1. To engage in visual problem solving using a variety of 2-dimensional 

black and white drawing media. 

2. To demonstrate an increased sensitivity to the visual qualities of their 

environment 

3. To create finished visual images that combine traditional drawing 

skills, composition and process. 

4. To demonstrate an awareness of an emerging stylistic consistency. 

Objectives 

At the end of the semester the student will be able to: 

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1. Prepare a portfolio of eight to twelve drawings demonstrating mastery 

of issues covered. 

2. Demonstrate competency in your ability to make accurate visual 

observations 

3. Demonstrate how atmospheric perspective can control the illusion of 

3-dimensions. 



6. Demonstrate the ability to integrate basic design principles, traditional 

drawing practices and process. 

7. Demonstrate familiarity with the following materials: pencil, charcoal, 

pen and ink, and ink wash. 

Requirements 

1 Regular attendance 

2. Consistent effort and initiative 

3 Completion of each unit 

4. Portfolio of eight finished drawings 

5. Evidence of consistent outside effort 

6 Participation in critiques 

Attendance 

Departmental policy states: absences in excess of three will result in a lower 

grade and absences in excess of five will result in an automatic “no-credit”. 

Materials: 

Pen and ink 

Water color brush 

Pencils 

Charcoal 

Kneaded eraser 

Hard eraser 

Cheap oil brush 

Ink 

18 x 24 Strathmore 400 pad 

18 x 24 newsprint 

Charcoal paper as needed 

Other paper as need 

Course Calendar 

Unit one Edges due 1/28 

Materials: charcoal, graphite, ink wash 

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For critique on Mon. 1/21 bring the following three drawings 

1. rope cord wire 

2. non-objective 

3. representational image 

Unit two Three tone study due 2/11 

Materials: poster paint, ink wash, water color brush, 

Unit three Paper bags due 2/25 

Material: pen and ink 

Unit four Interior due 3/11 

Materials charcoal graphite ink wash 

Unit five Negative space due 

Materials experiment with many materials 

Unit six Trees due 

Materials experiment with a variety of materials 

Unit seven Superimposed imagery due 

Materials pencil 

Unit eight Self portrait due 

Materials experiment with many materials 

This course AT 131 Basic Drawing II, meets the following guidelines from 

the Standards for the Preparation of Teachers, Visual Arts Education (LQ). 


2.2.1 Creative processes. 

2.2.4 expressive content. 

2.2.6 communicative qualities. 

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AQUINAS COLLEGE 

ART 140 

TWO-DIMENSIONAL DESIGN 

COURSE DESCRIPTION 

Principles of two-dimensional design as a foundation for understanding art work. This is a studio 

art course that examines the formal qualities of two-dimensional art. Individual design elements 

will be introduced and examined in a series of abstract exercises. Orchestration of design issues 

will develop as the semester progresses. 

OBJECTIVES 

1. To learn to coordinate eye, mind, and hand in the creation of 2-dimensional artwork. 

2. To gain understanding of principles of composition on a 2-dimensional plane. 

3. To learn to handle art materials with a sense of precision and care in the practice of basic 

2-D techniques. 

4. To gain an introductory understanding of color in both theory and practice. 

5. To begin establishing an art vocabulary. 

METHODS OF LEARNING 

1. The primary method of learning in this course will be studio work, using various design 

elements (line, shape, color, etc.) and applying them to 2-D design principles (balance, repetition, 

variety, etc.). Each of six projects will begin with related exercises, multiple sketches, resolved 

solutions, and finally a critique (class discussion) of the outcome of the work. 

2. Reading assignments from the text as well as slide lectures by the instructor will 

introduce vocabulary and art concepts. 

3. Assignments will include visits to specified art exhibits in the local area, followed by 

essays written in response to them. 

TEXT 

Design Basics by David A. Lauer, Fifth Edition, Holt, Rhinehart, Winston 2000 

EVALUATION AND TESTING 

Student work will determine the calculation of a final grade as follows: 

Six studio assignments (@ 11% ) 66% 

Two essays in response to art shows (@ 5%) 10% 

Three exams on art vocabulary and concepts (@ 8%) 24% 

Total 100% 

ATTENDANCE POLICY 

Attend class regularly. Absences should be rare and only for unavoidable reasons. Each absence 

in excess of three will reduce a student's grade by one-third of a letter (B becomes B-, B- becomes 

C+, etc.). Departmental policy states that absences in excess of 6 will result in an automatic "No 

Credit” as a grade for the class. 

The class is designed to include inspiration through word and work from student to student as part 

of the learning methodology. All students have something to offer and to gain from each other’s 

work, and are expected to be at each class meeting to contribute to this on-going dialogue. 

The beginning of each class period is important because that's when discussions take place and 

examples and directions are frequently presented. So the instructor reserves the right to consider 

absent anyone who is late. 

Always come to class ready with assigned materials and tools and with assigned work. 

Critiques are essential to each assignment. Absence from a critique will effect the grade of the 

project being critiqued. 

INSTRUCTOR 

Kurt Kaiser, AB3D, Extension 3601, home phone 454-4351. 

Office hours: Mondays and Thursdays 9:30-12 & 3:05-4:35, and Fridays 11-1:30, or by 

appointment. Do not hesitate to talk to the instructor about any needs you have in the class. 

Ask for help and clarity as needed. 

HINTS 

To get a respectable grade in this class do the following, listed in order of importance. 

1. Do all that is assigned and expected, which means go to all classes, and carry out all 

assignments. 

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2. Give time and attention to doing everything well and with care. 

3. Apply talent and cleverness to your work. Notice that this comes last as a priority. Talent is 

never a substitute for diligence, care, and hard work. 

MATERIALS 

Provided by students: 

Broad & fine black permanent markers, 

X-acto knife, 

Extra X-acto blades, 

Glue stick, 

Bristol board pad, 14”x17” 

Photo copies, 

Scissors, 

Rubber erasure, 

Black stamp pad, 

Drawing pencil (6B), 

Metal straight edge ruler, 

Paint brushes for water based paints: 

#0 round and ¼“ flat, 

Magazines for cutting, 

Illustration board, 2@ 10x 10 " 

6 pocket folders, 

Other found materials TBA 

Provided by the Art Department 

Black paper, Paints, Paint containers Tracing paper, Spray glue, Pallets for painting, Rubber cement, Mat 

board, Sketch paper, Colored papers, etc. 

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This course AT 140 2-D Design, meets the following guidelines from the Standards for the Preparation of Teachers, Visual Arts 

Education (LQ). 

1.4 model teaching methods and approaches appropriate for learning both within the higher education classroom and the art 

educational settings for which their students are being prepared. They continuously plan and implement instruction as a series of 

sequential learning experiences as they prepare students to do the same in their own classrooms. 


1.6 monitor and supervise the progress of candidates while encouraging them to also assess their own teaching and learning. 





2.4.1 major traditional theories of art and design. 


2.5.2 Written and oral views 

2.6.3 opportunities to examine and reflect on emotional responses to the meaning and nature of students’ own artwork and the 

artwork of others. 

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AT141 

3-D Design 

Course Description: 

Structural spatial and organizational problems centered around basic 3-dimensional materials. 

This course is intended to introduce students to factors unique to three-dimensional design: 

vocabulary, composition of form and space, critical evaluation, and 3-d materials and techniques. 

Goal: 

To provide an introduction to art through a focus on concerns that are specific to 3-dimensional art. 

Objectives: 

Students will learn about 

Principles of design in 3-dimensional art. 

Pattern in 3-d. 

Value in 3-d. 

Physical structural concerns in 3-d construction. 

Color in 3-dimenwional materials 

Time as the 4 th dimension. 

Methods of Learning: 

This is a problem solving course. Studio problems, often preceded by studio exercises, and always 

followed by critique discussion, will be the primary means of learning. The instructor will also use 

slide presentations to clarify course content. There will be reading assignments from the text 

followed by quizzes. And students will be assigned two short essays on personal responses to 

specific local art exhibits to be announced. 

Text: Shaping Space, 2 nd Edition by Paul Zelanski and Mary Pat Fisher. 

Holt, Rinehart, and Winston. 

Attendance: 

The attendance policy for this course is simply that you are expected to be present at all class 

meetings in full. Any absences above three will each reduce your grade by one third of a letter. (B 

becomes B-. B- becomes C, etc.) More than six absences will result in no credit for the class. If an 

absence had to take place, it is your responsibility to mention it to the instructor as well as to inform 

yourself regarding what was missed in class. Since much of the content of a day's course work will 

be established at the beginning of the class meeting, it is important that you be there on time. 

Chronic lateness will also detract from your grade. Students are expected to come to class 

equipped with what ever was assigned for that day, whether it is certain materials or a completed 

assignment. 

Other Expectations: 

Important toward getting a good grade in this class are the following: 

a) Be here! 

Attend all class meetings, prepared to work, with assigned materials in hand, 

b) Do the work! 

Carry out all the studio problems and other assigned work. 

c) Challenge yourself! 

Do quality work that reflects self challenge. 

Each finished project is due at the critique at the beginning of class on the due date. It is important 

that both art and artist be present at the critique for full credit on the project. 

Since learning is the primary objective of this class, students may rework a project if dissatisfied 

with a grade. 

And please do your part in cleaning up and putting things away at the end of each class meeting. 

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Evaluation: 

6 projects @ 12 = 72% 

3 quizzes @ 6 = 18% 

2 essays @ 5 = 10% 

Total 100% 

Instructor: 

Kurt Kaiser, AB3D, Extension 3601, home phone 454-4351. 

Office hours: Mondays and Thursdays 9:30-12 & 1-2:30, Tuesdays 11-12 and Fridays 11-2:30 

or by appointment. 

Academic Assistance: 

Call Student Support Services, Ext. 3711 

Materials (tentative list; clarification will be given in class) 

wire cutter pliers, 

knives, X-acto and/or utility, 

ruler or tape measure, 

black spray paint, 

paint brushes, 2" and smaller, 

artist's choice of identical multiples , 

(250 or more) for problem 2, 

other as needed. 

Materials provided by the Art Dept.: 

wire, 

polystyrene, 

plaster, 

clay, 

paint, 

etc. 

Tentative Calendar Spring 2002 

AT141 2-D Design 

Jan 15 Introductions Jan 18 Project 1A Read Ch. 6 

Jan. 22 Project 1B Ch. 4 Jan 25 Project 1C Ch. 5 

Jan 29 PP. 2-12 Feb 1 Project 1 critique 

Feb 5 Ch. 3 Feb 8 Project 2A 

Feb 12 Project 2B Feb 15 test I 

Feb 19 Project 2 critique Feb 22 Chs. 8, 14, & pp. 12-20 

Feb 26 Project 3A Mar 1 Essay 1 

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Mar 5 Project 3B Mar 8 Project 3 critique 

S P R I N G B R E A K 

Mar 19 Pages 33-38 Mar 22 Project 4 exercises 

Mar 26 Essay 2 & exercises Mar 29 Good Friday 

Apr 2 Project 4 critique Apr 5 Ch. 10, exercises on Pr. 5 

Apr 9 Test 2 Apr 12 Work on 5 

Apr 16 Work on Project 5 Apr 19 Project 5 critique 

Apr 23 Chs. 7, 9, 11, 12 & 13 Apr 26 Work on 6 

Apr 30 Test 3 May 3 Work on 6 

May 8, 8 A.M. Project 6 critique 

This course AT 141 3-D Design, meets the following guidelines from the Standards for the Preparation of Teachers, Visual Arts 


1.8 innovative use of technology 

2.1.1 traditional studio approaches 

2.2.1 creative processes 

2.2.2 organizational structures. 


2.2.5 Social functions 

2.2.6 communicative qualities. 

2.5.1 make analytical and interpretative evaluations of art and design from a variety of theoretical perspectives. 


Art Department 

Mission Statement of the Art Department 

We train artists, art historians, and visual arts administrators, and provide service courses for non-art majors. 

Through our courses, we aspire to build an appreciation for the rich interchange of images and ideas that can happen 

between art and other academic disciplines. Our graduates in art have been encouraged to consider their future 

professional role in the context of both the contemporary world and the historical world. Besides a reverence for art 

history, they have been taught appropriate skills of mind, hand, and eye. They have been helped to find the next 

steps in their life journey, and have been challenged to be the best they can be in their chosen specialty. Non-majors 

who take our courses become better able to evaluate the visual aspects of their environment ,understand the value of 

creative problem solving, and appreciate art in history. And they often find their study of art to be profoundly 

nourishing to the spirit. 

Course Syllabus and Calendar 

AT 150 Art Survey I 

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I. Identifying Information: 

First Semester 2002-2003 

Location and Times: Monday, Thursday: 9:30 – 10:45; 11:00 – 12:15 

AB 154 

Instructor: Marie Celeste Miller, O.P., Ph.D. 

Home Number: 616-575-5608 

Work Number: 616-632-2410 

E-mail Address: millemar@aquinas.edu 

Office Hours: Monday and Thursday: 1:30 – 3:30 

Tuesday: 8:30 – 11:00; 2:00 – 4:00 

Friday: 8:30 – 11:00 

II. Textbook: Art History (2 nd Edition) Vol. 1 by Marilyn Stokstad, Prentice Hall and Harry N. Abrams, 

Inc. , 1999 

III. Course Description: Goals and Objectives 

This is Aquinas College’s Survey of Art I, beginning with the Art of the Caves and moving through 

history to the Art of the Age of the Cathedrals. 

GOAL OF THE COURSE: 

This is the general goal of the course: that you become acquainted with the major art movements and 

art objects/monuments from prehistoric times through c. 1350 in Western Europe; the Near East; Egypt 

and sub-Saharan Africa; China; Japan; the Americas. You will acquire a knowledge of period styles as 

well as a knowledge of the principal artists and architects from these cultures. 

COURSE OBJECTIVES: 

By the end of the course, a successful student will be able to: 

Identify major art monuments or objects within the time frame given above and discuss their 

significance 

Analyze works of art in terms of the visual elements and principles of design within a historical 

framework 

Describe and discuss art styles and artistic traditions of the time periods and cultures within the 

framework of this course 

Make general but accurate observations about the historical and cultural background in which the art 

and architecture was created 

Have a general understanding of the materials and techniques in the art shown in this course 

Improve the understanding of a variety of media 

Improve writing skills through the team projects and websearch 

Improve the ability to organize and synthesize information 

Improve the ability to work in teams to organize information and share it effectively with others 

through the learning team projects 

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IV. Learner Outcomes and Standards: 

Learner outcomes are found above under course objectives; these are what the outcomes should be for 

the student who is successful in this course. 

EVALUATION OF STUDENT WORK 

Tests (4): 40% 

Learning Team Projects and Accompanying Writing (2): 30% 

Websearch and accompanying writing: 10% 

Short Written Pieces based on Videos/Websites: 10% 

Participation: 10% 

V. Methodology and Course Requirements: 

COURSE DESIGN 

Because this is a survey course, one that takes you on a great tour of art from that made by the men and 

women from the cave civilizations to the art made by men and women of the Cathedrals, not just in 

Europe but in the Orient, Africa and the Americas, we will not study every chapter together. And not 

all the parts of the chapters will be equally important. 

So for each chapter that we consider together, I have provided you with a study sheet which outlines 

the terms, ideas and images you need to know. These study sheets are found under the button entitled 

Assignments. There you will also find detailed explanations of all assignments. 

As a teacher and as a student who continues to learn, I have come to believe that students learn "more" 

and "better" when they are active learners. The more they become involved in their work, the greater 

responsibility they assume for their own learning, the more successful they are. Not only do they learn 

the subject matter, but they grow personally and professionally. I have been thinking about this as I 

prepared this course for you. And so, there will be opportunities for other modes of learning besides 

listening to a lecture. 

The methods we will use to achieve course goals and objectives will include: 

• Critical reading of the text 

• Interactive lectures 

• Collaborative learning 

• Independent learning 

• Slides, videos, viewing and learning from selected world wide web sites and written pieces 

accompanying them 

• Two Learning Team projects 

• A websearch and accompanying writing 

• Four tests 

COURSE MECHANICS 

AT 150, Art Survey I, is an on-campus course with a support website. 

You are expected to attend all class sessions. On days when we are not meeting as a large group, but 

we are meeting in learning teams, I expect you to check in with me in the Library at the beginning of 

the class period. The Art Department attendance policy is: after three absences, your grade will fall 

one full letter grade; with four absences, two full letter grades, and beyond that, N.C. 

If you come tardy to a class, it is your responsibility to see me to be sure you are checked in as present 

for the day's work. If you do not, you will be considered absent. 

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74

Assessment Tools Used 

for Evaluation and 

GradingProject 

Elements 

If you are tardy more than 3 times, you will take a comprehensive final examination. 

Make up tests for test 1,2 and 3 will be given only with a Doctor's note. There will be one scheduled 

time for these tests. There is no possibility of make up for test 4 which is the final examination. 

Fulfill assignments on time. Late work will be penalized. 

Academic Honesty: In any assignment, if you use the exact words from any source (websites, CD- 

Roms, videos, interviews, database articles, paper resources such as books and journal articles), you 

must enclose those words in quotation marks and acknowledge the source. If you do not use quotation 

marks and cite the source, you are guilty of plagiarism. 

In any assignment, if you use the language of any source with only a slight change in wording, and if 

you don't acknowledge your source, you are guilty of plagiarism. 

Plagiarism is an extremely serious offense. A plagiarized assignment receives a failing grade and a 

student who plagiarizes may fail a course. 

Students who cheat on a test or help another student during a test will fail the test. 

All the information and help you will need for the successful completion of the course, aside from your 

textbook, are on this website. You are expected to use it for the Calendar, for Assignments and Study 

Guides, for the Syllabus, to view slides under the button entitled, Slide Library. The Resource button 

will provide you with links to other web sites which will give you additional information on the works 

and periods we are studying. There are links to virtual museums where you can visit exhibitions and 

see art from the period we are studying. Under Resources, I also list videos and selected print 

resources in the Aquinas Library that can help with your projects and paper. 

In the study guides for each chapter, the key monuments are listed as "Art to Remember". For these 

works of art, you should know the title of the work; the artist (if known); the date; and salient or 

important characteristics. We will talk more about that in class. 

All slides viewed in class will be available to you on the website under the button, Slide Library. In 

addition, there are other images and details not provided in your text under this button. 

Fact Sheet Incomplete information; 

and/or quality below 

college- level 

work;and/or key 

questions 

unaddressed;and/or weak 

organization; theories not 

explained. 

Reflection Questions Incomplete and underdeveloped 

responses; less 

than college-level study 

and thinking; poorly 

composed and 

organized; grammatical 

problems 

1 3 5 

Information is superficial 

for college-level work; all 

questions are addressed; 

somewhat organized; 

theories are explained; 

material is presented 

neatly and professionally. 

Complete response to the 

questions; shows collegelevel 

study and thinking; 

organization of thought 

evident; fair command of 

the written language. 

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In-depth, college-level 

information; all questions 

are thoroughly addressed; 

clear and evident 

organization; theories are 

thoroughly explained; 

presentation of material 

enhances learning. 

Response full and rich in 

discussion of the 

questions; uses clear, 

accurate, relevant facts to 

explain thinking; shows 

in-depth study and 

thinking; masterful 

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Learning Team Project #2 Rubric 

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organization of ideas; 

succinct but not choppy; 

composition shows welldeveloped 

vocabulary 

and variety to sentence 

structure. 

CRITERIA 1-8 9 - 16 17 - 20 

Contents Some elements required 

for the packet are 

missing; and/or minimal 

number of project 

materials included. 

Quality of Packet Packet is poorly designed 

and presented; shows 

minimal work and effort; 

less than college-level 

materials; language not 

used well; grammatical 

Packet contains 

introduction to topic; 

short informational 

essays; illustrations; 

maps; timelines; 

bibliography; listing of 

contents; title and 

relevant illustration on 

the exterior of packet; 

names of team members 

on exterior. 

Packet is neatly designed 

and attractively 

presented; college-level 

work; shows good 

command of the language 

in grammar, spelling, 

Packet contains all of the 

required elements; far 

more than minimal 

number of project 

materials are included to 

enhance learning. 

Packet looks 

professionally designed 

and well presented; 

shows creativity ;more 

than minimal collegelevel 

work by showing 

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Informal Sharing by 

Teams 

and spelling errors; very 

little organization 

evident; bibliography not 

strong enough to support 

project; mistakes in 

bibliographical form. 

(and/or) 

Presenters are difficult to 

hear; rate of speaking too 

fast or too slow; 

presentation sounds as if 

it was read; very little 

interest or enthusiasm 

evident; lacks sufficient 

eye contact; words 

mispronounced; shows 

little preparation; 

inappropriate length. 

(and/or) 

Collaboration A separate form will be 

distributed in class to 

evaluate individual work 

and collaboration within 

the groups. 

composition; shows some 

organization; appropriate 

form for bibliography. 

Presenters can be heard; 

rate of speech is 

adequate; speakers use 

notes only occasionally; 

shows some interest in 

topic; good eye contact ; 

some organization is 

evident; sounds as 

though presentation has 

been prepared; speakers 

can pronounce words 

used; appropriate length. 

Web and Data Base Search Rubric 

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depth and complexity of 

ideas; engaging, 

pertinent details; 

evidence of analysis, 

reflection, insight; 

precise, rich language; 

careful, suitable 

organization; 

bibliography shows 

substantial research and 

appropriate form is used. 

Speakers show a flair for 

communicating with the 

audience; depth of 

knowledge of the 

material; clear evidence 

of research; involves all 

of the audience with eye 

contact; strong 

organization; presentation 

is polished; all words 

pronounce correctly; does 

everything possible to 

help audience learn; 

appropriate length. 

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Criteria 0 - 10 11 - 16 17 - 20 

Relevance of Results Relevance of the web 

research to the topic is 

not clear; findings not 

completely identified. 

Fewer than 5 sites 

researched 

Clarity of Report Process not clearly 

delineated and recorded; 

report wanders; key 

points not identified. 

Report marred by errors 

in use of written 

English. 

Depth of Search Relies on first level 

search results; no 

evidence of deeper 

exploration; information 

simply repeats material 

in text. 

Presentation Presenter is difficult to 

hear; rate of speech too 

fast/slow; presentation 

sounds read or sounds 

not practiced; little 

interest or enthusiasm 

evident; shows little 

preparation; dress and 

demeanor inappropriate. 

VI. Support Services and Other Requirements: 

Search results are 

relevant to the topic; 

indicates some breadth 

to the search ( between 

4 and 8 sites researched) 

. Findings identified. 

Links followed. 

Information organized 

and clearly presented; 

process clearly 

delineated and 

recorded. report reflects 

college-level use of the 

written English. 

Results and process 

reflect some in-depth 

exploration in the 

search; follow-up 

linkages explicit; 

information broader 

than what is given in 

text. 

Presenter can be heard; 

rate of speech adequate; 

uses notes only 

occasionally; shows 

interest in topic; some 

good eye contact; some 

organization is evident; 

presentation has been 

practiced; speaker can 

pronounce words 

correctly; dress and 

demeanor appropriate. 

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Results are highly 

relevant; evidence of a 

very broad search 

including many 

different types of sites; 

at least 9 researched; 

information clearly 

stated. Links followed. 

Research findings 

clearly organized and 

integrated. Process 

reporting allows easy 

replication. Report 

shows precise and 

careful use of language. 

Topic is explored to a 

significant depth; links 

are followed and clearly 

identified; topic fully 

explored and 

information integrated. 

Speaker shows a flair of 

communication with the 

audience; depth of 

knowledge; involves all 

the audience with good 

eye contact; strong 

organization; 

presentation is polished; 

all words pronounced 

correctly; dress and 

demeanor appropriate. 

Support services for academics are found in the AcademicAchievement Center on the third floor of the 

Academic Building. They are wonderful people who are skilled in helping students with study skills, 

and academic skills of all sorts. 

Policy regarding Academic Dishonesty is embedded in Course Mechanics, in part V of this syllabus. 

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VII. Tentative Calendar of Class Meetings 

CALENDAR 

August 25 

• Introduction to the course and to each other 

• Explanation of the website and assignments 

• Explanation of Learning Team Project #1 

• Formation of Learning Teams 

August 28 

• Meet in AB 355 and 357 (9:30 section) or in the Library classroom (11:00 

section) for instruction on Online Resources in Art History 

September 4 

• Student Presentations of Learning Team Project #1 

• Discussion of Chapter 1: Prehistory and Prehistoric Art in Europe 

September 8 

• Discussion of Chapter 2: The Art of the Ancient Near East and In-class work 

• Web assignment on Ancient Near East (See Assignment Page;click on u 

Assignment Accompanying Website/Videos/CD-Roms) 

• Explanation of Learning Team Project #2 

September 22 

• Presentations of Learning Team Project II 

• Discussion of Chapter 3: The Art of Egypt 

September 25 

• Continuation of discussion and in-class work on Chapter 3 

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September 29 

• Discussion and in-class work on Chapter 5: The Art of Greece 

October 2 

• Continuation on Chapter 5: The Art of Greece 

October 6 

• Test I 

October 9 

• Explanation of Individual Websearch Projects 

October 20 - 24 Break Week 

October 27 

• Sharing of Individual Websearch Projects 

• Discussion of Chapter 6: Etruscan and Roman Art 

October 30 

• In-class work on Etruscan and Roman Art 

November 3 

• Discussion and in-class work on Chapter 7: Early Christian, Jewish and 

Byzantine Art 

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November 6 

• Test II 

November 10 

• Discussion and work on Chapter 10: Chinese Art before 1392 

November 13 

• Discussion and work on Chapter 11: Japanese Art before 1392 

• Discussion of internet material on Early Japanese Art (See assignments 

accompanying Website/video/ cd-rom material) 

November 17 

• Test III 

November 20 

• Discussion and work on Chapter 12: Art of the Americas 

• Discussion of internet site on Teotihuacan; see page entitled, Assignments 

Accompanying Website/Video/CD-Rom Material from Assignment Page 

November 24 

• Discussion and work on Chapter 13: The Art of Ancient Africa 

• Discussion of internet material/video on Ancient Africa (see study guide for this 

chapter) 

November 27 

• Thanksgiving 

December 1 

• Discussion of Chapter 15: Romanesque Art with highlights from Chapter 14 on 

Early Medieval art 

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December 5 

• Beginning of work on Chapter 16: Gothic Art 

• Internet assignment on the Bayeux Tapestry ( see Assignments accompanying 

website/video/cd-rom material 

December 8 

• Continuation of work on Chapter 16: Gothic Art 

December 11 

• Continuation of work on Chapter 16: Gothic Art 

• Review for Final Exam 

Final Exam as Scheduled by the Registrar 

• 9:30 Section: Exam on Tuesday, December 16 at 8:00 a.m. 

• 11:00 Section: Exam on Monday, December 15 at 1:00 p.m. 

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Here you will find websites and names of videos that will serve as terrific resources for 

your Learning Team Projects, your websearch and report, and your general study of the 

art period within the range of this course. They are meant to be time-saving short cuts 

for you. In addition, there are many more great sites waiting to be discovered by you 

through the use of Profusion or other search engines. Paper resources and videos will 

be placed on reserve in the library at the time that they will be helpful for your 

assignments. 

Occasionally, as part of your chapter work, I will send you to one of these sites or to 

view a video to enhance the material in a chapter. 

Here they are....Have fun! 

PREHISTORY AND PREHISTORIC ART (EUROPE) 

http://www.stonepages.com/ A comprehensive, online guide to European and other megaliths; good 

links. 

http://www-sor.inria.fr/~pierre/lascaux/ Excellent information and images on the caves of Lascaux. 

http://stonehenge.20m.com Various aspects of Stonehenge are explained here. 

http://www.mysteriousplaces.com/stonehenge/index.html Visit to Stonehenge. Beautiful 

photographs and good information 

http://www.arthistory.sbc.edu/sacredplaces/sacredplacesintro.html Chris Whitcombe's site describing 

course on sacred and ancient places...good site 

http://www.greatbuildings.com/buildings/Stonehenge.html Good outline of facts, a commentary and 

links 

http://exn.ca/mysticplaces/Stonehenge.cfm A good site...information on construction of Stonehenge 

http://www.pbs.org/wgbh/nova/stonehenge/ Archived questions and answers from this public T.V. 

presentation on Stonehenge...valuable 

http://www.culture.gouv.fr/culture/arcnat/lascaux/en/index.html This one is the best on the caves of 

Lascaux...don't miss it! Be sure to go to all the various parts of the site to receive the full benefit of 

information and colorful images! Great for the first project! 

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VIII. 

R 

e 

s 

o 

u 

r 

c 

e 

s 

/ 

R 

e 

f 

e 

r 

e 

n 

c 

e 

s 

L 

i 

s 

t

ART OF THE ANCIENT AMERICAS 

http://www.Kimbellart.org/database/ Truly excellent images of Aztec, Huastec, Maya, Zapotec and 

Cocle at the Kimbell Art Museum in Texas...Images are exquisite and they have good 

descriptions...notice other areas besides the Ancient Americas 

http://www.umass.edu/arthist/pots/main.html The Hollister Collection of Native American pottery. 

Many good images 

http://archaeology.la.asu.edu/teo/intro/citymp1.htm A well developed site on Teotihuacan. Interesting 

material! 

http://archaeology.asu.edu/teo/index.php A site with good information on the ancient city of 

Teotihuacan. 

THE ART OF EGYPT AND THE ANCIENT NEAR EAST 

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http://www.osirisweb.com/egypt/ One of the best...excellent visuals. updated often 

http://www.memphis.edu/egypt/egypt.html Good Site on Egypt 

http://www.bergerfoundation.ch/cgi-bin/home Egyptian art from World Art Treasures; also has 

information on Chinese and Japanese images 

http://guardians.net/egypt/sphinx/index.html The Great Sphinx of Giza 

http://www.Kimbellart.org/database/ The Kimbell Art Museum in Fort Worth...its database can lead 

you to Antiquities (Egypt, Ancient Near East etc) as well as African, Greek art 

http://www.thebritishmuseum.ac.uk/ Good images, information on Egyptian attitudes toward death, 

tombs, etc. Also under online-learning, world culture, notice the wonderful information on the People of 

Ur and the Babylonians. Superb site! 

http://www.memphis.edu/egypt/main.html Tours of Egypt, Exhibitions, good site 

http://www.metmuseum.org/collections/department.asp?dep=10 Visit the New York Metropolitan to 

see their Egyptian collection...one of the finest outside Cairo 

http://www.rom.on.ca/egypt/case/ This is a terrific site with a wide range of information presented 

simply and clearly ...might be a big help to you projects. Don't miss the timeline..from the Royal 

Ontario Museum. Has links to other websites and is well organized 

http://www.bergen.org/AAST/Projects/Egypt/ A good site on Egyptian religion, social and cultural 

life, Art, Hieroglyphics and Links to other good sites 

http://witcombe.sbc.edu/ARTHancient.html A gateway to tons of websites...of varying quality but all 

kinds of information...Ancient Near East, Egypt, Greece, Etruscan and Roman too. Don't miss this one. 

http://guardians.net/hawass/ This is the website for Dr. Zake Hawass, Director of the Giza Pyramids and 

Sakkara...has the latest archeological findings and discusses evidence for the theory that the Sphinx is 

thousands of years older than archeologiests claim. Don't miss this one. 

http://www.thebeadsite.com/BB-AMFA.html Egyptian Faience Amulets. 

http://members.aol.com/egyptmouse/bentndx.html Tour of Snefru's Bent Pyramid 

http://crystalinks.com/bentpyr.html Good on the Bent Pyramid...Diagrams and pictures with 

straightforward and detailed text. 

http://touregypt.net/hdyn4.htm Excellent site on the 4th dynasty, the Pyramid builders...first-rate text 

and information. 

http://www.akhet.co.uk/ This site has good information on a variety of Egyptian topics, especially those 

related to Akhenaten and his times. 

http://kate.stange.com/egypt/linknef.htm Here is a site that focuses just on links to Queen Nefertiti 

information. 

http://www.nationalgeographic.com/egypt/ This is the National Geographic's site and material on the 

discovery of King Tut's grave. It is superb! 

http://www.geocities.com/gpkillen/index.html 

Interesting site related to Egyptian furniture and woodworking. 

http://exn.ca/egypt/default.asp Learn here about the Art and History of Egypt with Canada's discovery 

channel. 

ART OF THE ANCIENT AMERICAS 

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http://www.Kimbellart.org/database/ Truly excellent images of Aztec, Huastec, Maya, Zapotec and 

Cocle at the Kimbell Art Museum in Texas...Images are exquisite and they have good 

descriptions...notice other areas besides the Ancient Americas 

http://www.umass.edu/arthist/pots/main.html The Hollister Collection of Native American pottery. 

Many good images 

http://archaeology.la.asu.edu/teo/intro/citymp1.htm A well developed site on Teotihuacan. 

Interesting material! 

http://archaeology.asu.edu/teo/index.php A site with good information on the ancient city of 

Teotihuacan. 

Greek and Roman Art 

http://www.umich.edu/~kelseydb/Exhibits/WondrousGlass/ This is a wonderful exhibition of ancient 

Roman glass. 

http://www.educationindex.com/archeol/ This is a link to Archeology Resources and includes a wide 

range of sources for things Greek and Roman as well as other areas that fall under archeology. 

http://witcombe.sbc.edu/ARTHLinks.html This is a great site with a wide range of sources on a variety 

of Art History periods and works. Links to you many more sites than those in the Roman period....really 

fine. 

http://edsitement.neh.fed.us/ This is a website from the National Endowment for the Humanities which 

features a section on Art....good material here. This is a general site, not specifically Greek and Roman, 

but it could hold possibilities for your work. 

http://www.arhu.umd.edu/ This is the web address for the College of Arts and Sciences in the University 

of Maryland. If you go to the Art History department or the Classics department, you might find among 

their Resources or Materials online some good links to Roman subjects.. 

http://www.umich.edu/~hartspc/histart/ This is the website for the Art History department of the 

University of Michigan....if you click on the History of Art links...and go to the Kelsey Museum button, 

you will find "Links to other Online Resources for Classical Art and Archeology" This might provide 

some help for you. 

http://www.bergerfoundation.ch/index_english.html This is the art site for the Berger Foundation....good 

material here. 

http://www.bu.edu/AH/resources.html#online This is the Resources page from Boston University's Art 

History area....there is a subdivision of this called, Online Resources,which might be helpful. 

http://www.umich.edu/~hartspc/histart/mother/index.html This is the Mother of All Art History Links. It 

is housed under the University of Michigan but is maintained by a group of individuals, not the University 

of Michigan itself. It is a wonderful site with an abundance of material. Worth a look! 

http://www.ilpi.com/artsource/welcome.html This is Art Source...and it leads to Architectural resources, 

many online journals and other general resources....this is a good site. 

http://www.clr.utoronto.ca/VIRTUALLIB/arch.html. This is the Architectural Virtual Library which 

might be a good lead for any topic that deals with Architecture. 

http://www.crystalinks.com/rome.html This is a site that focuses on Ancient Rome...covers the Baths, 

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Architecture, and aspects of Roman life...really good! 

http://www.deadromans.com Here is a site with information about the Forum, the Colosseum, Emperors, 

and links to other Roman sites. 

http://www.ou.edu/class/ahi4163/files/main.html An unusual site with a great deal of information about 

the Etruscans 

http://www.unc.edu/courses/rometech/public/content/arts_and_crafts/Susan_Hampton/Roman_Glass.html 

This is a site that is devoted to glassmaking, especially by the Romans 

http://www.julen.net/aw/ This is a huge search site with a multitude of links to art, architecture, and life in 

the ancient world. 

http://www.museum.upenn.edu/Greek_world/Index.html Here is a wonderful site on the Ancient world 

with information on their art and beyond. 

http://www.mysteriousetruscans.com/ This is a very complete site on the art, history and lifestyles of the 

Etruscans. 

http://www.roman-emperors.com/ Here is a site on the Roman Emperors that you might fine helpful 

now only in this course, but possibly in others as well. 

Art of Eastern Asia: China, Japan 

http://kaladarshan.arts.ohio-state.edu/ Excellent Asian Collections(over 300,000 slides) 

http://www.asianart.com/index.html Excellent infomation on Asian Arts...Lists Asian exhibitions 

world-wide, good articles, online galleries 

http://www.asianart.com/splendors/index.html Asian Art Museum of San Francisco! 

http://www.npm.gov.tw/index.htm National Palace Museum, Taiwan...one of the very best;excellent 

images and information 

http://www.bergerfoundation.ch/cgi-bin/home Wonderful images of Chinese Art as well as Egyptian 

and Japanese 

http://www.oir.ucf.edu/wm/paint/tl/japan/ Brief article on Japanese art and architecture with links to 

the major periods in Japanese art. 

http://www.nyu.edu/gsas/dept/fineart/html/chinese/index.html Chinese and Japanese Art History 

Virtual Library. 

http://www.c-c-c.org/ Here is the Chinese Cultural Center with great links to Arts and Architecture, to 

Philosophy and Art....this one is worth a look. 

http://www.wsu.edu:8080/~dee/ANCJAPAN/ART.HTM A site dedicated to the most interesting early 

Japanese art. 

http://emuseum.mnsu.edu/prehistory/china/index.html What a wonderful site on China with information 

given through maps, timelines and short focused presentations on the culture. 

http://www.essential-china.net/02_history/index.htm This provides information on the history of China 

in the form of tables and outlines....good background information. 

http://www.guggenheim.org/exhibitions/past_exhibitions/china/rotunda.html This is the site of the 

Guggenheim Museum and it highlights the blockbuster exhibit, China: 500 years. You'll love it! 

The Art of Africa 

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http://www.si.edu/nmafa/exhibits/currexhb.htm National Museum of African Art..Great Exhibits 

http://www.manntaylor.com/rockart.html A site on the people of the Sahara Desert and Saharan Rock 

Art 

http://www.lib.virginia.edu/clemons/RMC/exhib/93.ray.aa/African.html African Art: Aesthetics and 

Meaning...beautiful electronic exhibit! 

http://www.artnetweb.com/guggenheim/africa/index.html Excellent African Art images with clickable 

map of Africa..showing art from the major areas of Africa...terrific site 

http://www.Kimbellart.org/ When you get to the Kimbell Art Museum site (Texas), click on 

Collections, then on Africa...and you will find excellent examples of sculpture with good written 

material accompanying them. 

http://www.si.edu/resource/faq/where/Africa.htm Good examples of the classical art of Benin. Don't 

miss the fact that there is a link to the National Museum of African Art! 

http://www.si.edu/nmafa/exhibits/benintwo.htm A wonderful site on the people and art of Benin..West 

Africa. 

http://www.sas.upenn.edu/African_Studies/Home_Page/WWW_Links.html A resource list of African 

web links...good resource. 

http://www.nmafa.si.edu/exhibits/beninsp.htm This site gives images and information about key works 

from the Kingdom of Benin 

http://cti.itc.virginia.edu/%7Ebcr/African_Mask.html This is an interesting site concerning the art of the 

African Mask. 

Byzantine, Romanesque and Gothic Art 

http://www.exploreturkey.com/ist_byza.htm Excellent site. Looks at Hagia Sophia, Byzantine 

structures: scroll to other sites ancient Turkey, Greek, Roman,Troy.Wonderful pictures 

http://www.archaeology.org/online/news/sophia.html Byzantine images and the restoring of Hagia 

Sophia. 

http://www.thais.it/scultura/romanica.htm Excellent Romanesque sculpture from Italy. 

http://www.archaeology.org/online/news/sophia.html Recent restoration of Hagia Sophia. 

http://www.io.com/%7Etapestry/index.html Here is a wonderful resource on the History of Tapestry 

and Wall Hangings. 

http://www.hastings1066.com This is a terrific site on the Bayeux tapestry...visually rich as well as full 

of good information. 

http://www.learn.columbia.edu/Mcahweb/index-frame.html Wait til you see this site....it has everything 

you ever wanted to know about the Cathedral at Amiems....a very thorough site with wonderful images 

and college-level text that provides an in-depth study of the cathedral. 

Art Survey II 


Syllabus 

Matrix Reference 

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AT 151 


In this course, you as students will become acquainted with the major art movements and art objects/monuments 

from about 1350 through the beginning of the 20th century in western Europe, China, Japan, the Pacific area, Africa 

and the United States. You will acquire a knowledge of period styles as well as a knowledge of the principal artists 

and architects from these cultures. 


• Identify major art monuments or objects within the time frame given above and discuss their significance 

• Analyze works of art in terms of the visual elements, principles of design, and techniques 

• Describe and discuss art styles and artistic traditions of the time periods and cultures within the framework of 

this course 

• Make general but accurate observations about the historical and cultural background in which the art and 

architecture was created in terms of specific visual sources. 

• Develop a level of visual literacy by training the eye to see the elements of art at work in pieces of art and 

architecture 

• Have a general understanding of the materials and techniques in the art shown in this course 

• Improve writing skills through the team projects and the paper 

• Improve the ability to organize and synthesize information 

• Improve the ability to work in teams to organize information and share it effectively with others through the 

learning team projects 

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SYLLABUS 

Instructor: Sister Marie Celeste Miller 

E-Mail: millemar@aquinas.edu 

Office Art and Music Center, Room 204 

Office Phone: 459-8281, Ext. 3425 

Office Hours: Monday and Thursday: 1:30 - 3:30 

Tuesday: 9:00 - 11:00; 1:30 - 3:30 

Friday: 9:00 - 11:00 

GOAL OF THE COURSE 

This is the general goal of the course: that you as students become acquainted with the 

major art movements and art objects/monuments from about 1350 through the 

beginning of the 20th century in western Europe, China, Japan, the Pacific area, Africa 

and the United States. You will acquire a knowledge of period styles as well as a 

knowledge of the principal artists and architects from these cultures. 

COURSE OBJECTIVES 


• Identify major art monuments or objects within the time frame given above 

and discuss their significance 

• Analyze works of art in terms of the visual elements, principles of design, and 

techniques 

• Describe and discuss art styles and artistic traditions of the time periods and 

cultures within the framework of this course 

• Make general but accurate observations about the historical and cultural 

background in which the art and architecture was created in terms of specific 

visual sources. 

• Develop a level of visual literacy by training the eye to see the elements of art 

at work in pieces of art and architecture 

• Have a general understanding of the materials and techniques in the art shown 

in this course 

• Improve writing skills through the team projects and the paper 

• Improve the ability to organize and synthesize information 

• Improve the ability to work in teams to organize information and share it 

effectively with others through the learning team projects 

TEXT 

We will use Art History (Second Edition), Vol. II by Marilyn Stokstad, Prentice Hall 

and Harry N. Abrams, Inc., 2002 

COURSE DESIGN 

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Because this is a survey course, one that takes you on a great tour of art from that made 

by the men and women of the Renaissance to the art made by individuals of the 20th 

century, not just in Europe, but in the Orient, Africa, and the Pacific islands, we will 

not study every chapter together. And not all the parts of the chapters will be equally 

important. 

So for each chapter that we consider together, I have provided you with a study sheet 

which outlines the terms, ideas and images you need to know. These study sheets are 

found under the button entitled Assignments. There you will also find detailed 

explanations of all assignments. 

As a teacher and as a student who continues to learn, I have come to believe that 

students learn "more" and "better" when they are active learners. The more they 

become involved in their work, the greater responsibility they assume for their own 

learning, the more successful they are. Not only do they learn the subject matter, but 

they grow personally and professionally. I have been thinking about this as I prepared 

this course for you. And so, there will be opportunities for other modes of learning 

besides listening to a lecture. 

The methods we will use to achieve course goals and objectives will include: 



• Problem solving approaches to projects 

• Collaborative learning 

• Independent learning 

• Slides, videos, viewing and learning from selected world wide web sites 

• Two Learning Team projects and one Individual Project (Exhibit) 

• Three tests 

Specifics about the daily workings of the course can be found under Course Mechanics. 

Be sure to go to this link to remind yourself of course procedures. 


Tests (3): 30% 

Learning Team Projects (2): 20% 

Exhibit: 30% 

Early Renaissance Assignment: 10% 


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AT 151 

This course meets the following standards for Preparation of Teachers in Visual Arts Education: 

1.4: model teaching methods and approaches appropriate for learning both within the higher education 

classroom and the art education settings for which their students are being prepared. They 

continuously plan and implement instruction as a series of sequential learning experiences as they 

prepare students to do the same in their classrooms. 

1.8: are committed to learning about, furthering and modeling the innovative use of computer 

technology within the field as both an art medium and as a tool for communication, research, and 

instructional purposes. 

2.3.1: western art and artists from historical perspectives. 

2.3.3: non-western art and artists from historical perspectives. 

2.3.5: design history. 

2.3.6: cultural studies. 

2.3.7: media literacy. 

2.3.8: gender studies. 

2.4.1: major traditional theories of art and design. 

2.4.3: the influence of these theories on the creation of art. 

2.5.1: make analytical and interpretative evaluations of art and design from a variety of 

theoretical perspectives. 

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Art 201-202 Steve Schousen 

Advanced and Life Drawing AMC – Room 134 

Fall 2002 ext. 3427 (H) 454-2729 


This is a studio art course that will focus on drawing from the observed figure, the development of traditional 

drawing skills, experimentation with materials, and nurturing an awareness of an emerging individual style. 

Everyone will work from the figure during class sessions and we will all follow the same critique schedule. 

Homework assignments, however, will vary depending on course level. Individual homework calendars are outlined 

below. We will have a critique of homework and in-class drawings once every two weeks and all other classes will 

be devoted to drawing from the nude. In addition to academic correctness, we will focus on developing a sensitivity 

with form, materials and design which is responsive to the unique visual qualities of your subject. Exploration of 

materials will also constitute an important part of the course. While you are not expected to master each of the 

materials introduced this semester, your work should reflect a search for the creative potential inherent in each. By 

the end of the semester, you are expected to create a group of mature, finished drawings. 

Goals 

1. To provide the students with an opportunity to engage in visual problem solving involving the figure and 

other subject matter using a variety of 2-dimensional black and white media. 

2. To provide the student with background in academic figure drawing. 

3. To encourage students to become increasing sensitive to the visual qualities of their environment. 

4. To focus on and identify each students’ individual approach to image making. 

Objectives 

At the end of this course the students will be able to: 

1. Prepare a portfolio of drawings demonstrating mastery of issues covered. 

2. Accurately record visual observations in proper proportion. 

3. Create a convincing figure drawing using line only. 

4. Create a convincing figure drawing using graded tone only. 

5. Demonstrate how atmospheric perspective can control the illusion of 3-dimensions. 



8. Demonstrate the ability to integrate basic design principles with the drawing process. 

9. Demonstrate familiarity with the following materials: pencil, charcoal, pen and ink, ink wash. 

Requirements 

1. Eight finished drawings 

2. Meaningful participation in all critiques, class exercises and discussions 

3. Acquisition of traditional drawing skills specifically – gesture, contour, measuring, /proportions, control of 

space, use of tone. 

4. Excellent attendance. If you ever hired your own nude model, you know how valuable this time is. Please 

arrive at class 10-15 minutes early in order to set up. This saves drawing time and does not disrupt your 

peers. If we set up after class starts and clean up before it ends we can easily waste 30-40 minutes of model 

time. You can’t afford this. I realize some of your schedules may be tight, but try to spend the class time 

working from the model. You have paid for it and it is a unique opportunity. 

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Grading 

The following factors are considered when evaluating your work. 

1. Acquisition of drawing skills 

This semester, we will work with a number of design issues, traditional drawing methods and new drawing media. 

Your effort should be sufficient to demonstrate competence with these methods, materials and design issues. This 

means that you will occasionally need to put in extra time and rework some of your assignments. Simply completing 

all of the assigned projects does not insure a passing grade in this course. 

The drawing skills I will be looking for in your drawings are: 

-interesting use of line 

-control of space 

-ability to observe and record observations in correct proportion and relationship to one another 

-ability to control graded tone 

-ability to compose 

2 Homework 

Expect to put in 6 hours per week, out side of class. I am looking for a consistent outside effort 

3. Effort & initiative 

4. Attendance 

Departmental policy states: absences in excess of three will result in a lower grade and absences in excess of five 

will result in a no-credit. Do not come late to this class. Discussions, examples and directions are frequently 

presented during the first 15 minutes of each class and you may be considered absent if you are more than 10 

minutes late. 

Homework 

Plan to spend 4-6 hours outside of class on homework projects. One drawing will be due every two weeks following 

the schedule below. A working critique will be held one week before the project is due. You are required to bring a 

new drawing that represents about five hours of work to each of these critiques. I also want to encourage you to 

bring older drawings on which you are still working to these critiques. Your participation in these critiques – both 

the drawings you display and your comments about your own work and the work of others- is a critical part of this 

class. When you leave the critique you should have a good idea about what works in the drawing, about what seems 

confusing and a sense of what you are going to do next. 

On Friday, Oct18 – the day before fall break starts- you will turn in the first three drawings, and what ever you have 

going for the next three, for midterm evaluation. On that day we are scheduled to have a group critique focusing on 

drawings # 4 – 6. 

On Tuesday, Nov. 22 –the last class before Thanksgiving break- I want you to turn in the next two drawings for 

evaluation. If you follow this schedule you will have five drawings totally finished and turned in by Thanksgiving 

and almost a whole month to finish up the last three. 

On Friday, Dec. 13 you should turn all eight finished outside drawings for final evaluation. Individual critiques or a 

group critique will be scheduled during exam week. 

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Homework Schedule AT 201 

1. Tree trunks: 

-due on 9/13 

-working critique on 9/6 

-I am looking for a contour drawing which accurately describes form and shape and also suggests 

space. Composition and process should be an important part of the final drawing. 

2. Skeleton: 

-due on 9/27 


-I would also like this drawing to be more about contour and shape than shading. Accurate 

observations about proportions and shapes are important, as is composition. 

3. Self Portrait: 

-due on 10/11 


-Think about cross-contour lines to describe the form of your portrait. Make use of highlights and 

shadow cores. Finding a single, strong light source help. 

4. Ink Wash 

5. Charcoal and turpenoid on gessoed paper 

6. Pen and ink 

-two of these three drawings is due on 11/26 

-subject matter should be figure related: self-portrait, skeleton or figure, all from life. 

-composition and exploration of the material is important 

-accurate observations and description of form is important. 

7&8 undefined 

-I have some ideas if you can’t think of projects that will further your development. I wanted to 

leave these last two drawings pretty open to enable you to pursue a direction you define for 

yourself. 

Homework Schedule AT 202 

1. Life size skeleton drawing: 

-due on 9/13 


-Focus on shape and proportion. A contour drawing that is almost life size. 

2. self-portrait 

-due on 9/27 


-line and plane only 

-strong light source is essential 

3. Old master image- skeleton analysis 

-due on 10/11 


4. Self portrait: 

-tone 

-Spend time looking at how other artists have creatively composed self-portraits. 

5. In projects five through eight I want you to pursue drawing projects of interest to you. 

Homework Schedule: courses beyond AT 202 

While you are required to bring drawings to each critique and to follow the above schedule for completion of 

drawings, I want you to work on a theme of your own choosing. 

Materials (Be sure to bring all of your materials to every class.) 

Paper: 

1 – 18x24 newsprint pad. (Purchase more as needed.) 

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1 – 18x24 pad Strathmore 400 

1 – 18x24 Charcoal paper as needed 

other paper as needed 

Pencils: 

1 - 2H, 2-2B, 1-6B 

Color pencils (pigment and Wax); 1-Black, 1-white, 1-earth tone 

Charcoal and crayons: 

1 - pkg. vine charcoal 

1 –2 stick compressed – soft charcoal 

white charcoal pencil 

Conte crayons: optional 

Erasers: 

1 synthetic - pink pearl 

1 kneaded 

Ink, brushes, pens: 

1 – holder 

2 – pen tips (non-calligraphic!) 

1 – Bottle of black India ink – Higgins is best, stay away from acrylic-based ink-it is too thick for the pens. 

1 – sm. & 1g brush – Japanese brushes work well 

Small mixing jars and saucers 

1 – cheap, small oil brush 

Assorted materials you might want but do not need: 

1- roll masking tape 

1-12” ruler 

1-can fixative 

Sandpaper #220 or #180 

1 20X26 portfolio 

This course, AT 201 Advanced Drawing, meets the following guidelines from the Standards for the Preparation of 



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We are dedicated to the preparation of students for the roles of artists, art historians, visual arts administrators and art 

teachers, and we build in non-art majors an appreciation for the value of creative problem solving and the rich 

interchange of images and ideas that happen between art and other areas of life. 


AT 212 Beginning Photography 



Location and Times: AMC room 212, Tues./Fri. 12:15 – 3:05 

Instructor: Dana Freeman 

Home Number: 616-456-8816 

Work Number: 616-632-2408 

E-mail Address: freemdan@aquinas.edu 

Office Hours: MTTHF 11:00- 12:15 and 3:05-4:15 

II. Textbook/Video: 

A Short Course in PHOTOGRAPHY, 5 th edition, by Barbara London and Jim Stone, 

available at the Bookstore 

III. Course Description: 

Our goal in this course is to learn the techniques of a medium, here photography, to allow you express 

your own ideas. We will explore black and white photography, including basic camera handling, film 

developing and printing. Technique, aesthetics and concepts will be discussed through class critiques. 

Goals: 

1. Understand the phenomenon of photography in the context of the art world. 

2. Gain the ability to create strong compositions and well executed photographs. 

3. Complete all assignments. 

4. Visit the public forum for fine art, the Art Museum or Gallery. 

Objectives: 

By the end of the course a successful student will be able to: 

1. Identify their work in the context of the art world and art history 

2. Analyze the compositional/formal elements of their own artwork, and the artwork of others. 

3. Create a portfolio of visually and conceptually interesting and high quality photographs. 

4. Experience and appreciate the creative process. 



the student who is successful in this course. 

I base my standards (of the industry) on my experience as a guest critic at other colleges, the standards 

set by my professors in graduate school for classes I taught as a teacher’s assistant, and my active 

survey of contemporary art through membership in the College Art Association, reading of arts 

journals and attending exhibitions. 


We will meet twice a week, mainly for hands-on demonstrations and workdays in the darkroom, but there will also 

be at least one fieldtrip and slide lectures. On workdays I expect you to come to class on time and report what you 

will be doing during the class period, which may include shooting or some other off-site work. THE 

PORTFOLIO- 

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DUE TO THE HALL OUTSIDE MY OFFIC BY 5PM, Wednesday, 12/15. 

(Call Campus Safety x3754 to be let in after building hours to drop-off your portfolios.) 

Three-ring binder with your name and phone # and clear plastic sheets for each assignment- 

To include: 

>Proof sheet (and photo log for Exercises to Get to Know Your Camera) for each role of film, 

followed by prints for that assignment, and grade sheet! (Please MAKE IT VERY CLEAR if 

you’ve redone prints, especially if you’ve reworked an assignment that has already been graded). 

(Hockney, 16" x 20" and mats should be the only items not included) 

>Passing paper & paper outline from class field trip 

>A paragraph describing a photo exhibit you’ve attended and YOUR PERSONAL RESPONSE 

(class field trip does not count), and documentation, if possible (ie: announcement card) 

>Paragraph (with source) on 2 photographers you discovered on your own (I did not present in 

class) describing their work and YOUR PERSONAL RESPONSE (Internet sites o.k.) 

>Extra credit work (you may want to talk to me about the need for your particular situation) 

Please make arrangements with me if you need your portfolio back by a certain date. You can 

put a note on the outside of your portfolio and I’ll try to accommodate you. 

VI. Assessment Tools Used and Criteria: 

ATTENDANCE: 

Departmental policy states that 4 absences affect your grade and 7 absences will result in a failing grade for 

the course. IT IS YOUR JOB TO TALK TO ME IF YOU’LL HAVE ANY PROBLEM WITH 

ATTENDANCE! There will be a break in each class, sometimes structured, others up to you. 

GRADING: I will evaluate your progress with each project and you will receive an evaluation and grade, 

(see evaluation sheet). You are welcome to ask about your grade at any time. 

When evaluating your final grade, I will consider the following: 

1) Attendance- SEE POLICY 

In addition to meeting the departmental requirements outlined above, you are expected to be on time for 

class at the Art & Music Center, room 212. If you cannot meet this requirement, drop this class as soon as 

possible. You are expected to be present at the beginning of each class for role call and announcements. 

The process of photography requires, at times, that you work outside the classroom during class time, but I 

want you to plan to have in-lab work to accomplish most workdays. This allows for feedback from me as 

you are working, and class interaction. 

2) Effort & Initiative- 15% 

You must demonstrate the ability to continually rework and modify an image as it develops. The 

commitment to experimenting, until you reach your vision, is essential. Focus and persistence are required 

to make successful photographs and I expect hard work throughout the semester. (Remember, it will be to 

your advantage to deal with assignments prior to the last day before critiques when the darkroom will be a 

zoo! Give yourself time for unanticipated problems and plenty of time to clean up thoroughly! ) I also 

expect you to thoughtfully contribute to class critiques of both your work and that of your peers. 

3) Acquisition of Skills- 75% 

This is reflected in your grade for each project. Your efforts should demonstrate a mastery of materials, 

techniques, design/compositional and conceptual issues so they may be tools to draw on in your on-going 

work. You may need to put in extra time compared to your peers to ensure a passing grade. 

4) Final Presentation- 10% 

A neat and appropriate presentation for your work is important. I do not expect you to frame projects, but 

borders should be carefully trimmed and even, and photographs should be kept and presented in good 

condition. 

VII. Support Services and Other Requirements: 

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Academic Dishonesty: Written or other work that a student submits must be the product of 

her/his own efforts. Plagiarism, cheating and other forms of academic dishonesty, including 

dishonesty involving computer technology, are prohibited. 

Your names will be on file at Campus Safety- x3754- to be let into the building, darkrooms and 

lighting studio after hours. I recommend you sign-up for a locker downstairs in the Art & Music 

Center Office with Diana ($2) during business hours. 

VIII. Tentative Calendar of Class Meetings: 

This syllabus is subject to change. Please make an appointment if you want feedback outside these class times by 

calling me at home at the phone # above. Although you are expected to attend all classes, ** indicates these 

lectures are required! Talk to me if you anticipate missing any of them, it may mean you must drop the class! 

Critiques (*) are like a test- your presence and participation count toward your grade, even if you can’t 

present your own work. To save on material costs, all photos may be printed 5" x 7" (half sheet) unless otherwise 

specified. 

Your names will be on file at Campus Safety- x3754- to be let into the building, darkrooms and lighting studio after hours. I 

recommend you sign-up for a locker downstairs in the Art & Music Center Office with Diana ($2) during business hours. 

8/24: Orientation/discuss supplies/photograms 

Assignment Due 8/27: Bring 5 photographic images (from magazines) you feel make a series 

Reading Assignment Due 8/27: pages 3-9, 12-23, 36-41, 47-51, 54-75 

8/27: Discuss series of 5 photographic images 

Lecture**: Use of the Camera-bring your camera without film in it and manual if you have one 

Intro to Assignment #1, Due 9/17: Snapshot Collage after David Hockney (collage of uncut color photographs to be 

mounted on foam core and hung in the Corner Cafe during class- see description)) 

Intro to Assign. #2 Due 9/21: Shooting from the Hip have film shot for class 8/31: “Film Developing”-this will be the 

first roll of film you will develop and print from, (series of 4 photos- see description) 

Reading Assignment Due 8/31: pages 77-95 

8/31:splitLecture**: Film Developing- bring camera, film shot “From the Hip” 

Reading Assignment Due 9/3: pages 97-109, 159-171 

9/3:split Lecture**: Printing, The Basics- bring plastic negative sheet (film will be in dryer), photo paper, compressed air 

Reading Assignment Due 9/7: pages 110-117 

9/7:split Lecture**: Printing, Demonstration: Filters, Fine printing-cropping, dodging & burning/Workday 

Reading Assignment: Due 9/10: pages 118-119 

9/10: Intro to Assignment #3, Due 9/24: Exercises- Get to Know Your Camera (proof sheet only and photo log) 

Darkroom Workday 

9/14: Demonstration: Spotting/Workday 

*9/17: Assignment #1 Hockney Critique (rubber cement to foam core by next class) 

Slides: Modernist Photographers & Postmodern Photographers 

*9/21: Assignment #2 Shooting from the Hip Critique (a series of 4 photos) 

Hang Hockneys in the Corner Café 

Reading Assignment Due 9/24: page 127-143, 172-173 

*9/24: Assignment #3 Exercises- Get to Know your Camera individual meetings (proof sheets only and photo log) 

Introduction to Assignment #4 Due 10/12: The Portrait (3 photos that do not need to be a series) 

Lighting Studio Tour/Videos 

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9/28: No Class-Studio Appointments 

10/1: Workday 

Reading Assignment Due 10/5: pages 179-183 (glossary) 

10/5: Workday/Studio Appointments, if necessary 

10/8: Workday/Studio Appointments, if necessary 

*10/12: Assignment #4 Portrait Critique (3 photos that do not have to be a series) & Matting and Mounting 1 of your portraits 

Intro to Assignment #5 Due 11/15: Double Exposure (series of 4 photos Unpredictable! Expect multiple shootings) 

10/15: Workday 

10/18- 10/22: No class- Fall Break 

10/26: Field Trip to GRAM: Writing Assignment Due 11/9: (Response to a work from field trip- see glossary) 

Demonstration: Hand Coloring/Workday 


Reading Assignment Due 11/2: pages 159-173 (review), 174-176 

11/2: Introduction to Assignment #6 Due 12/10: Personal Project -WORTH 2 GRADES (the equivalent of a series of 12 

photographs- to be determined based on your particular project) 

Slides: Various Photographers to give you ideas 

Demonstrations: Solarized and Toned photographs 

*11/5: Assignment #5 Double Exposure Critique (a series of 4 photos) 

10-minute meetings about Assignment #6: Personal Project (demos needed?) 

OK with me 8" x 10"'s as preparation for 16 x 20's (need to know filter, if used, f stop & time) 

11/9: Writing Assignment Due 

10-minute meetings about Assignment #6: Personal Project (demos needed?) 

OK with me 8" x 10"'s as preparation for 16 x 20's (need to know filter, if used, f stop & time) 

11/12: 16 x 20 printing of one of your negatives/Work day 

11/16: 16 x 20 printing of one of your negatives/Work day 

11/19: Dry mount & Hang 16 x 20's in Corner Cafe (bring foam core) 

10-minute meetings with proof sheets & any prints for Assignment #6: Personal Project/Work day 


Reminder: the final portfolio requires you review I art exhibit and look-up 2 photographers— for details see “The 

Portfolio” section of this syllabus 

11/26: No class- Thanksgiving Break 


12/3: Workday 

12/7: Workday (Toning Day!) 

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*12/10: Assignment #6 Critique (the equivalent of a series of 12 photos- to be determined based on your particular project) 

If you’d like an individual meeting about your portfolio, schedule it this class. 

Wednesday, 12/15 by 5pm- Portfolio is due outside my office door! 

IX. Resources/Reference List: 

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MATERIALS LIST 

Chemistry is provided in the darkroom. Pay close attention to labels so you don’t contaminate everyone’s chemistry. 

Materials usually cost @ $75.00 + cost of the book 

MATERIALS 

1) Approximately 7 rolls of film- 

1- color film, 36 exposures for Hockney photo collage assignment (you will pay for color processing) 

6 Black & White Film, 24 exposures 

3- Bright light situations: Arista 100 speed 

3- Low light situations: Arista 400 speed 

2) Arista Multi contrast RC paper, semi-gloss 8" x 10", 100 sheets, also- 1-2 sheets 16” x 20” paper. 

3) 6 negative sheets to protect negatives, (you will buy a binder and sheet protectors for negative and print storage). 

4) 1 compressed air (essential and seems to disappear from the lab.) 

You will also buy: 

2 pieces of foam core for Hockney project and large scale print 

Text: A Short Course in PHOTOGRAPHY, 5 th edition, by Barbara London and Jim Stone, 

available at the Bookstore (approximately $38.00 used) 

More paper, film, etc. as needed 

And I recommend having a towel in your locker to wipe your hands on while printing.

Assignment:________________________________________________ 

Name:_____________________________________________________ 

Formal Strength 

Formal Resolution 

Conceptual Strength 

Conceptual Resolution 

Unity or N/A 

Craft 

Freshness/Vitality 

Grade at Critique 

Comments 

Final Grade 

below average average above average excellent 

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Beginning Photography- AT 212 

Dana Freeman, x3426, 456-8816 

Photography Assignments 

Assignment #1: Photo collage after David Hockney 

In this assignment you will use commercially processed 35 mm color print film: Buy a roll of 36 exposures- 

Outdoor bright light- use 100 ASA Good light- 200 ASA 

Indoor with good light-400 ASA Low light- 800 or above ASA 

*Note: light sources other than daylight may distort the color of your prints 

Select an object or scene and photograph it in parts--break the scene up into approximately 24 gridded parts to be 

overlapped and shoot with a 36 exposure roll. (You will have 12 extra shots for bracketing, distortions or adding 

extra prints around the margins.) I suggest you do one roll right away and get it developed so you can evaluate 

whether you need to reshoot. For the critique, piece together your composition with tape or putty, just tacking it, 

until you know you’ve gotten it to work as a whole. After the critique, we will attach the whole composition with 

rubber cement to a sturdy piece of foamcore in class. 

NOTE: 

1. You can not cut your photographs, only overlap them!! Be sure to shoot objects going off the edge of the photo so 

they can be overlapped into each other!! 

2. You will have different light meter readings as you focus on different parts of the scene. It is up to you to 

determine what object is the priority, and to meter to its advantage, (remember the example of the grey stones in the 

white stone garden). 

3. Concentrate on a scene for its composition, color, content and experimental possibility- take some time to 

create an interesting piece- exaggerate, add motion, make a photo that can’t be taken! 

Assignment #2 Shooting From the Hip 

DO NOT LOOK THROUGH THE EYEPIECE!! This project relies on chance and serendipity. It’s a good first roll 

to develop because you can’t get too invested in the images, and it should only take you a couple of minutes to 

shoot. Choose a place where images will be 3-10 feet close (ie: not a landscape) a mall, in your apartment, or a 

crowded bus are good examples. Set your camera at a 3-10 foot focus, and an aperture with some depth of field, and 

shoot into situations freely, “from the hip”. You can experiment with swinging your camera or holding it somewhat 

still- both can yield interesting results- but don’t try to control the image, it should look “topsy-turvey”. 

NOTE: 

1. Shoot one roll, develop it and make a proof sheet so you can see if you have pictures you can use (it can be very 

abstract!) If necessary, go out and try it again. 

2. Stick with one location for the whole project and choose a focus, shutter speed and depth of field--there’s no right 

or wrong here! 

3. Don’t try to straighten or correct compositions in printing your photographs. I want them to look “From the Hip”. 

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Assignment #3 Exercises to get to Know Your Camera 

You will be making a proof sheet only for this assignment. 

1. Pick a scene and shoot it approximately every hour through a sunrise or sunset shooting @ 6 frames (to include 

complete darkness on one end or the other. Use a shutter speed you can hold still (ie: 1/125) for as long as possible 

by only increasing the size of your aperture. When you can’t open your aperture any wider, increase your shutter 

speed. When you can’t set a longer shutter speed, use the “B” setting (you’ll have to time the seconds yourself). In 

complete darkness, try 30-60 second exposures. 

2. Two photographs of a person with their back to the sun. First set your light meter setting for the general picture 

of your subject blocking the sun with his/her head at a setting that gives you the greatest depth of field while still 

allowing you to hold the camera still. Then fill your eyepiece with the face of the person, set the light meter for this 

reading (that gives you the greatest depth of field while still allowing you to hold the camera still), back-up to where 

you were and shoot without readjusting the light meter. Be sure to get close enough to your subject- about 4 feet is 

good. (A lamp indoors also works, but be sure the subject’s head blocks the light.) 

3. Shutter as controller of motion. 

Stop motion: In full daylight you should be able to shoot at a fast enough speed to stop motion, 125 or faster. 

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Panning: In shaded daylight, so you can shoot with a slower shutter speed of 1/15, ¼, follow an object in 

motion and match its speed, take the photo following through. 

Show motion: In shaded daylight, shoot pictures of one object in motion at shutter speeds of 1/30, 1/8, ½, and 2 

seconds, if you can. Remember to change your aperture too so the exposure remains the same (middle grey). 

Different depths of field: Pick 3 objects in good light and place them at different depths of 1, 2, and 3 feet in front of 

you. With objects at eye-level, focus on the middle object and shoot one picture with the smallest aperture for a 

wide depth of field, one with a middle aperture for a medium depth of field, and one with the largest aperture for the 

least depth of field. 

Assignment #4: Portrait 

As a class we’ll go to the slide room to introduce you to the equipment. You’ll also see videos of two portrait 

photographers, George Hurrell photographer of the Hollywood Stars, and Annie Liebowitz, Rolling Stone 

Photographer in the 60's, and of contemporary well-known people. Then you’ll make a one hour appointment with 

me to photograph a person of your choice. This is not a series. 

NOTE: 

1.Use light and pose, along with costumes and props, to create your portrait. 

2. We’ll be shooting against a formal black ground- so you can ask your model to wear something that 1) sets them 

off from the ground (lights), 2) subtly sets them off (grays), or 3) disappears into the ground (black). 

3. You can use my camera if you don’t have the attachment for the strobes on yours. 

Assignment #5: Double Exposure Series 

Isolate 2-3 objects to superimpose in your double exposures. Pick them for their interesting combination of shape 

and content. Load film and follow light meter to shoot a roll of different angles of one or two of the items. When 

the roll is finished, rewind film, stopping just before leader goes into canister, (if it goes in, don’t worry, you can use 

the leader puller or open canister in a completely dark room and pull leader out, then close canister in the camera 

before exiting-and be sure you cover any red windows to the back of your camera if you have them. You’ll need to 

take the double exposed film directly out of your camera in the dark to roll). Shoot roll again, this time of another 

object. You may print part of one frame and part of another next to it- experiment! Since this assignment relies on 

chance, allow yourself time to shoot at least two rolls. 

NOTE: 

1. If you are shooting in a very brightly lit situation for either of the two subjects, you may want to double the ASA 

(ie: 200 to 400, 400 to 800, etc.) to be sure the film isn’t overly exposed and unable to take another image. Develop 

film at original (undoubled) ASA. 

2. Shoot objects that are dark or against a dark background first, (black reads on the film as clear- unaffected by 

light- so the next image has room on the film to register). Keep in mind that you want the background to set-off the 

objects, not distract from or obliterate them, (ie: a wallpaper pattern might be a nice pattern on a simple object, but 

too much on an object with a lot of detail). You can shoot the first time in the lighting studio to guarantee results. 

3. Remember, you can crop the compositions to focus on areas that are most successful. 

16 x 20 Print 

This is not a project, just a chance for you to see one of the negatives you shot during class in large format. You 

need to make an 8" x 10" print of the image you want to use to be able to tell me the shutter speed, aperture & filter 

used. The print should take only minimal dodging and burning. If you want extra prints, the cost is $2 each. 

Assignment #6: Personal Project 

This equals two grades. It can be an extension of one of the assignments you’ve already done in class-- but 

somehow more challenging. . You will meet with me to structure how you go about your project, and we’ll decide, 

based on your particular project, how many prints you’ll turn in. It will be the equivalent of 12 straight prints worth 

of work. 

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This course AT 212 Photography I, meets the following guidelines from the Standards for the Preparation of Teachers, 

Visual Arts Education (LQ). 















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We are dedicated to the preparation of students for the roles of artists, art historians, visual arts administrators and art 

teachers, and we build in non-art majors an appreciation for the value of creative problem solving and the rich 

interchange of images and ideas that happen between art and other areas of life. 


AT 213-18 Intermediate/Advanced Photography 



Location and Times: AMC room 212, DSP Saturdays 1:30 – 5:00 

Instructor: Dana Freeman 

Home Number: 616-456-8816 

Work Number: 616-632-2408 

E-mail Address: freemdan@aquinas.edu 

Office Hours: MTThF 11:00-12:30, 3:05-4:05, W 12-2 and by appointment 


The Practical Zone System, Johnson (optional), available at the Bookstore 

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Our goal in Intermediate and Advanced Photography is to widen your vocabulary of photographic 

skills, learn about the history of photography as a fine art form, and continue to express your own ideas 

through the medium of photography. 

Goals: 

1. Understand the phenomenon of photography in the context of the art world. 

2. Gain the ability to create strong compositions and well executed photographs. 

3. Develop your own conceptual ideas and locate your work on the spectrum of photographic 

philosophies. 

4. Complete all assignments. 

Objectives: 

By the end of the course a successful student will be able to: 

2. Identify their work in the context of the art world and art history, and on the spectrum of traditional 

through postmodern aesthetics. 

2. Execute work with strong compositional/formal qualities. 

3. Create a portfolio of visually and conceptually interesting, and high quality, photographs that 

reflects their emerging voice. 

4. Recognize and guide their creative process. 



the student who is successful in this course. I base my standards (of the industry) on my experience as 

a guest critic at other colleges, the standards set by my professors in graduate school for classes I 

taught a teacher’s assistant, and my active survey of contemporary art through membership in the 

College Art Association, reading of arts journals and going to exhibitions. 


We will meet five Saturdays during the semester, for all level (AT 213-18) critiques of assignments 

and lectures for AT 213 about the postmodern aesthetic, zone system, and the taboo of photography. I 

expect you to make at least one appointment with me between classes to review work-in- progress. 

In this class I will challenge you with three approaches: 

1. Readings and slide lectures. 

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2. Technical information and demonstrations 

3. Concept development: thinking about your ongoing work. 

You will submit a final portfolio of work: 

THE PORTFOLIO- 

DUE TO THE HALL OUTSIDE MY OFFIC BY 5PM, December 15. 

(Call Campus Safety x3754 to be let in after building hours to drop-off your portfolios.) 

A three-ring binder with your name and phone number and clear plastic sheets for photographs- 

A three-ring binder with your name and phone number and clear plastic sheets for photographs- 

To include: 

>Proof sheet (and photo log for Exercises to Get to Know Your Camera) for each role of film, 

followed by prints for that assignment, and grade sheet! (please MAKE IT VERY CLEAR if 

you’ve redone prints, especially if you’ve worked on an assignment since the critique and it 

hasn’t been re-graded). (Hockney , 16" x 20" and mats should be the only items not included) 

>Passing paper & paper outline from class field trip 

>Documentation and paragraph describing a visual art exhibit you’ve attended and YOUR 

PERSONAL RESPONSE (class field trip does not count) 

>Paragraph (with source) on 2 photographers you discovered on your own (I did not present in 

class) describing their work and YOUR PERSONAL RESPONSE (Internet sites o.k.) 

>Extra credit work (you may want to talk to me about the need for your particular situation) 

Please make arrangements with me if you need your portfolio back by a certain date. You can 

put a note on the outside of your portfolio and I’ll try to accommodate you. Call Campus Safety 

x3754 if you need to be let in after building hours to pick-up your portfolios. 


ATTENDANCE: 

Departmental policy states that 1 absence can affect your grade and 3 absences will result in a failing grade 

for the course. There will be a break in each class, sometimes structured, others up to you. 

GRADING: I will evaluate your progress with each project and you will receive an evaluation and grade, 

(see evaluation sheet). You are welcome to ask about your grade any time. 

When evaluating your final grade, I will consider the following: 

1) Attendance- SEE POLICY 

In addition to meeting the departmental requirements outlined above, you are expected to be on time for 

class at the Art & Music Center, room 212. If you cannot meet this requirement, drop this class as soon as 

possible. You are expected to be present at the beginning of each class for role call and announcements. 

The process of photography requires, at times, that you work outside the classroom during class time, but I 

want you to plan to have in-lab work to accomplish most workdays. This allows for feedback from me as 

you are working, and class interaction. 



commitment to experimenting, until you reach your vision, is essential. Focus and persistence are required 

to make successful photographs and I expect hard work throughout the semester. (Remember, it will be to 

your advantage to deal with assignments prior to the last day before critiques when the darkroom will be a 

zoo! Give yourself time for unanticipated problems and plenty of time to clean up thoroughly! ) I also 

expect you to thoughtfully contribute to class critiques of both your work and that of your peers. 


This is reflected in your grade for each project. Your efforts should demonstrate a mastery of materials, 

techniques, design/compositional and conceptual issues so they may be tools to draw on in your on-going 

work. You may need to put in extra time compared to your peers to ensure a passing grade. 

4) Reworking- 10% 


commitment to experimenting, until you reach your vision, is essential. 

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5) Final Presentation- 5% 

A neat and appropriate presentation for your work is important. I do not expect you to frame projects, but 

borders should be carefully trimmed and even, and photographs should be kept and presented in good 

condition. 





Your names will be on file at Campus Safety- x3754- to be let into the building, darkrooms and 

lighting studio after hours. I recommend you sign-up for a locker downstairs in the Art & Music 

Center Office with Diana ($2) during business hours. 


8/28: Orientation/order supplies/discuss class goals 

AT213: Technical Lecture: The Zone System 

Intro to Assignment #1: Negative Collage (due 9/18, 2 collages, worth 1/6 of your grade) 

Read for 9/18: “Photography After Art Photography”, Abigail Solomon Godeau 

Pre-Intro to Assignment #4: Final Project (worth 2 grades- get started now!) 

9/13: OPTIONAL, BUT ENCOURAGED: DEPARTMENTAL TRIP TO CHICAGO 

Highlight: Seurat and the Making of La Grande Jatte (see info) 

9/18: 

AT213: Critique: Negative Collages 

Discuss Reading: “Photography after Art Photography”, Abigail Solomon Godeau 

Read and Discuss Reading: “From Work to Text”, Roland Barthes 

Paper: (Due: 10/9), Write a 3-5 page paper about the “on-going text” of your work (refer to 

Barthes- method, genre, signs, plurality, filiation, reading, and pleasure) citing personal influences 

(ie: artists or non-artists, experiences, observations, ideas), and cultural influences. Also describe 

where you see your work now, how you see it progressing in this class, & in the future. 

Intro Assignment #2: Media Magazine Negatives (due 10/9, 4 images, worth 1/6 of your grade) 

AT214: Critique: Emulation of a Photographer #1 

AT215: Critique: Response to Poetic Text 

AT216-18: Critique: Self-Directed Project 

10/9: 

AT213: Critique: Media Magazine Negatives 

Intro to Assignment #3: Self-Portrait (due 10/30, 6 self-portraits, worth 1/6 of your grade) 

Slide Lecture: “The Taboo of Real Life” 


AT215: Critique: Sculpture you Create 


10/30: 

AT213: Critique: Self-Portrait 

Discuss Assignment #4: Final Projects (due 11/20, equivalent of 12 prints, worth 2 grades) 


AT215: Critique: Large Scale Prints 


11/20: 

AT213: Critique: Final Project 


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AT215: Critique: Narrative Series 


Portfolio due Wednesday, 12/15, 5pm (or sooner) in hallway outside Dana Freeman’s office door. 

Grade Sheet Assignment:____________________________ 

Formal Strength 

Formal Resolution 

Conceptual Strength 

Conceptual Resolution 

Unity or N/A 

Craft 

Freshness/Vitality 

Grade at Critique 

Comments 

Final Grade 

Name:_____________________________________________________ 

below average average above average excellent 

This course AT 213-218 Advanced Photography, meets the following guidelines from the Standards for the Preparation of 








2.1.2 contemporary studio approaches 



2.2.5 social functions 

2.2.6. communicative qualities. 


2.3.2 western art and artists from contemporary perspectives. 

2.3.8 Gender Studies 

2.4.2 major contemporary theories of art and design 





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AT 230, New Forms 


Dana Freeman 

Course Description: 

This course explores a concept-driven process of making art. Students will first gather images and research 

ideas through reading, videos of specific artists’ work, visiting contemporary art centers, taking photographs and 

video, and journal writing/sketching. They will then find an appropriate approach to develop, test and further define 

ideas and the form they might take. Finally, students will move to media inspired by, and specifically selected for, 

their project(s) to make fully realized works of art. 

Though our department is committed to traditional foundations training, as a liberal arts college we are also 

committed to preparing students to participate in the contemporary dialogue in the arts. For this, an understanding 

of postmodern ways of working and experiencing art is essential. The New Forms class would be the only studio 

course we offer (beyond a smattering in advanced photography) designed to expose art students to non-traditional 

approaches to art. It will compliment our art history offering, Contemporary Art, which includes some exposure to 

postmodern thinking. As with our other studio courses, it would be offered on several levels simultaneously, giving 

some students the opportunity to continue working in that manner toward a B.F.A. degree. 

Goals and Objectives: 

Understand and use a postmodern sensibility for gathering ideas and images, (a sensibility recognizing no hierarchy 

of ideas, thus, the ability to draw on any reference and combine ideas and images eclectically). 

Understand the historical context of postmodernism (ie: 1960’s political issues such as gender and racial equality, 

and global conflict) and its goal of transforming the institution of art through self criticism 

Demonstrate the ability to use video taping and editing equipment. 

Demonstrate the ability to explore and gather ideas and images from the Internet and contemporary art sources. 

Demonstrate effective drawing skills. 

Demonstrate the ability to effectively master a new medium for the needs of the final project. 

Effectively communicate an idea through visual imagery. 

Academic Skills: 

Creative Problem Solving 

Critical Thinking 

Technological Efficiencies 

Attendance: 

Departmental policy states that missing 3 classes would result in a failing grade for the course. 

Grading: 

1) Attendance- (see dept. policy) 

In addition to meeting the departmental requirements you are expected to be on time for scheduled 

meetings at the Art & Music Center, room 212. If you cannot meet this requirement you should drop this 

class as soon as possible. 

2) Skill Level- 

Because this is an advanced course, I expect you to have some art-making experience, but you will all 

begin with different levels of skill and I will consider this in your grade. 


Focus and persistence are required to make successful artwork. I expect hard work throughout the 

semester. You must be very self-motivated and disciplined to get your projects done outside class time. 


Your assignment grades make up the major part of your grade. Your efforts should demonstrate a mastery 

of materials, techniques, design/compositional and conceptual issues so they may be tools to draw on in 

your on-going work. You may need to put in extra time compared to your peers to ensure a passing grade. 

You will receive an evaluation form for each assignment, after a group critique (see attached evaluation 

sheet). 

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5) Reworking- 20% 

You must demonstrate the ability to continually rework and modify ideas and artworks as they develop. 

The commitment to experimenting, until you reach your vision, is essential 

This course AT 230 New Genre Studio, meets the following guidelines from the Standards for the Preparation of Teachers, 








2.1.2 contemporary studio approaches 



2.2.5 social functions 

2.2.6. communicative qualities. 



2.3.8 Gender Studies 






111

Sharon Sandberg 

PAINTING 1 

AT 311 

Fall, 2002 

Syllabus 

Catalog Description: AT 311 Painting 1 (3) AST 

Course Content: 

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Beginning course in oil and alkyd painting. Introduction to basic tools and techniques including direct and 

indirect painting methods. Prerequisites: AT 130, 140, or instrustor approval. 

Policies and Procedures: 

Attendance: 

Grading: 

There will be 7 or more projects assigned over the course of the semester. The schedule for these 

projects is attached to this syllabus. 

These works will also acquaint you with various skills having to do with painting: composition 

palette, use of mediums, stretching canvas, varnishing, framing, ect. 

Departmental Policy states: “absence in excess of 5 result in an automatic no credit.” 

Further, more than 3 absences will result in a lower grade. Discussions, examples, and directions 

are frequently presented during the first 15 minutes of each class. The instructor reserves the right 

to consider absent anyone who is more than 15 minutes late. 

Grading is based not solely on how hard you work or your degree of painting skills but on 

apparent understanding of those things that each specific project was designed to teach. 

Over the years I have devised a “number system.” Very roughly, the system rates the the early 

assignments as lighter weight than “mid-term” or later projects. It is assumed that as time passes 

the student absorbs more information to apply to his or her current work. For instance, the early 

projects are worth perhaps 10 pts. While the Self-portrait may be worth 20 pts…., and the final 

project…40 pts. 

At mid-term we will be meeting individually to discuss your progress. 

Project scores are added up at the end of the semester and students are assigned a letter grade 

based upon the accumulated score. 

Safety 

I will cover matters of safety during the class and I will, on occasion, remind you at some 

of the dangers involved with the use of art materials. You, yourselves, however are the legally 

responsible party in this matter.

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Pregnant women are reminded that the use of oil paints and the associated solvents are to be 

avoided. 

Sharon Sandberg 

Beginning Painting, AT 311 

Schedule of Projects: * 

MONDAY THURSDAY 

Proj. #1: STILL –LIFE; BLACK, WHITE &GRAY COMPOSITION 

2 nd Week Labor Day Work on Proj. #1 – quick critique 

3 rd Week Work on Proj. #1 (Finish outside of class) Work on Proj. #2 Still-life; 

MONOCHROME Bring umber toned canvas to 

class. Be ready to start off with black, white and 

umber paint 

4 th Week Work on Proj. #2 Finish Proj. #2 

Critique Introduce Proj. #3 STILL LIFE, 

Sandberg Slides WARM AND COOL. 

(or complementary colors) 

5 th Week STILL LIFE, WARM AND COOL. Possible Field Trip 

Bring simple still life objects to class as well or Artist’s Talk 

as a range of paint colors for this project. Or Movie (could be 7 th week or anytime 

thereafter). 

6 th Week STILL LIFE; WARM/COOL STILL LIFE; WARM/COOL 

7 th Week Finish STILL-LIFE; WARM/COOL SLIDE LECTURE: THE STILL LIFE 

Critique Introduce and begin work on Proj. #4 

COMPLEX STILL LIFE. Bring objects to class 

for individual “set-up.” Must have full palette of 

paints. 

8 th Week Work on COMPLEX STILL LIFE Work on COMPLEX STILL LIFE 

Mid-term individual conferences Mid-term Individual comferences 

OCTOBER BREAK 

9 th Week Work on COMPLEX STILL LIFE COMPLEX STILL LIFE 

Critique 

10 th Week Work on COMPLEX STILL LIFE Finish COMPLEX STILL LIFE 

Canvas stretching Demo. 

11 th Week Canvas preparation (Mirror set-up, lighting and beginning 

Intro Proj. #5, SELF PORTRAIT of drawing for SELF PORTRAIT). 

Slide Lecture: “The Self-Portrait” 

12 th Week Begin painting on SELF PORTRAIT Work on SELF PORTRAIT 

Must have palette of paints May need an additional sable brush for 

this project. 

13 th Week Work on SELF PORTRAIT Continue to work on SELF PORTRAIT 

(Short varnishing demonstration.) 

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th Week Continue to work on SELF PORTRAIT Finish SELF PORTRAI 

Crit.

15 th Week Final “FREE” Assignment Final “FREE” Assignment 

Completion of semester projects Completion of semester projects 

Individual conferences 

16 th Week EXAM WEEK. Conferences, clean-up 

and arrangement of work for graduating. 

Reg. Tubes Cadmium Red (med. Or dark) 

Alizarin Crimson 

Cadmium Yellow (light) 

Cadmium Orange 

Ultramarine Blue 

Permanent Green (light) 

Permanent Green (dark) or Viridian 

Burnt Sienna 

Raw Umber 

Pthalo Green or Blue (optional) 

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* This schedule is an approximate projection and is subject to change and/or rearrangement based upon needs of 

the class, as determined by the instructor. 

GRADING CRITERIA 

PAINTING I 

1. Attendance. 

2. Development of work ethic. 

3. Understanding and meeting objectives of projects. 

4. Completion of paintings. 

5. Quality of paint handling. 

6. Ability to show volume and form with paint (drawing skills). 

7. Composition and design. 

8. General class participation. 

Lg. Tube Titanium White 

Materials List 

OIL PAINTS: *

Black (Ivory or Lamp) 

* Note: Colors with the word “hue” at the end are not a good substitute for any 

of the above. 

OTHER SUPPLIES AND MATERIALS 

Gesso 

Silicoil Tank 

And 

Bottle of Silicoil Solution 

Turpentine Substitute: “Permtine,” “Grumtine,” “Turpenoid,” ect. 

Palette Cup (tin, clip-on type) 

Box Kleenex (white) 

2.5 oz. Bottle Damar Varnish 

“ “ Linseed Oil 

“ “ Retouch Varnish 

Palette Knife, (“crooked” type) 

Bristle Brushes: 

1 #2 2 #4’s 1 #6 (or sables, if they are your preference) 

Plastic gloves as a chemical barrier while painting (optional). 

Closeable jar with top for dirty turps. 

PAINTING SURFACES: 

Bring one of these on the 2 nd day of class. Something 18” x 24” or a little larger is a good 

starting size. “Canvo-Board,” Fredrix pre-stretched canvas and/or hand-stretched canvases are all 

acceptable. Un-tempered Masonite panels are also fine and can be pre-cut to size at any lumber 

yard. 

REFERENCE TEXTS: (Optional) 

The Artist’s Handbook, both by Ralph Mayer, Viking Press. 

The Painter’s Handbook, by Mark D. Gottsehgan 

This course, AT 311 Painting I, meets the following guidelines from the Standards for the Preparation of Teachers, 


2.2.1 creative processes. 


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AT 321, Sculpture I Ron Pederson 

Introduction 

The central experience for Sculpture I will be to produce a life-sized study of the human head and shoulders, 

working from a life model in terra cotta clay that will be fired. This first sculpture project is in keeping with the 

Aquinas Art Department’s instructional emphasis on building students’ ability to draw and sculpt the human form, 

and will thus complement activities in other studio art classes. Subsequent sculptures (there will be a total of four 

completed for the semester) will also be in clay, but will be defined by you in consultation with me. The possible 

subject-matter range might extend from more figureheads to figure groupings to abstract to nonobjective sculpture. I 

will give two or three slide presentations in addition to showing a “how to” video, all intended to generate ideas on 

possibilities for your last three sculptures. Safe handling of materials and tools will be emphasized. 

The aesthetic underpinning of all instruction will be formal, that is to say, focused upon clear, well-defined form 

that is interesting, observed relatively accurately (at least for the initial sculpture), composed into a coherent whole, 

well-crafted structurally, finished with a patina that is applied in a craftsmanlike way and brings out the form and 

texture. Beyond that, there is the difficult-to-teach goal of encouraging a liveliness of spirit that separates the best 

art from the merely competently-designed art. Many material, tools and techniques will be introduced this 

semester. Safe and appropriate use of all studio materials and tools will be covered in this course. The following 

sample of the grading form that will be used, summarizes the areas of formal concern listed above. 

AT 321 (Sculpture) grading form 

Name: Description of sculpture: 

Wholeness/ unity 

(flow/compatibility of forms) 

Form clarity and definition 

(beware “mashed potato” form) 

Interest, variety 

(form, action) 

Completeness, craftsmanship, 

structure. 

Finish: Color and form compatibility, 

craftsmanlike application. 

project grade ________ Instructor comments: 

inadequate 

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average 

good 

excellent 

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Money and tools 

I’ll provide the clay and the kilns for firing. You’ll perhaps want to buy your own set of clay tools, or make your 

own from materials available in the studio. Though I’ll provide some paints and shoe polish for your use in 

applying a patina, you’ll perhaps spend a bit of money on a special color unavailable in the studio. But costs will be 

minimal, and there is no textbook requirement. 

Requirements 

1. Make at least four clay sculptures. If you find that you tend to work in minuscule size, I reserve the right to 

increase that number. If you take on an unusually large sculpture, the number may be reduced(in consultation with 

me). 

2. Engage yourself in the work and the thought of the class. On-time attendance on announced critique days is 

especially important. 

3. Participate in the maintenance of the studio, both out of consideration for your fellows, and out of the need to 

preserve a safe working environment. 

4. Attend class. Art department policy will be followed in this regard: three misses or their equivalent in class 

time are allowed without a grading penalty. Four to six misses will involve corresponding step reductions in grade 

(A to A-, etc.). More than six misses will result in a grade of NC — no exceptions. Please do not use headphones 

in class. “Attending” implies attentiveness, and you will often be benefited by overhearing instruction or other 

conversation in the studio. 

Grading: Your final semester grade will ideally reflect what you have learned. Therefore my goal at the outset is 

for each class member to earn a grade of “A.” Over the years, the old adage “you get out of it what you put into it” 

has held true of both what is learned and the grade received. Your success will be a function of the time, effort, and 

attentiveness you give. 

25% of your grade will be determined by the grade of your first sculpture (formal grading criteria). 65% of your 

grade will be determined by the average grade of your subsequent three sculptures. 10% of your grade will be 

determined by my assessment of more subjective things such as involvement, improvement, and general 

contribution to the collective effort. 

First day activities: Studio orientation (primarily regarding clay processing), tool-making, 

bin claiming/labeling, and possible purchase of clay tools at bookstore. 

This course AT 321 Sculpture I, meets the following guidelines from the Standards for the Preparation of Teachers, Visual Arts 


2.2.2 organizational structures 


2.6.3 opportunities to examine and reflect on emotional responses to the meaning and nature of 

students’ own artwork and the artwork of others. 

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AT331 and AT332 Ceramics Madeline Kaczmarczyk- Instructor 

Fall 2002 (616)-866-1950-best number to reach me 

AQ Ext. # 3456 e-mail: madclaypots@yahoo.com 

Web site: rosies@rosiesdiner.com click on “Madelines’ teapots 

INTRODUCTION 

This course features the study of ceramics as an art form, featuring wheel thrown and hand-built vessels. Many 

materials, tools and techniques will be introduced this semester. Safe and appropriate use of all studio materials and 

tools will be covered in this course. No prior experience in art is assumed. Instruction will focus on: 

1. 2-d design (shape and color interaction, glaze experimentation) as it relates to vessel decoration. 

2. 3-d design (form and structure) 

3. Basic technical skills needed to work successfully with clay. 

4. Basic ceramic studio procedures. 

5. Critiques (evaluation and discussion of your own and your classmate’s artwork.) 

6. Safety issues related to clay dust, glaze chemistry, use of wheels and use of kilns. 

REQUIREMENTS 

1- Consistent and ON-TIME attendance. 

2- On time completion of the assigned projects . 

3- Three hours per week outside of class spent on class projects. 

4- Readings as assigned in the text, with the possibility of additional outside reading assignments. Text purchase is 

optional, but highly encouraged. 

5- A short paper on 20 th century ceramists with in class presentation. 

6- Keeping a notebook, including informal reactions to assigned readings, notes on glaze experiments, 

sketches for ideas for vessels, thoughts and questions, as well as notes from class demos. 

7- Cleaning work area after each session, help with clay preparation and kiln loading. 

The fees you have paid covers up to 100 pounds of clay, underglazes, and clear shiney glaze. 

Some tools are available in the studio, but you will need to purchase your own set of clay tools 

for $12 at the Aquinas bookstore or for slightly less from Service Reproduction Company. We 

will be ordering glazes later in the term, which may cost $30.00-$40.00. If you team up with 

another person (each buying three jars of glaze for a total of six different colors), a large variety 

will be available to you. 

Missing more than three classes will cause your grade to be reduced by one grade. Missing more than five classes 

will result in a NO CREDIT for the course. Three late classes count as one full absence. Special situations must be 

discussed in advance and may not always be excused. If you miss class it is your responsibility to find out the 

information from me. 

BEGINNING STUDENTS 

Two thirds of your grade will be on your body of work based on class assignments. One sixth will be based on your 

notebook. One sixth will be based on your involvement in class demonstrated by attendance, effort, participation in 

class discussions, critiques, and on personal improvement). 

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ADVANCED STUDENTS 

Your final grade will be based on your ten best-glazed pieces, as well as your notebook, participation in class 

discussion, effort, critiques, and improvement. Your ten best pieces must have good craftsmanship and be glazed. If 

you are on independent study it is up to you to schedule meetings with me, obtain assignments and critiques. As an 

advanced student you will have a greater part in the running of the studio, which includes glaze making, kiln 

loading, clay pugging and studio clean up. I expect your work to be of a higher caliber as well. 

The studio is equipped with a modest selection of clay working tools, but it is required that you purchase your own 

set of tools from the bookstore. Two good brushes (watercolor are nice for glazing) are also recommended. The 

required textbook is available at the bookstore and demonstrates both technique and a historical overview of clay. 

. 

STUDIO PROCEDURES 

The underlying rule of the studio is consideration for others. Clean up after yourself (workspace and equipment) 

avoid plaster pollution in the clay studio, avoid noise pollution, (radio is ok- please limit to WYCE, NPR, classical 

or “oldies” during class time) no smoking in the studio, and process your work promptly to promote a smooth and 

timely firing schedule. Pick up completed work when fired. 

Generally the first hour of each class period will be reserved for whatever presentation or critique is scheduled for 

that day. If I have not finished setting up or there is no presentation, start work on your pieces. You should always 

have some work in progress, if not, start! 

In closing look forward to having a great time with a wonderful medium. 

Ceramics 1-7 Fall 2002 Aquinas College Madeline Kaczmarczyk-Instructor 

Calendar (always subject to change) 

August 27- 

Ceramics 1-Intro to class and studio. 

Advanced-Warm up assignment- Throwing or hand building a set: mugs or bowls. 

(Let me know if you need a review) 

August 30 

Ceramics 1-shelf assignments, pugging clay, Pinch Pot assignment. 

Advanced-continue 

September 3 

Ceramics 1- continue 

Advanced-2:00-casual critique 

September 6 

Ceramics 1- coil demo 

Advanced- slab and coil on wheel demo 

September 10 

Ceramics 1- cont. coil 

Advanced- cont. assignment 

September 13- 

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Whole class critique: 2:00pm. 

Sept. 17 

Whole class glaze demo and assignment. 

Sept. 20 

Ceramics 1-Slab pot demo using underglaze 

Advanced-Personal choice piece using underglaze in construction. 

Sept. 24 

Whole class cont. assignment 

Sept 27 

Ceramics 1-Second slab piece 

Advanced-Pitchers, Pouring, Spouts 

October 1 

Ceramics 1-Finish assignments, critique or grading 

Advanced-continue 

Oct. 4 

Ceramics 1-Start wheel demo 

Advanced-cont. 

Oct. 8- 

Trip to Meijer Gardens for Picasso Ceramics Show for all students 

Oct.11- 

Picasso Assignment all levels, all media 

Oct. 15- 

All levels, work on Picasso assignment 

Oct 18- 

Picasso assignment finished by end of class 

Midterm individual critiques 

Studio clean up 

Research Paper explained 

Oct. 22 and 25- 

Midterm Break 

Oct.29- 

Slide Show 

“Getting a Handle On It”-new assignment 

Nov. 1 

Kiln loading demo and lecture 

Nov. 5 

Assignment whole class critique 

Glaze Demo 

Advanced- Glaze bisque work 

Nov. 8- 

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Continue glazing 

Ceramics 1- “Criss/Cross” assignment 

Advanced- Piece in style of researched Master Potter 

Nov. 12- 

Continue assignments 

Nov. 15- 

Continue assignments 

Nov. 19 

Oral presentations 

Nov. 22 

Critiques or grades on assignments 

Nov. 26 

FREE DAY! Work on piece of your choice 

Nov. 29- 

No class- Happy Thanksgiving. 

Dec.3- 

Cut off for greenware 

Dec. 6- 

Glaze 

Kiln loading 

Dec. 10- 

Glaze or possible whole class sculpture piece 

Dec. 13- 

Last day of class 

Possible critiques 

Glaze and kiln loading 

Dec. 16-19 

Final grades: individual critiques of glazed pieces (no bisque) and glaze notebooks. 

Merry Christmas! Have a good break. 

This course AT 331 Ceramics I, meets the following guidelines from the Standards for the Preparation of Teachers, Visual Arts 


2.2.3 techniques 

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AT 341 through 442 Steve Schousen 

Printmaking AMC 134 

Fall 2002 ext. 3427 (H) 454-2729 

Mon. Th. 6:30 – 9:20 


This is a course in black and white relief printmaking, intaglio printmaking and lithography. At the end of the 

semester you are expected to turn in a portfolio of six prints including two intaglio prints and two relief prints. You 

will also have the option of working with lithography. Working with three media in one semester is fairly 

ambitious. I require excellent attendance, consistent effort, and a fair amount of organization on your part. 

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Impediments to a successful semester involving this many media and materials include organization and clean up. 

We have a very small space in which to work, we have a large class and we have lots of different materials out 

everyday. If this is going to work everyone needs to clean up his or her own mess everyday. Another thing which 

comes to mind as I outline a semester as varied as this is the need for each person to write down instructions for each 

process in their own words. As an example, we have four different solvents, three different acids and two different 

presses in the studio. Each has unique characteristics, applications and safety concerns. If you are going to 

participate this semester you must be knowledgeable about each material, tool and procedure in the studio. So… in 

addition to the art you will create this semester I also want you to keep a notebook describing procedures, materials 

and tools we will use. 

Time in the studio. In order to excel or to even do an adequate job this semester you must spent a lot of time in the 

studio. Trial and error, experimentation and working with unfamiliar media in an unusual setting requires long 

blocks of time, and many of them. In-class time is mandatory and necessary but also plan to spend six hours in the 

studio each week in addition to the scheduled class time. 

While we don’t have a required text, four books are on reserve in the library. Each contains information on 

printmaking and you should familiarize yourself with them as the semester progresses. Required reading is listed 

below. 

Description of Media 

Woodcut 

Everyone has done some sort of relief printmaking: potato prints, linoleum cuts, or some other type of simple relief 

prints. In this unit we will work with plywood and basswood using the same basic technique common to all relief 

prints: start with a flat surface (the wood), cut away the white, roll ink on the raised surface and print. It’s that 

simple but within that simplicity lies great creative potential. Woodcut is an excellent medium in which to explore 

tone, texture and pattern. 

Lithography 

This is the difficult one. In order to learn this demanding medium we will have to work in-groups of two. I will 

introduce this medium around midterm to pairs if interested students. At that time I will go through a series of 

demonstrations and lectures which will explain “The Process”. I will then set up a calendar of printing sessions, 

which will enable me to process and print with you individually. I think that this will take two three or four-hour 

sessions with each pair of students. 

Intaglio 

Intaglio printmaking involves printing the recesses of a smooth surface. One can think of intaglio as the opposite of 

relief. Both media involves starting with a smooth, flat surface and removing material to create depressions or 

texture. In relief the raised area is printed while in intaglio it is the lower areas of the texture or scratches that are

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printed. The tools, materials and process are completely different and in intaglio the slightest scratch prints as a 

gray or black. Many more details will follow. 

Course Outline 

The semester outline is constructed around media and technique and I feel that this is a good way to expose you to 

some of the possibilities unique to printmaking. The quality of your final images however have more to do with 

your ideas and your ability to explore the process. So you really have two jobs this semester: learn all of the 

technical things and develop your visual ideas. Students generally find the second task most difficult. Towards that 

end we will have many in-process critiques which hopefully will answer your questions concerning technique, and 

help you develop and clarify your ideas. In my experience, the more drawing you do in preparation for the final 

print, the better the final image will be. I suggest that you find some idea, thing or theme you find compelling and 

start exploring it with pencil and paper. If you get in the habit of responding visually to your ideas, your prints will 

naturally develop as you learn process and technique. 

A general outline for each section follows and more details will be filled in as the semester progresses. 

I. Intaglio 

-value scales in copper 

-scribble image 

II. Softground Etching 

-self-portrait 

III. Woodcut 

-self-portrait 

IV. Line Etching 

V. Woodcut 

VI. Aquatint 

Notes on Semester Outline: 

-You have a minimum of six prints due this semester. 

AT 341 Printmaking I 

-If we don’t count the first unit, which really just introduces materials and equipment, I have listed only five 

required prints. The sixth print is up to you. 

-I will introduce lithography to anyone who wants to experience it after we have started etching and woodcut. If you 

want to work with lithography plan on putting in about two weeks of work. I will introduce litho to two people at a 

time. Lithography is a demanding media and you can’t jump in half way through the unit. If you want to 

experience it you need to sign on for the entire two weeks. 

-You are welcome to work on more than the assigned prints. After you have finished the first intaglio and 

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Goals 

1. To develop an increased sensitivity to shape, tone and form 

2. To develop an increased understanding of your imagery and ideas 

3. To develop an understanding of the tools, materials and equipment unique to printmaking 

4. To develop a sense of craftsmanship 

5. To develop an awareness of printmaking’s role in art history 

Each print will be evaluated using the following criteria: 

1. Visual interest 

2. Conceptual interest 

3. Craftsmanship 

4. Composition 

Evaluation 

Students will be evaluated at the end of the semester using the following criteria: 

1. Attendance 

2. Creative experimentation and production 

3. Meaningful participation in critiques 

4. Craftsmanship and cooperation in studio maintenance 

5. Mastery of techniques and processes 

6. Aesthetic quality of images 

Attendance 

Departmental policy states: absences in excess of three will result in a lower grade and absences in excess of five 

will result in an automatic “no-credit”. Because of the technical nature of the course attendance in class is 

important. Do not arrive late to this class. We will cover a lot of complicated and confusing processes this 

semester. Discussions, demonstrations, critiques and lectures are frequently covered in the beginning of each class 

and arriving late is confusing for you and me and disruptive for your colleagues. 

Reading 

Printmaking: History and Process by Saff and Sacilotto is on three-hour reserve in the library. The following 

reading assignments should be completed before you begin a new unit. You will find this text a helpful resource, 

which will explain and illustrate materials, processes and equipment in our studio. The illustrations may give you 

ideas about how to get started and help you research artists and techniques. 

1. Intaglio: Ch. 4 

2. Softground: pp 140, 141 

3. Woodcut: Ch. 2 

4. Aquatint: pp 141-149 

Also on reserve are: 

Printmaking Today by Heller 

Printmaking by Peterdi 

Each of these books contains information on the techniques that we are covering. 

Materials: 

approximate cost 

Woodcut tools $30.00 

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Intaglio needle $5.00 

Wood blocks or linoleum $5.00 – $10.00 

Copper plates $12.00 for a 12x12 

Woodcut paper $1.00 / sheet 

Intaglio paper $3.00 / sheet 

Litho paper $2.00 / sheet 

-Our bookstore caries paper for both woodcut and intaglio 

-TerMolen and Hart, Inc., a sheet metal fabricating company, located at 600 Eleventh Street NW, which is near 

Leonard and 131, sells copper in pre-cut sizes for us. The size is 12x12 and if you purchase that size they will not 

charge you a cutting charge. Call them before you go, identify yourself as an Aquinas student and be sure to get 

copper that is .043 inches thick. This is also called 32 ounce or 20 gauge. Just be sure to get copper that is .043 

inches thick because that is the only thickness we will use on our presses. 

-I get the tools from Graphic Chemical and Ink. You can buy them from me or order from Graphic. 

-You are welcome to work on more than the assigned prints. After you have finished the first intaglio and 

woodcut units, feel free to do additional work in those areas. 

- Other good sources of materials, including paper are: 

Aquinas Bookstore 

Grand Valley Bookstore in Allendale 

Douma’s 

This course AT 341 printmaking I, meets the following guidelines from the Standards for the Preparation of Teachers, Visual 

Arts Education (LQ). 


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SYLLABUS 

Instructor: Sister Marie Celeste Miller 

E-Mail: millemar@aquinas.edu 

Office Art and Music Center, Room 204 

Office Phone: 459-8281, Ext. 3425 

Office Hours: Monday and Thursday: 1:30 - 3:30 

Tuesday: 8:30 - 11:00; 2:00 - 4:00 

Friday: 8:30 - 11:00 

GOAL OF THE COURSE 

The general goal of the course has three parts: 

• To develop a working knowledge and understanding of Post-Impressionism, 

Expressionism, Fauvism and Cubism. 

• To develop a knowledge and understanding of the monumental changes in 

painting, sculpture and architecture of the period between c. 1880 - 1920. 

• To acquire a knowledge of the works of the principal artists of this period in 

western Europe. 

COURSE OBJECTIVES 


• Identify major art monuments and discuss their significance. 

• Analyze the composition of representative works of art from the period in 

terms of the principles of design set in their historical and cultural context 

• Identify major artists associated with Post-Impressionism, Expressionism, 

Fauvism, and Cubism and discuss their contributions to the changes in art 

during this time. 

• Synthesize and integrate information regarding the artist and artistic 

movements through assignments and short essays. 

• Practice and improve speaking and presentation skills. 

• Practice and improve writing skills. 

• Practice and improve the ability to work well with others through a team 

project. 

TEXT 

We will use History of Modern Art by H.H. Arnason and Marla Prather, Prentice Hall 

& Harry N. Abrams, Inc., fourth edition, 1998. 

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COURSE DESIGN 

Because this is a survey course of a period that was very fertile and rich in its artistic 

developments, we will not be able to include every artist who was working during these 

years, and of the ones we do study, some will be studied in greater depth than others. 

You are, of course, free to pursue a deeper study of any artist whose work you find 

particularly moving or interesting. 

So for each chapter that we consider together, I have provided you with a study sheet 

which outlines the terms, ideas and images you need to know. Many of the images are 

found in your text; all of the ones we study are found in the virtual Slide Library for 

this course, accessed under the button, Slide Library, on the homepage. The study 

sheets are found under the button entitled Assignments. There you will also find 

detailed explanations of all assignments. 

As a teacher and as a student who continues to learn, I have come to believe that 

students learn "more" and "better" when they are active learners. The more they 

become involved in their work, the greater responsibility they assume for their own 

learning, the more successful they are. Not only do they learn the subject matter, but 

they grow personally and professionally. I have been thinking about this as I prepared 

this course for you. And so, there will be opportunities for other modes of learning 

besides listening to a lecture. 

We will achieve course goals and objectives through: 



• Videos, Slides, CD-Rom technology with short written assignments 

• Selected Web Sites with short written assignments 

• A team-developed oral presentation (St. Andrew's Project) 

• A Web Search 

• The Final Project 

• Four tests 

Specifics about the daily workings of the course can be found under Course Mechanics. 

While this is the plan and schedule for the semester's work, circumstances may arise 

which could cause changes or work. 


Tests : 35% 

St. Andrew's Project: 15% 

Short Essays Based on work with videos, CD-Rom and Web sites: 10% 

Web Search: 15% 

Final Project: The Problem for the Judge: 15% 


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Course Matrix 

AT 350 



classroom and the art educational settings for which their students are being prepared. They 


prepare students to do the same in their own classrooms. 


technology within the field as both an art medium and as a tool for communication, research and 



2.3.5: design history. 

2.3.6: cultural studies. 

2.3.7: media literacy. 

2.3.8: gender studies 

2.4.1: major traditional theories of art and design. 

2.4.3: influence of these theories on the creation of art. 

2.5.1: make analytical and interpretative evaluations of art and design from a variety of theoretical 

perspectives. 

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AT 351 


AT 351, Dali Through Abstraction, is the second half of the modern art sequence which is designed to 

introduce you to the major movements in western art from c. 1925 - c. 1950 as seen in the painting, 

sculpture, and architecture of the period. 

This course will help a student develop a working knowledge and understanding of Russian and Dutch 

abstraction, Dada, Surrealism, sculptural and architectural movements, European art between the wars 

and American Art from the early modern period through Abstract Expressionism. It will also help a 

student develop knowledge of specific western and non-western artists of this period and their artistic 

concerns. 

Successful students will be able to: 

• Identify the major works from the various periods and discuss their significance in terms of principles 

of design set in their historical and cultural contexts. 

• Describe the beginnings of contemporary perspectives through the development of abstract 

expressionism 

• Make analytical evaluations of works from a variety of perspectives. 

• Improve their analytic skills by focusing on the analysis of works of art from the period 

• Practice and improve the ability to synthesize and integrate information 

• Become more adept at using current research tools in art history 

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AT 351 

Dali Through Abstraction 

SYLLABUS 

Welcome to AT 351: Dali Through Abstraction. This is the second half of the modern art sequence which is 

designed to introduce you to the major movements in western art from c. 1925 – c. 1950 as seen in the painting, 

sculpture, and architecture of the period. 

Goals of the course include: 

1. To develop a working knowledge and understanding of Russian and Dutch abstraction, Dada, Surrealism, 

sculptural and architectural movements, European art between the wars and American Art from the Early 

Modern period through Abstract Expressionism. 

2. To develop knowledge of specific western artists of this period and their artistic concerns. 

Specific Learning Objectives: 

Successful students will be able to: 

• Identify the major works from the various periods and discuss their significance in terms of principles of design 

set in their historical and cultural contexts. 

• Describe the beginnings of contemporary perspectives through the development of abstract expressionism. 

• Discuss the contributions of women to the development of painting, sculpture or architecture during this period. 

• Make analytical evaluations of works from a variety of perspectives. 

• Improve their analytic skills by focusing on the analysis of works of art from the period and by completing the 

Installation Team Project. 

• Practice and improve the ability to synthesize and integrate information through the architectural Jackdaw 

Project. 

• Become more adept at using current research tools in art history through the annotated bibliography 

The methods we will use to try to achieve these goals and objectives are: 


• Lectures and discussions 

• Videos and the use of the World Wide Web 

• Oral Presentation 

• Current research in Art History 

• Learning Team Projects 

• Readings outside the text 

• Annotated Bibliography 

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The following includes a schedule of classes, readings, assignments and examinations. At the beginning of classes 

formatted with some lecture component, an outline will be furnished listing all the works to be discussed. An 

asterisk placed before the name of the work indicates key works students will know thoroughly. All slides viewed 

in class will be on reserve before examinations. 

Fulfill assignments on time; late work will be penalized. Art department attendance policy: After three absences, 

your grade will fall one full letter grade; after four, two letter grades; and beyond that, N.C. 

Assignments include: 

1. Readings from the text, The History of Modern Art by Arnason, Prather and Wheeler, Fourth edition, Prentice 

Hall. 

2. Visiting specific web sites or viewing specific videos and doing the assignments associated with these. 

3. Production of a Jackdaw as a member of a small study team. Particulars of the nature and content of the 

Jackdaw are found on a study/assignment sheet for this project. 

4. Creation of a proposal for an Installation of Modern Sculpture as a member of a study team. 

5. Oral Presentation supported by an annotated bibliography on a woman artist who has made significant 

contributions to the development of art during this period. 

Evaluation: 

Tests (3) 30% 

Jackdaw Project 20% 

Oral Presentation and Annotated Bibliography 20% 

Installation Project 20% 

Participation 10% 

Office: AMC 204 Ext. 3425 e-mail: millemar@aquinas.edu 

Monday: 1:30 – 3:30 

Tuesday 9:00 – 11:00; 1:30 – 3:30 

Thursday 1:30 – 3:30 

Friday 9:00 – 11:00 


AT 351 






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technology within the field as both an art medium and as a tool for communication, research and 



2.3.2: western art and artists from contemporary perspectives. 

2.4.3: the influence of these theories on the creation of art 

2.5.1: make analytical and interpretative evaluations of art and design from a variety of theoretical 

perspectives. 

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A note on the following four course syllabi: 




AT 376 Studio Practicum in Art Education 

The Aquinas College Art Department will begin a search for a qualified Adjunct Associate Professor of Art 

Education to teach these four courses as soon as this application is approved. The Art Department will 

depend on the expertise of this new faculty person (see proposed position listing in the resume section) to 

adjust content among the four courses to most appropriately cover the standards/guidelines for visual arts 

education, among the four. 

In general, AT 370 Foundations in Art Education is envisioned as theoretical and philosophical, and will 

serve as a prerequisite for the remaining three. The content of the methods courses is self-evident from the 

course titles, and is seen as a blend between theory and practice, a movement from theories of art education 

to developmentally-appropriate curricula. The Studio Practicum course, as the name implies, is designed to 

be primarily practical, to provide information and skills that are not provided in the other three. 

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NOTE: THIS SYLLABUS MAY BE ADJUSTED IN FORM BUT NOT IN ESSENTIAL CONTENT, BY 

THE ART EDUCATION FACULTY MEMBER WHO WILL BE HIRED UPON APPROVAL OF THIS 

APPLICATION FOR STATE OF MICHIGAN CERTIFICATION. 


Catalog Course Description: An introduction to the philosophical, psychological and sociological foundations for 

Art Education for elementary and secondary art education teachers as well as a consideration of the role of art in the 

curriculum and the role of technology to enhance learning. 

Course Goal: 

This is the general goal of the course: that students develop an understanding of the philosophical, psychological and 

sociological foundations of art education as well as the role of art in the curriculum and the use of technology to 

impact quality learning. 

Course Objectives: 


• Demonstrate an understanding of the philosophical foundations for art education and art criticism for 

children 

• Articulate a personal philosophy of education for normal, gifted and special needs children K - 12 

• Demonstrate an understanding of theories of human and cognitive development and how they relate to the 

creation of the visual arts 

• Articulate an understanding of the implications of diversity issue for art education 

• Demonstrate a knowledge of the effective use of technology to enhance student learning in art education 

• Discuss current issues regarding intellectual properties for art, technology and online resources 

Text: to be determined 

Attendance: 

Art department policy for an eight-week course states that one absence will reduce your grade. The second absence 

results in an automatic no-credit. “Attending” includes active participation in class both during formal presentations 

and informal work times. 

Grading Ratios: 

• Reflection Papers on Readings in Philosophy of Art Education and Art Criticism for Children: 20% 

• Personal Philosophy of Education: 20% 

• Idea Journal for Technology and Art: 30% 

• Project in Online Research in Art Education, Art Criticism and Art History: 20% 

• Participation: 10% 

Topics 

Why teach art in schools: Introduction to Art Education and a overview of theories in Art Education 

Child Development and Art; Cognition and the Arts 

Art Education for Special Needs Children and Gifted Children: Considerations in teaching art 

Assessments and Evaluation in Art Education: The Portfolio, Grading Student Art 

Technology and Research in Art Education, Art History, Art Education Community Online Technology and 

teaching Art: Ideas for Incorporation of Technology To Enhance Learning and Creativity in Art Education 

Diversity Issues and Their Impact on Art Education 

Summary Work and Presentation of a Personal Philosophy of Art Education 

This course, AT 370 Foundations in Art Education, meets the following guidelines from the Standards for the 

Preparation of Teachers, Visual Arts Education (LQ): 

1.4 model teaching methods and approaches appropriate for learning both within the higher education classroom and 

the art educational settings for which their students are being prepared. They continuously plan and implement 

instruction as a series of sequential learning experiences as they prepare students to do the same in their own 

classrooms. 

1.5 conduct a variety of appropriate assessments of student learning within art education 

1.6 monitor and supervise the progress of candidates while encouraging them to also assess their own teaching and 

learning. 

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1.8 are committed to learning about, furthering and modeling the innovative use of computer technology within 

the field as both an art medium and as a tool for communication, research, and instructional purposes. 

1.9 are cognizant of the research within art education; either as contributors to the research enterprise, participants in 

research studies, or as consumers of research 

1.10 take advantage of faculty educational opportunities that can enhance their professional lives. 

3.1.1 introduce historical developments and prevailing theories. 

3.1.2 prepare candidates to discuss historical precedent and philosophical positions in relationship to contemporary 

art education. 

3.2.1. provides an understanding of the philosophical and social foundations for the inclusion of art in education. 

3.2.2. guides candidates to develop and express a personal philosophical position concerning the relevance and 

importance of art in education 

3.2.3 prepare candidates to develop, write, and adapt interdisciplinary curricula where art is the essential component. 

3.3.1 theories of human and cognitive development. 

3.3.2 educational pedagogy. 

3.4.1 visual perception and other sensory modalities. 

3.4.2 artistic production. 

3.4.3 Aesthetic response. 

3.4.4 critical thinking. 

3.5.1 the needs of students with disabilities and handicaps 

3.5.2 teaching strategies appropriate to students with a variety of special needs. 

3.5.4 rationale for practice of inclusion and approaches for supporting inclusion in the schools. 

3.6.1 include different educational levels, as well as, community settings with a variety of cultural and economic 

levels. 

3.7.1 helps candidates to develop, write, and adapt art curricula that reflect national, state, and local standards using 

a variety of instructional formats. 

3.7.2 provides candidates with knowledge of current teaching methods, materials, and resources appropriate for 

various educational settings and levels of education. 

3.7.4 develops knowledge of research and assessment methods appropriate to the study and evaluation of student 

work, their own teaching, and their art program as a whole. 

3.7.5 prepares candidates to reflect on and refine their practice of art education. 

3.7.6 familiarizes candidates with current research in the field of art education 

3.8.3 are introduced to state and local requirements and resources for on-going professional development throughout 

their teaching career. 

5.1 use of surveys and publicity for art education programs in the media. 

5.2 knowledge and training in communications and outreach to include colleagues in other disciplines, school 

administrators, the board of education, parents, community members, and state and national legislators as 

concerning the role of the visual arts in education and in society. 

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3 credit hours 

Instructor: 

Textbook: Children and Their Art (tentative) 

Catalog Course Description 

Methodology used in teaching elementary school art, including the study of developmental theories as related to art education. 

Introduction 

In this course, theoretical and practical concepts of teaching art in the elementary school will be examined. Off 

campus classroom observations, demonstration lessons and written responses to observed art education situations 

will be required. A firm understanding of many studio techniques and extensive knowledge of art history are 

required for success in this course and will enrich your experience. 

Modes of Instruction 

Studio projects, lectures, critiques, practice lessons, written papers, exam, demonstrations, discussions 

Goals 

1. To expose students to an overview of theories of art education. 

2. To enable classroom teachers to create an environment where elementary students can experience and learn 

processes, methods and procedures in the visual arts. 

3. To expose students to the correlation between developmental level and artistic creation. 

Objectives 


1. understand the history of art in education and the importance of art in the contemporary curriculum 

2. articulate a personal philosophy of art education. 

3. understand theories of human and cognitive development and how they relate to the study and creation of 

visual art. 

4. create a safe and ecologically responsible classroom environment that encourages creativity and 

discussion. 

5. create an art curriculum that relates to the National and Michigan Visual Arts Standards and is appropriate 

for special needs populations as well as the general elementary school population. 

6. know and experience the principles of design and the elements of art. 

7. research, organize and implement studio art projects appropriate for elementary school art students. 

8. employ a variety of classroom management strategies that are particular to the classroom studio 

environment 

9. describe and assess children’s art 

Attendance 

Art department policy for a semester course states that more than three absences will reduce your grade, and more than six 

absences will result in an automatic no-credit. “Attending” includes paying attention to what is happening in class both during 

formal presentations and informal work times. Earphones make it difficult for anyone to attend to the work and thought of the 

class. 

Grading ratios 

Grading is based on student’s knowledge of subject matter rather than artistic skill. In addition to regular attendance 

and timely completion of outside assignments, you must also observe an actual secondary art classroom and submit 

a written report summarizing the experience. 

20% of your grade will be based on your attendance 

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20% of your grade will be based on class observation and report 

10% of your grade will be based on reaction papers 

20% of your grade will be based on demonstration lesson and papers 

30% of your grade will be based on the exams 

A:90%, B:80%, C:75%, C-:70%, D: 60% 

Topics 

Curriculum History – Goals and Purposes of Elementary Education 

Basic Knowledge of Content Areas and Grade Levels 

Michigan Visual Art Education Standards; connections to coursework 

Parent and Community Partnerships 

Professional Development 

Diversity and Inclusion 

Curriculum Models and Modes of Teaching 

Best Practices in Elementary School Teaching 

Student Learning Styles 

Locating Teacher Resources 

Technology for image manipulation. 

Technology for curriculum development and research 

Assessment models 

Preparation and delivery of a lesson in an elementary classroom 

Reflection and assessment of practice lesson 

Preparing your teaching portfolio. 

Integrating art with other disciplines. 

Designing an art classroom. 

Procedures and safety in art. 

This course, AT 372, Elementary Methods in Art Education, meets the following guidelines from the 

Standards for the Preparation of Teachers, Visual Arts Education (LQ). 






1.7 provide consistent and meaningful supervision of clinical experiences reflecting an awareness of the realities of the classroom 

and a sensitivity toward both developing art education students and cooperating teachers in the schools which includes access to 

diverse and alternative educational settings such as museums, community centers, and after-school programs. 

2.6.1 traditional methods of presentation. 

2.6.2 contemporary methods of presentation. 

3.2.1 provides an understanding of the philosophical and social foundations for the inclusion of art in education. 

3.2.2 guides candidates to develop and express a personal philosophical position concerning the relevance and importance of art 

in education. 





3.4.2 artistic production 



3.5.2 teaching strategies appropriate to students with a variety of special needs 

3.5.3 access to school and community resources to support these students 



levels. 

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3.6.2 allow candidates to observe art teachers and teach a variety of populations, including those with special 

needs.3.7.1 helps candidates to develop, write, and adapt art curricula that reflect national, state, and local standards 

using a variety of instructional formats. 



3.7.3 helps candidates create classroom environments conducive to discussion, multiple interpretations, and the 

open exchange of ideas. 




3.7.6 familiarizes candidates with current research in the field of art education. 

3.8.1 are provided with methods and opportunities to reflect on their academic and clinical experiences throughout 

their preparation 

3.8.2 understand that the process of reflection and collegial dialogue contributes to professional growth. 

4.1 skills necessary to design an art classroom/environment in which safe and effective art instruction can take place 

with consideration for space utilization, storage of materials, equipment, and student work. 

4.2 training in health and safety issues in the school and classroom setting including knowledge of developmentally 

appropriate and safe art materials and tools, as well as their storage, cleaning, use, and disposal. 

4.3 knowledge of emergency procedures when a student is hurt in the art room. 

4.4 training in classroom budget management and the acquisition of financial, human, and material resources which 

includes fund raising and grant writing. 




concerning the role of the visual arts in education and in society 

6.1 access to resources on educational law to include– tenure law, LRE, ESL, ADA, special education, safe use of 

materials, and school finance. 

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Catalog Course Description 

Methodology used in teaching middle school or high school art, including the study of developmental theories as related to art 

education. 

Introduction 

In this course, theoretical and practical concepts of teaching art in the junior and senior high school will be 

examined. Off campus classroom observations, demonstration lessons and written responses to observed art 

education situations will be required. A firm understanding of many studio techniques and extensive knowledge of 

art history are required for success in this course and will enrich your experience. 

Goals 

1. To expose students to an overview of theories of art education. 

2. To enable classroom teachers to create an environment where secondary students can experience and learn 

processes, methods and procedures in the visual arts. 

3. To expose students to the correlation between developmental level and artistic creation. 

Objectives 


1. articulate a personal philosophy of art education. 

2. understand theories of human and cognitive development and how they relate to the study and creation of visual 

art. 

3. create a safe and ecologically responsible classroom environment that encourages creativity and discussion. 

4. create an art curriculum that relates to the National and Michigan Visual Arts Standards and is appropriate for 

special needs populations as well as the general secondary school population. 

5. research, organize and implement studio art projects appropriate for secondary school art students. 

6. employ a variety of classroom management strategies that are particular to the classroom studio environment. 

7. describe and assess student artworks 

Attendance 

Art department policy for a semester course states that more than three absenceswill reduce your grade and more than six 

absences will result in an automatic no-credit. “Attending” includes paying attention to what is happening in class both during 

formal presentations and informal work times. Earphones make it difficult for anyone to attend to the work and thought of the 

class. 

Grading ratios 

Grading is based on student’s knowledge of subject matter rather than artistic skill. In addition to regular attendance 

and timely completion of outside assignments, you must also observe an actual secondary art classroom and submit 

a written report summarizing the experience. 

20% of your grade will be based on your attendance 

20% of your grade will be based on class observation and report 

10% of your grade will be based on reaction papers 

20% of your grade will be based on demonstration lesson and papers 

30% of your grade will be based on the exams 

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Topics 

Introduction, philosophy and goals, syllabus and assignments. 

Historical developments and theories in art education. 

Sketchbook as a learning tool. 

Developmental levels of student with regard to art. 

Special needs and gifted and talented populations. 

Color mixing and theory; a historical and contemporary look. 

Art criticism and aesthetics within the context of art education. 

Connecting aesthetics to studio production. 

Organizing and conducting critiques, assessing student art work. 

Computer in the art classroom 

Computer for communication and research in art. 

The art teacher and the community; involvement, advocacy, resource and material. 

Art Teacher as artist. 

Professional organizations. 

Matting, framing, and display of artwork. 

Presenting a project. 

Building a student portfolio. 

Advocacy within the system. 

The integration of art with other disciplines. 

Designing an art classroom. 

Procedures and safety in art. 

Budget management, resources and grants, special needs. 

Classroom management. 

Demonstration lesson. 

Observation reports. 

Curriculum development. 

Michigan Visual Arts Standards. 

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This course, AT 374, Secondary Methods in Art Education, meets the following guidelines from the Standards for 

the Preparation of Teachers, Visual Arts Education (LQ). 






1.7 provide consistent and meaningful supervision of clinical experiences reflecting an awareness of the realities of the classroom 

and a sensitivity toward both developing art education students and cooperating teachers in the schools which includes access to 

diverse and alternative educational settings such as museums, community centers, and after-school programs. 

2.6.1 traditional methods of presentation. 

2.6.2 contemporary methods of presentation. 


3.1.2 prepare candidates to discuss historical precedent and philosophical positions in relationship to contemporary art education. 

3.2.1 provides an understanding of the philosophical and social foundations for the inclusion of art in education. 

3.2.2 guides candidates to develop and express a personal philosophical position concerning the relevance and importance of art 

in education. 





3.4.2 artistic production 



3.5.2 teaching strategies appropriate to students with a variety of special needs 

3.5.3 access to school and community resources to support these students 



levels. 

3.6.2 allow candidates to observe art teachers and teach a variety of populations, including those with special needs. 

3.7.1 helps candidates to develop, write, and adapt art curricula that reflect national, state, and local standards using 

a variety of instructional formats. 



3.7.3 helps candidates create classroom environments conducive to discussion, multiple interpretations, and the 

open exchange of ideas. 





3.8.1 are provided with methods and opportunities to reflect on their academic and clinical experiences throughout 

their preparation 


4.1 skills necessary to design an art classroom/environment in which safe and effective art instruction can take place 

with consideration for space utilization, storage of materials, equipment, and student work. 

4.2 training in health and safety issues in the school and classroom setting including knowledge of developmentally 

appropriate and safe art materials and tools, as well as their storage, cleaning, use, and disposal. 


4.4 training in classroom budget management and the acquisition of financial, human, and material resources which 

includes fund raising and grant writing. 




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concerning the role of the visual arts in education and in society 

6.1 access to resources on educational law to include– tenure law, LRE, ESL, ADA, special education, safe use of materials, and 

school finance. 

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AT 376 Studio Practicum in Art Education 


Location and Times: 

Instructor: 

Home Number: 

Work Number: 

E-mail Address: 

Office Hours: 



This course focuses on practical aspects of teaching art in elementary and secondary 

classrooms. Among topics covered will be budgeting, procuring art materials, inventory 

management, safety issues (OSHA standards) for most art materials, proper operation of 

necessary equipment such as kilns, setting up and managing a well-designed dedicated art 

classroom, organizing and managing a traveling art curriculum, and mounting school 

exhibitions of student artwork. 


Students who are successful in this course will be able to: 

1) create a well-designed, barrier-free studio setting which provides the needs inherent in the specific 

media to be taught. 

2) creatively tap available resources, (parents, donations, services, etc.), through networking and grant 

writing. 

2) demonstrate use of key studio equipment. 

3) understand and implement OSHA safety standards for the materials and equipment involved in a 

classroom studio. 

4) be able to manage inventory, budget for a classroom studio and procure materials and equipment. 

5) successfully plan art curricula. 

6) successfully present student artwork to the public. 


Student s will achieve success through: 

1) visiting various types of currently successful classroom studios. 

2) working with networkers and grant writers. 

3) practicing with different art media and their inherent equipment needs. 

3) lectures by certified OSHA, and other, safety representatives. 

4) learning management technology. 

5) creation of a series of lesson plans for different studio scenarios. 

6) hands-on instruction in gallery installation and promotion. 


1) student floor plan assignments which comprehensively design models for different classroom 

scenarios. 

2) student strategy assignments for different resource challenge scenarios 

2) tests on OSHA safety standards 

3) point-by-point student demonstrations on key studio equipment 

4) generation of management and curricula documents 

5) visual documentation of k-12 gallery installation assignment 


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Week 1-2: visiting various types of currently successful studios 

Week 3-4: lecture by certified OSHA and other safety representatives 

Week 4-9: practicing different art media and their inherent equipment needs 

Week 10-11: hands-on instruction in gallery installation and promotion 

Week 12-13: learning management technology 

Week 14-15: creation of a series of lesson plans for different studio scenarios 

Week 15-16: (final) create floor plans for different classroom scenarios and resource challenges. 

IX. Resources/Reference List: 

This course, AT 376, Studio Practicum in Art Education, meets the following guidelines from the Standards for the Preparation of 



2.2.7 technical knowledge 

3.5.1 the needs of students with disabilities and handicaps. 


3.5.3 access to school and community resources to support these students. 

3.6.1 include different educational levels, as well as, community settings with a variety of cultural and economic levels. 

3.6.2 allow candidates to observe art teachers and teach a variety of populations, including those with special needs. 

3.7.2 provides candidates with knowledge of current teaching methods, materials, and resources appropriate for various educational settings and 

levels of education. 


4.1 skills necessary to design an art classroom/environment in which safe and effective art instruction can take place with consideration for space 

utilization, storage of materials, equipment, and student work. 

4.2 training in health and safety issues in the school and classroom setting including knowledge of developmentally appropriate and safe art 

materials and tools, as well as their storage, cleaning, use, and disposal. 


4.4 training in classroom budget management and the acquisition of financial, human, and material resources which includes fund raising and grant 

writing. 

6.1 access to resources on educational law to include– tenure law, LRE, ESL, ADA, special education, safe use of materials, and school finance. 

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ART 391 - CONTEMPORARY ART 


Professor Joseph Becherer Phone: 459-8281, ext 2409 (AQ) 

203,AMC 977-7685 (FMG) 

Office Hours: 8-9:30am T,F E-MAIL: jbecherer@meijergardens.org 

COURSE DESCRIPTION: 

Contemporary Art, also referred to as Art Since 1945, is an introduction to the masters, monuments, and movements 

of American and European painting and sculpture from the period following World War II until the present. 

Understanding the leading artistic personalities, dominant trends, and most significant works of art from the period 

is essential to this course. In addition, readings, projects and journal entries related to the philosophies which 

informed the respective movements and the writings of the artists will be examined. 

REQUIRED TEXT: 

HH Arnason, History of Modern Art, Prentice-Hall, 2004, Fifth Edition 

(Available at the Aquinas College Bookstore) 

Additional Readings as discussed below will be distributed as assigned 

COURSE GOALS: 

-to develop an understanding of the artistic parameters of contemporary art 

-to understand and become more knowledgeable with regard to the political, sociological, and 

philosophical currents which gave shape to the artistic period since World War II 

-to understand and be conversant in the artistic and cultural relationship of contemporary art to the 

historical periods which precede it, especially the currents of modernism, or early twentieth century art 

-to come to understand how contemporary art can be viewed as an outgrowth of modernism and 

how it provides commentary on the society in which it was produced 

-to gain an awareness of the production of painting and sculpture and be able to distinguish the 

essential characteristics and limitations of specific media 

-to gain an awareness of and become conversant in the various movements of modernism and 

contemporary art and acknowledge the primary veins of expression 

-to develop an understanding of and sensitivity towards issues of conservation, exhibition, and 

museum/gallery interpretation 

-to understand the formal training of artists of the period and begin to understand the ever expanding 

and new roles of artists in society 

-to develop an understanding and become conversant in a formal discussion of visual organization of 

various types of painting and sculpture produced 

-to develop an understanding and be able to articulate the essential stylistic elements of given major 

masters and their followers 

-to understand issues of continuity and change from a generation of artists to the next 

COURSE OBJECTIVES: 

-by building skills in visual analysis 

-through a thorough study of major masters and movements 

-in a critical reading of the text and outside materials 

-through review and synthesis of lectures, readings, discussions, presentations 

-by integrating written and visual information, and the study of reproductions and originals 

-through practiced and improved speaking and writing skills 

-in the discovery and development of basic research methods for a given work or artist 

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-by encouraging one another 

METHODOLOGY: 

This course is composed of lectures, readings, class discussions, student presentations, videos, library 

research, and museum visit/site evaluations. Each is an integral part of the learning experience. Students are 

responsible for all components even if a class absence occurs. 

CRITERIA FOR EVALUATION: 

-Journal Essays, 1000 points 10 @ 100 points each, each entry will begin with a handout and discussion in 

class; topics and content will vary; all journal essays will be due two weeks following the distribution of the 

respective handout; all journal entries must be typed and double space with a five page minimum. 

-Research Project and Presentation 

100 points for presentation with outline 

150 points for written project 

One major figure on the current Contemporary scene will be the topic of this project. An in-depth research 

project on this figure and a related presentation with outline will be required. 

-Class Participation, 100 points 

TOTAL NUMBER OF POINTS: 1,350 

GRADE DISTRIBUTION: 

95-100%/A 90-94%/A- 86-89%/B+ 83-85%/B 80-82%/B- 

76-79%/C+ 73-75%/C 70-72%/C- 66-69%/D+ 63-65%/D 

60-62%/D- Below 60% constitutes failure 

ACADEMIC DISHONESTY: 

Written or other work that the student submits must be the product of his/her own efforts. 

Plagiarism, cheating and other forms of academic dishonesty, including dishonesty involving 

computer technology, are prohibited. Further information on Academic Dishonesty can be found on page 

29 of the 1998-99 Bulletin. 

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ABSENCES: Students are allowed 3 absences. Every unexcused absence over will result in lowering your 

final grade one unit (eg. A to A-). Students are always responsible for materials covered during an absence. If a test 

is missed students must take an accumulative final in lieu of the missed test. 

This course, AT 391, Contemporary Art, meets the following guidelines from the Standards for the Preparation of 



2.3.4 non-western art and artists from contemporary perspectives. 

2.3.6 cultural studies 

2.3.7 media literacy 

2.3.8 gender studies 



2.5.1 make analytical and interpretive evaluations of art and design from a variety of theoretical perspectives. 

Readings Worksheet 

OVERVIEW: 

In addition to the readings from the text as noted on the syllabus, ten additional Readings from artists, critics, and art 

historians of the period will be assigned. Each Reading is intended for in-class discussion on Fridays as noted. 

Your are asked to complete a summary of each Reading in anticipation of the class discussions and provide a onepage 

summary to hand in at the end of that class. There are ten Readings and each summary is worth ten points for a 

total of 100 points (the 6+equivalent of one test grade). 

SUMMARY OBJECTIVES: 

Each of your summaries should contain the following information: 

*Your Name and the Date 

*Title and Author of the Reading in Question 

*A Summary of the key points introduced in the Reading 

-author’s support of the respective key points 

*Relationship of the material to the subject(s) under discussion in class 

*Your questions/comments/concerns specific to the specific Reading 

Each of your summaries will be turned in. Summaries may be legibly handwritten. 

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*Second, examine Chapters 26 and 27 of the text. Is there any overlap between your findings from the 

aforementioned and what is included in the text? Are there any significant omissions based on your research using 

the periodicals? 

*For your essay create a final list of six to eight artists that you feel should be considered as an appropriate 

subject for the Research Project and Presentation. Discuss each of your artists clearly stating why they should be 

included and discussed in class: what is noteworthy about their work, what is original, etc. 

*This Journal Essay is due January 27, 2004. 

Gerhard Richter 



Journal Essay Number One 

*Each member of the class is asked to examine current and back issues of periodicals such as Art in 

America, Art Forum, Art News, Sculpture Magazine, the New Art Examiner, etc. as available at the Aquinas and 

area libraries (see: GRPL Main, Calvin, Frederik Meijer Gardens and Sculpture Park) and build a list of six to eight 

artists that not only capture your attention, but that seem to be given significant and repeated attention in articles and 

reviews. Do not go back beyond 1994 in your research. 

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John Baldessari 

Faith Ringold 

William Wegman 

Alice Aycock 

Jeff Koons 

Elizabeth Murray 

Anselm Kiefer 

Francesco Clemente 

Jennifer Bartlett 

Susan Rothenberg 

Martin Puryear 

Eric Fischl 

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Jonathan Borofsky 

Keith Haring 

Jenny Holzer 

Barbara Kruger 



Research Project and Presentation -- Part two 

100 points 

Subject:_________________________________ 

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The objective of this project is to investigate the career and achievements of one contemporary artist of note 

that achieved critical acclaim in ca. the last two decades. 

Both general research on the artist and the specific work as assigned will be necessary. Research will be 

largely library based and undoubtedly call for slides to be made. Considering the contemporary nature of 

your subject, periodical research and inter-library loans may be important. Regarding the latter, students 

will need to access research materials at the Aquinas Library. 

The following four sections of the project are to be followed: 

1. Artist’s Biography: Prepare a 4-6 page biography on the artist. Emphasis should 

be placed on the development and highlights of his/her career. 

2. Artistic Innovation: Prepare a 2-3 page summary of the innovations that your 

subject brought forward. What are the sources of inspiration? What social, political, artistic 

commentaries are presented by the artist? 

3. Visual Analysis: Be sure that thorough visual analysis accompanies your 

research work and presentation. 

4. Summary: Carefully summarize your subject and the aforementioned sections. 

Postulate as to the position this artist will hold in the history of art. 

Each of the aforementioned should be typed and double spaced. Each section should be brought together in a 

singular document that denotes the sections as listed. This project and presentation is worth 100 points. 

All presentations will occur in the period following the Thanksgiving holiday and the preceding the end of the 

term. Presentations must not exceed 25 minutes in length. 

Identifications (Artist, Title, Media, Plate Number) 

*Pollock, Male and female, oil, 2.12 

*Calder, Only, Only Bird, tin cans and wire, 3.2 

*Calder, Object in Y, painted metal, 3.6, 3.7 

*Hofmann, The Golden Wall, oil, 3.20 

*Gorky, The Liver is the Cock’s Comb, oil, 3.28 



Study Guide: Test One 

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*Motherwell, Elegy to the Spanish Republic, oil and plastic, 3.34 

*de Kooning, Woman I, oil, 3.39 

*Pollock, Number 1, 1948, oil and enamel paint, 4.6 

*Newman, Vir Heroicus Sublimus, oil, 4.16 

*Rothko, Green and Tangerine on Red, oil, 4.20 

*Smith, Hudson River Landscape, welded steel, 4.36 

*Smith, Cubi XVII, polished stainless steel, 4.40 

*Dubuffet, Childbirth, oil, 5.4 

*Dubuffet, Erre et Eberre, oil, 5.12 

*Giacometti, The Palace at 4:00 am, wood, glass, wire, and string, 5.14 

*Giacometti, The City Square, bronze, 5.17 

*Bacon, Study After Velazquez’s Portrait of Pope Innocent X, oil, 5.22 

Study Questions: 

*Using visual analysis can you summarize the essential aesthetic concerns and achievements of each of the 

aforementioned masters? 

*How might any of the aformentioned masters have exploited the media employed? To what effect? 

*What are the sources of influence and inspiration on each of the aforementioned masters and the 

development of their style? Artistically? Sociologicalically and philosophically? 

*Discuss the emergence of New York as an art center in the 20th century. 

*What role do the major figures of Modernisn (eg. Picasso, Mondrian, Miro, etc.) have on the pioneers of 

contemporary art? 

*Does non-Western art and/or non-academic art play a role in the development of any of the aforementioned 

masters? 

*How do the aforementioned masters reflect the trends and heritage of expressionism, formalism, dada and 

surrealism? 

*Can you discuss the variations of abstract expressionism: gestural abstraction, action painting, color field 

painting? 

*What roles do galleries, museums, and art critics play in the development of contemporary art? 

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Test One 

1. Identify the works shown according to artist, title, and media. To what major movement of contemporary 

art do these artists belong? Carefully discuss both the goals and philosophy of this movement? 

What specific and diverse trends within this movement do these works and artist represent? How? (25 points) 

2. Identify the works shown according to artist, title, and media. In examing the works shown carefully 

discuss the specific sources of inspiration, both direct and indirect, on each of these contemporary artists. For each 

of the sources of inspiration, be sure to discuss how these contemporary artists have transformed ideas in the 

development of their own style. Finally, can you identify at least one highly original idea of their style which 

is apparent in the works presented? (25 points) 

3. Identify the works shown according to artist, title, and media. Using the works illustrated, carefully 

discuss the artistic development of the artist. Which work is earlier and to what art movements is related? Which is 

the mature work and how does it represent both the artists mature style? What are the major differences and 

similarities between the earlier and the later works? (25 points) 

4. Carefully examine the work shown. Based on the visual evidence before you, to what artist and 

movement which we have studied would you place this work and why? To what specific works by the artist 

that you suggest can you relate to this unknown? 

Why? (25 points) 

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di Suvero- Calder Project 

This visual analysis project requires that you visit Alexander Calder’s Grande Vitesse and Mark di Suvero’s Motu 

Viget in Grand Rapids (Vandenberg Plaza and the neighboring Ford Federal Building). An essay recording your 

responses to the following questions is required: 

1. Carefully analyze the form of each work. How does the artist utilize materials, positive and negative 

space, and define the composition? In what ways does each work relate to and differ from those works by the 

artist that we have studied? 

2. How do these works compare and contrast in terms of the use of materials, positive and negative space, 

and composition? 

3. What role does context play in understanding the works? What is the role of public sculpture in these 

instances? 

4. What role does the viewer play in these works? How does experiencing the work directly differ 

from seeing it represented in slides or in a textbook? 

5. Finally, venture over to Maya Lin’s Ecliptic at Rosa Parks Circle (corner of Monroe and Pearl). How is 

this work of public sculpture similar to and different from the two previous works? 

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Test Two 

Please consider the following six questions. You are asked to select four of these questions to answer in essay form. Please 

be sure to clearly list the question as a preface to your response. These essays must be turned in at the beginning of class on 

Friday, December 7, 2001. 

1. Carefully examine the examples of sculpture by Mark di Suvero and Louise Nevelson provided in the text. Discuss the 

development of their careers and describe elements that comprise their work. What forerunners do they follow and what 

innovations do they put forward. Finally, compare and contrast the two artists in terms of style. Please be specific in your 

response. 

2. Carefully consider the sculpture of Claes Oldenburg (and later with Coosje van Bruggen). What contributions to the 

history of sculpture are made in his work? What are his precursors, contemporaries, and contributions? In what ways does 

this work meld with the phenomenon of “Pop Art” and it what ways does it differ? Please be specific in your response. 

3. In examining the work of Jasper Johns and Robert Rauschenberg discuss the relationship of the beat generation artists with 

Abstract Expressionism. What were the goals and innovations put forward by Johns and Rauschenberg? How did they 

utilize popular/consumer culture? Please be specific in your response. 

4. Carefully examine the projects of Christo. To what movement of contemporary art does he belong and why? What are his 

objectives in the large scale projects? How do they compare to large scale works of art from the past and how do they differ? 

Please be specific in your response. 

5. Define Minimalism. What are the objectives of the movement? What is the relationship of this movement to other prior 

movements in the history of art (both inspiration and contradiction)? How do the works of Judd and Stella compare and 

contrast? What is the difference between Minimalism as a movement and minimalism as an aesthetic? Please be specific in 

your response. 

6. Select one artist from the 1960s or 1970s whose work challenges your perception and understanding of art. Why? What 

merit do you find in the work and how does your formal study of the artist affect your understanding and appreciation of their 

work? Please be specific in your response. 

15 


THE FOLLOWING AQUINAS COLLEGE SCHOOL OF EDUCATION COURSES 

ARE KEY COMPONENTS IN THE K-12 ART EDUCATION COMPREHENSIVE 

GROUP MAJOR. SYLLABI ARE NOT INCLUDED HERE, SINCE THEY ARE 

AVAILABLE ELSEWHERE IN THE MASTER DOCUMENT. BUT RELEVANCY OF 

EACH COURSE TO MATRIX GUIDELINES FOR VISUAL ART EDUCATION IS 

STATED IN THIS SECTION. 

EN 201 Introduction to Education 

EN 302 Educational Psychology 

EN 304 Human Growth and Development 

EN 390 Teaching the Gifted and Talented 

EN 406 Application of Learning Theories for Elementary Classroom Teachers 

EN 408 Application of Learning Theories for Secondary Classroom Teachers 

EN 411 History of Modern Education 

EN 415 Philosophy of Education 

EN 461 Inclusion 

EN 495 Directed Student Teaching, Elementary School 

EN 498 Directed Student Teaching, Secondary School 

EN 201 Introduction To Education, meets the following guidelines from the Standards for the 

Preparation of Teachers, Visual Arts Education (LQ). 

1.4 model teaching methods and approaches appropriate for learning both within the higher education 




1.7 provide consistent and meaningful supervision of clinical experiences reflecting an awareness of the 

realities of the classroom and a sensitivity toward both developing art education students and 

cooperating teachers in the schools which includes access to diverse and alternative educational settings 

such as museums, community centers, and after-school programs. 


3.1.2 prepare candidates to discuss historical precedent and philosophical positions in relationship to 

contemporary art education. 

3.2.1 provides an understanding of the philosophical and social foundations for the inclusion of art in 

education. 

3.2.2 guides candidates to develop and express a personal philosophical position concerning the 

relevance of art in education. 








3.6.1 include different educational levels, as well as, community settings with a variety of cultural and 

economic levels. 

16 

16

3.6.2 allow candidates to observe art teachers and teach a variety of populations, including those with 

special needs. 

3.7.1 helps candidates to develop, write, and adapt art curricula that reflect national, state, and local 


3.7.2 provides candidates with knowledge of current teaching methods, materials, and resources 

appropriate for various educational settings and levels of education. 

3.7.3 helps candidates create classroom environments conducive to discussion, multiple interpretations, 


3.7.4 develops knowledge of research and assessment methods appropriate to the study and evaluation 

of student work, their own teaching, and their art program as a whole. 



3.8.1 are provided with methods and opportunities to reflect on their academic and clinical experiences 



3.8.3 are introduced to state and local requirements and resources for on-going professional 

development throughout their teaching career. 

4.1 skills necessary to design an art classroom/environment in which safe and effective art instruction 

can take place with consideration for space utilization, storage of materials, equipment, and student 

work. 


5.2 knowledge and training in communications and outreach to include colleagues in other disciplines, 

school administrators, the board of education, parents, community members, and state and national 

legislators as concerning the role of the visual arts in education and in society. 

6.1 access to resources on educational law to include– tenure law, LRE, ESL, ADA, special education, 

safe use of materials, and school finance. 

EN 302 Educational Psychology, meets the following guidelines from the Standards for the 



3.4.1 visual perception and other sensory modalities 


EN 304 Human Growth and Development, meets the following guidelines from the Standards for 





EN 390 Teaching the Gifted and Talented, meets the following guidelines from the Standards for 






17 

17

EN 406 Application of Learning Theories for Elementary Classroom Teachers, meets the 

following guidelines from the Standards for the Preparation of Teachers, Visual Arts Education 

(LQ). 



3.2.3 prepare candidates to develop, write, and adapt interdisciplinary curricula where art is the essential 

component. 












work. 




EN 408 Application of Learning Theories for Secondary Classroom Teachers, meets the following 

guidelines from the Standards for the Preparation of Teachers, Visual Arts Education (LQ). 




component. 












work. 




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18

EN 411 History of Modern Education, meets the following guidelines from the Standards for the 



education. 

EN 415 Philosophy of Education, meets the following guidelines from the Standards for the 



education. 

EN 453 Methods of Secondary Education 


component. 





EN 461 Inclusion, meets the following guidelines from the Standards for the Preparation of 






EN 495 Directed Student Teaching, Elementary School, and EN 498 Directed Student Teaching, 

Secondary School meet the following guidelines from the Standards for the Preparation of 


1.4 model teaching methods and approaches appropriate for learning both within the higher education 




1.7 provide consistent and meaningful supervision of clinical experiences reflecting an awareness of the 

realities of the classroom and a sensitivity toward both developing art education students and 

cooperating teachers in the schools which includes access to diverse and alternative educational settings 

such as museums, community centers, and after-school programs 


education. 




component. 



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3.7.1 helps candidates to develop, write, and adapt art curricula that reflect national, state, and local 






3.7.4 develops knowledge of research and assessment methods appropriate to the study and evaluation 

of student work, their own teaching, and their art program as a whole. 






3.8.3 are introduced to state and local requirements and resources for on-going professional 

development throughout their teaching career. 



work. 






6.1 access to resources on educational law to include– tenure law, LRE, ESL, ADA, special education, 

safe use of materials, and school finance. 

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Complete Visual Arts Program Application - Aquinas College

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