Lawton Sample Syllabi Package

1
Lincoln University
Center of Excellence in Visual Arts
Spring 2012
Instructor: Saadia N. Lawton, Ph.D. Office: Rm. WC 132; ext. 7538
snlawton@lincoln.edu Office Hours: T/R 9-11am, F 1-3pm
ARH 200.1- Introduction to Art: Past and Present Prerequisite: ENG101
T/R 2:30-3:50 pm Ware Auditorium University Core: 3 credits
Course Description:
This course is designed to provide students with a breadth of knowledge about the visual arts. Students
will understand and appreciate works of art from around the world through historical, stylistic, and
cultural contexts. Attention is given to the role that the visual arts and artists have played through time,
and the development of a critical eye for analyzing diverse traditional and contemporary works of art.
Required Text and Resources
Activate and Maintain the Desire2Learn, GradesFirst and Lincoln Email Accounts by or before Week 2.
This course is run using the Flipped Class concept. All PowerPoint Presentations will be posted on
Desire2Learn at the beginning of the week so that students can review in advance and more time is
allocated towards writing exercises to help students hone their skills over the course of the semester.
Barnett, Sylvan. A Short Guide to Writing about Art. Tenth edition. Pearson Prentice-Hall: Upper Saddle
River, NJ, 2010.
Hardbound Journal available for $6.75 from Visual Arts program-see Mrs. Grove in 134 Ware Center.
Ocvirk, Otto, Robert Stinson, et al. Art Fundamentals: Theory and Practice. Eleventh edition. Boston:
McGraw Hill, 2010.
Waite, Maurice and Sara Hawker. Oxford Paperback English Dictionary and Thesaurus. Third edition.
Oxford: Oxford University Press, 2009.
Library Reserve
Kleiner, Fred S. Gardner’s Art through the Ages: A Global History. Boston: Wadsworth Cenage
Learning. (use as reference for artworks and content)
Sayre, Henry M. Writing about Art. Sixth edition. Englewood Cliff, NJ: Prentice Hall, 2009.
The Chicago Manual of Style. Sixteenth edition. Chicago: The University of Chicago, 2010.
Zelanski, Paul and Mary Pat Fisher. The Art of Seeing. Eighth edition. Upper Saddle River, NJ: Prentice
Hall, 2011. (supplemental reference for Media and Historical Movements)
Core Curriculum Student Learning Outcomes:
No. 1: Effectively communicate.
No. 2: Think critically.
No. 3: Apply information and literacy/research skills.
No. 5: Formal and Quantitative Reasoning.
No. 6: Cultural Awareness.

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Student Learning Outcomes:
Upon successful completion of this course, the student will understand the concept of visual literacy,
including the following components, acquired and measured through a combination of writing
assignments, classroom activities, and exams:
No.1: Apply and present ideas, in written and oral formats, using vocabulary inherent to studio arts,
art history, art criticism, and museum studies.
No. 2: Identify, discuss, and apply the techniques of various art materials.
No. 5: Evaluate art in terms of composition, content and context, and demonstrate an ability to
analyze the formal/visual qualities of an artwork in isolation and in comparison to other art.
No. 6: Research theories about art, formulate thesis statements, and write papers that illustrate
knowledge of various artists, art styles, and periods. Final products must reflect proficiency
and command of bibliographic citation methods (Chicago Manual of Style) used in the field.
No. 7: Articulate the history and organizational structure of different museum types, their respective
collection processes, and philosophy of art education as espoused through The Barnes
Foundation.
SLO Assessment Measures (Tools) Direct and Indirect:
Direct Measures: Pre- and post-tests, Essay exam questions, Learning to Look Group Exercises, Seeing
and Saying Journal Writing, Oral/ Poster Board Presentation, Weekly Essential Question (Desire2Learn)
Indirect Measures: Knowledge Probe Evaluations; Review Sessions and Study Guides.
Grading Policies/Percentages (No Exceptions):
There are no make-up exams or extended deadlines for papers. For definition of emergency situations, see
University policy below.
Class Attendance and Participation 30%
Attendance (5%)
Participation (5%)
Journal Writing (20%)
Learning to Look Group Exercises
Seeing and Saying Exercises
Four non-cumulative Exams 20%
Mid-Term Exam
Papers and Presentations 50%
Poster Board Presentation (10%)
Oral Presentations (10%)
Research Paper (20%)
Extra Credit Opportunities
Lincoln-Barnes Lecture Series (5%)-attendance at lecture is mandatory. Paper is optional.
Barnes Foundation Paper (5%)

3
Grading Scale (department-wide)
A A- B+ B B- C+ C C- D+ D F
Points 4.0 3.7 3.3 3.0 2.7 2.3 2.0 1.7 1.3 1 0
Percent 100-
93
92.9-
90
89.9-
88
87.9-
82
81.9-
80
79.9-
78
77.9-
72
71.9-
70
69.9-
67
66.9-
60.1
60 and
under
Special Note: ESL / Disabilities: If English is your second language, please do not hesitate to speak with
me about vocabulary/writing issues; likewise if you have any special requests/needs to participate
comfortably in the class.
Classroom Policies and Procedures:
1. Four (4) absences will result an automatic failure of course. Only official medical, legal and/or
extracurricular notice of absences will be honored as an excused absence.
2. Arrival after faculty has taken attendance constitutes a tardy. Every three (3) late arrivals will count as
one (1) absence.
3. Unless otherwise encouraged by faculty, the use of any cellular device is strictly prohibited. Students
are required to either TURN OFF or put devices on LOW VIBRATE prior to entry into classroom.
Students are also expected to maintain the highest degree of decorum and etiquette while class is in
session. If a student is asked to discontinue the use of technology that is not approved by faculty and
unrelated to lecture, the faculty reserves the right to ask the student to leave the classroom as their
behavior is a distraction to the entire environment and to their own academic performance/excellence.
4. For more details regarding Lincoln University policies, all students are required to consult and know
the bylaws as mandated by the Office of the Registrar (visit http://www.lincoln.edu/registrar/catalog)
SCHEDULE
Be prepared for class by reading assignments ahead of time.
PART I: THE LANGUAGE OF ART
Learning to Look, See and Say: The (Formal/Visual) Analysis
Week 1 (Jan 13):
Topic: Introductions, Course Objectives and Review Syllabus
Week 2 (Jan 20) What IS Art?
Topic: Formal/Visual Analysis and Research Paper Guidelines and Rubric
Read: Barnet, “Writing about Art” (pp. 1-26)
Read (on reserve): Zelanski, “Understanding Art” in The Art of Seeing (pp.12-55).
Read (on reserve): Sayre, “Choosing an Image” in Writing about Art (pp.1-23).
DUE: Select Artwork for Analysis and Research Paper (submit as jpeg on D2L)
Week 3 (Jan 27): Design Element: Line
Topic: The Use of Line
Read: Otto, “Introduction” and “Line” in Art Fundamentals (pp. 2-29; 74-93)
Read: Barnet, “Analysis” (pp. 27-100)
Read (on reserve): Zelanski, “Two-Dimensional Media and Methods” in The Art of Seeing (pp.197-324)
Read (on reserve): Kleiner, Gardners’s Art Through the Ages (consult Image List for details)
DUE: 1-2 pp. Analysis: Use of Line in approved artwork (submit Word doc D2L)

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Week 4 (Feb 3) Design Element: Shape
Read: Otto, “Introduction” and “Shape” in Art Fundamentals (pp. 2-29; 94-115)
DUE: 1-2 pp. Analysis: Use of Shape in approved artwork (submit Word doc D2L)
Week 5(Feb 10) Design Element: Form
Read: Otto, “Introduction” and “Form” in Art Fundamentals (pp. 2-29; 30-73)
DUE: 1-2 pp. Formal Analysis: Use of Form in approved artwork (submit Word doc D2L)
Pre-Test (non-graded exercise for assessment)
Week 6 (Feb 17) Design Element: Value
Read: Otto, “Introduction” and “Value” in Art Fundamentals (pp. 2-29; 116-131)
DUE: 1-2 pp. Formal Analysis: Use of Value in approved artwork (submit Word doc D2L)
Week 7 (Feb 24) Design Element: Color
Read: Otto, “Introduction” and “Color” in Art Fundamentals (pp. 2-29; 146-179)
Read (on reserve): Zelanski, “Two-Dimensional Media and Methods” in The Art of Seeing (pp.197-324.)
DUE: 1-2 pp. Formal Analysis: Use of Color in approved artwork (submit Word doc D2L)
Mid-Term Exam
Week 8 (Mar 2) Design Element: Texture
Read: Otto, “Introduction” and “Texture” in Art Fundamentals (pp. 2-29; 132-145)
DUE: 1-2 pp. Formal Analysis: Use of Texture in artwork (submit Word doc D2L)
Required Attendance: Lincoln Barnes Lecture Series, Thursday, March 8 in Ware Auditorium
Week 9 (Mar 9) Design Element: Space
Read: Otto, “Introduction” and “Space” in Art Fundamentals (pp. 2-29; 180-219)
DUE: 1-2 pp. Formal Analysis: Use of Space in artwork (submit Word doc D2L)

5
NOTE: All students must submit a fully revised formal analysis of their final research paper that includes: line,
shape, form, value, color, texture, space, medium and method (8-10pp) and arrange to conference with their
instructor before the end of March.
PART II: MEDIA, METHODS, CONTENT & STYLE
Researching, Writing and Defending the Formal/Visual Analysis
Week 10 (Mar 16)
Read: Barnet, “Style in Writing” (pp. 125-148)
Read: Otto, “Content and Style” in Art Fundamentals (pp. 248-330)
Read (on reserve): Zelanski, “Art in Time” in The Art of Seeing (pp.427-511)
DUE: 2-3 pp. Research Paper: Medi(um)/(a) and Method in artwork (submit D2L)
Week 11 (Mar 23)
Read: Barnet, “Some Critical Approaches” (pp. 150-171)
Read (on reserve): Otto, “Content and Style” in Art Fundamentals (pp. 248-330)
DUE: 2-3 pp. Research Paper: Style and Movement in artwork (submit D2L)
DUE: Optional Lincoln-Barnes Lecture Series Summary Paper (2-3pp)
Week 12 (Mar 30)
Read: Barnet, “Art-Historical Research” (pp. 172-185)
DUE: 2-3 pp. Research Paper: Content about artwork (submit D2L)
Week 13 (Apr 6)
Read: Barnet, “Writing a Research Paper” (pp. 186-220)
DUE: 2-3 pp. Research Paper: Thesis Statement and Conclusion (submit D2L)
Post-Test (non-graded exercise for assessment)
Course Evaluations
Week 14 (Apr 13)
Topic: Required Peer-Reviewed Poster Board and Oral Presentations (7 min. max.)
Read: Barnet, “Manuscript Form” (pp. 221-264)
DUE: 2 pp. Research Paper: Cover page and Bibliography (submit D2L)
Week 15 (Apr 20) FINALS WEEK: CONSULT UNIVERSITY EXAM SCHEDULE
Special office hours-See sign-up sheet and rules on office door
Topic: Make-up Faculty Reviewed Poster Board and Oral Presentations (7 min. max.)
DUE: 15-20 pp. Research Paper Due (submit hardcopy and D2L)
HAVE A WONDERFUL SUMMER BREAK.

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LINCOLN UNIVERSITY-WIDE ATTENDENCE POLICY, See:
FACULTY STATEMENT ON ACADEMIC INTEGRITY
Approved by the Faculty of Lincoln University:
Students are responsible for proper conduct and integrity in all of their scholastic work. They must follow
a professor's instructions when completing tests, homework, and laboratory reports, and must ask for
clarification if the instructions are not clear. In general, students should not give or receive aid when
taking exams, or exceed the time limitations specified by the professor. In seeking the truth, in learning to
think critically, and in preparing for a life of
constructive service, honesty is imperative. Honesty in the classroom and in the preparation of papers is
therefore expected of all students. Each student has the responsibility to submit work that is uniquely his
or her own. All of this work must be done in accordance with established principles of academic integrity.
1. Acts of Academic Dishonesty (Cheating)
Specific violations of this responsibility include, but are not limited to, the following:
! Copying, offering and/or receiving unauthorized assistance or information in examinations, tests,
quizzes; in the writing of reports, assigned papers, or special assignments, as in computer programming;
and in the preparation of creative works (i.e. music, studio work, art).
! The fabrication or falsification of data, results, or sources for papers or reports.
! The use of unauthorized materials and/or persons during testing.
! The unauthorized possession of tests or examinations.
! The physical theft, duplication, unauthorized distribution, use or sale of tests, examinations, papers, or
computer programs.
! Any action which destroys or alters the work of another student.
! Tampering with grades, grade books or otherwise attempting to alter grades assigned by the instructor.
! The multiple submission of the same paper or report for assignments in more than one course without
the prior written permission of each instructor.
2. Plagiarism

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If a student represents “another person's ideas or scholarship as his/her own,” that student is committing
an act of plagiarism.
The most common form of plagiarism among college students is the unintentional use of others' published
ideas in their own work, and representing these ideas as their own by neglecting to acknowledge the
sources of such materials. Students are expected to cite all sources used in the preparation of written
work, including examinations.
It is each student's responsibility to find out exactly what each of his/her professors expects in terms of
acknowledging sources of information on papers, exams, and assignments. It is the responsibility of each
faculty person to state clearly in the syllabus for the course all expectations pertaining to academic
integrity and plagiarism. sanctions peculiar to the course should
also be explained in the syllabus.
3. Sanctions
A: Warning
A written notice that repetitions of misconduct will result in more severe disciplinary action. The warning
becomes part of the student's file in the Office of the Registrar and, if there is no other example of
misconduct, is removed at the time of graduation.
B: Failure for project (exam, paper, experiment).
C: Failure of course.
For serious and repeat offenses, the University reserves the right to suspend or expel.
Imposition of Sanctions
First Offense - A and/or B
Second and Subsequent offenses - B or C
Expectations and sanctions will be explained in every syllabus. Students failing a course because of an
instance of academic dishonesty may not drop the course. The student may appeal a charge of academic
dishonesty within ten days of receiving notice of same. The appeal will be heard by an Academic Hearing
Board (AHB) consisting of the chairs of each division of
study (or their designees). Files on violations of this academic integrity code will be kept in the Office of
the Registrar.

8
Lincoln University
Spring 2012
snlawton@lincoln.edu Office Hours: T/R 9-11, F 1-3
ARH 216- Art Theory, Criticism and Methodology Prerequisite:ARH200 and 211(or 212)
F 9:30am-12:00 pm 138 Ware Center University Core: 3 credits
Course Description:
This course explores historical theories that form the foundation of visual arts. Students become familiar
with and learn to think critically about theory. Students learn and apply research methods as a means to
develop the required prospectus needed for their Senior Capstone thesis paper. The course complements
(and is sometimes offered in conjunction with) MSM 218: Barnes Philosophy course.
Required Text and Resources
River, NJ, 2010.
D’Alleva, Anne. Methods and Theories of Art History. London: Laurence King Publishing Ltd, 2005.
Oxford: Oxford University Press, 2009.
Library Reserve
Kleiner, Fred S. Gardner’s Art through the Ages: A Global History. Boston: Wadsworth Cenage
Learning. (use as reference for artworks and content- DVD also available)
Harrison, Charles and Paul Wood (eds.). Art in Theory, 1900-2000: An Anthology of Changing Ideas.
Malden, MA: Blackwell Publishing, 2003.
Hatt, Michael and Charlotte Klonk (eds.). Art History: A Critical Introduction to Its Methods.
Nelson, Robert S. and Richard Shiff (eds.). Critical Terms for Art History. Second edition. Chicago and
London: The University of Chicago Press, 2003.
Preziosi, Donald (ed.). The Art of Art History: A Critical Anthology. Oxford: Oxford University Press,
1998.

9
Student Learning Outcomes:
Upon successful completion of this course, the student will understand the concept of visual literacy,
including the following components, acquired and measured through a combination of writing
assignments, classroom activities, and exams:
No.1: Apply and present ideas, in written and oral formats, using vocabulary inherent to studio arts,
art history, art criticism, and museum studies.
No. 2: Identify, discuss, and apply the techniques of various art materials.
No. 5: Evaluate art in terms of composition, content and context, and demonstrate an ability to
analyze the formal/visual qualities of an artwork in isolation and in comparison to other art.
No. 6: Research theories about art, formulate thesis statements, and write papers that illustrate
knowledge of various artists, art styles, and periods. Final products must reflect proficiency
and command of bibliographic citation methods (Chicago Manual of Style) used in the field.
No. 8: Create a portfolio of artwork and writing samples used for career-related purposes.
SLO Assessment Measures (Tools) Direct and Indirect:
Direct Measures: Weekly Essential Question (Desire2Learn), bi-weekly blog, writing assignments, Oral
Presentation, Senior Seminar Prospectus
Grading Policies/Percentages (No Exceptions):
All deadlines for papers MUST be honored. For definition of emergency situations, see University policy
below.
Class Attendance and Participation 20%
Attendance (10%)
Participation (10%)
Writing Assignments, Papers and Presentations 80%
Blog (10%)
Writing Assignments (10%)
Oral Presentations (20%)
Research Paper (40%)
Extra Credit Opportunities
Lincoln-Barnes Lecture Series (5%)-attendance at lecture is mandatory. Paper is optional.
Grading Scale (department-wide)
Points 4.0 3.7 3.3 3.0 2.7 2.3 2.0 1.7 1.3 1 0
Percent 100-
93
92.9-
90
89.9-
88
87.9-
82
81.9-
80
79.9-
78
77.9-
72
71.9-
70
69.9-
67
66.9-
60.1
60 and
under

10
5. Do to the unique scheduling of this course students are allowed ONLY ONE (1) absence will result
an automatic failure of course. Only official medical, legal and/or extracurricular notice of absences
will be honored as an excused absence. Students are required to make up any work missed within 3
days.
one (1) absence.
SCHEDULE
Week 1 (Jan 13):
Read: D’Alleva, Anne. Methods and Theories of Art History (Chapter 1)
Read: Barnet, “Writing about Art”, “Analysis,” “Writing a Comparison (pp. 1-124)
Read (on reserve): Sayre, “Choosing an Image” in Writing about Art (pp.1-23).
Week 2 (Jan 20) THE BARNES FOUNDATION
Meet in Ware Center at 8:15am SHARP for departure.
Return to Lincoln University Campus by or before 1:00pm.
DUE: BLOG about theory in relation to your selected artworks
Week 3 (Jan 27)
Topic: Thinking about Theory
Read (on reserve): Hatt and Klonk, “A Variety of Interpretations,” and “Hegel and the birth of art
history” in Art History: A Critical Introduction to its Methods, (pp. 2-39)
Read (on reserve): Nelson, Robert S. “Mediation,” in Critical Terms for Art History
DUE: 5-7 pp. Visual Analysis that compares/contrasts two (2) artworks
(Studio artists: should use one of their own artworks and one by artist who inspires)
Week 4 (Feb 3) THE BARNES FOUNDATION
Week 5 (Feb 10):

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Topic: The Analysis of Form Symbol, and Sign
Read: Barnet, “Writing a Research Paper” (pp. 186-220)
Read (on reserve): Mitchell, WJT. “Word and Image,” in Nelson’s Critical Terms for Art History
Read (on reserve): Foucault, Michael, “What is an Author?,” in (pp. 299-314)
Read (on reserve): Bal and Bryson, “Semiotics and Art History…” (pp. 242-256)
DUE: 2-3pp. Thesis Statement (submit Word doc D2L)
Week 6 (Feb 17) THE BARNES FOUNDATION
Week 7 (Feb 24)
Topic: Art’s Contexts
Read: Barnet, “Style in Writing” (pp. 125-148)
Read (on reserve): Jones, Amelia. “Body” in Nelson’s Critical Terms for Art History
Read (on reserve): Hall, Stuart and Jessica Evans. Visual Culture: The Reader
Read (on reserve): Said, Edward. “Opponents, Audiences, Constituencies, and Community” in
Harrison and Wood, Art in Theory:1900-2000 (pp. 1057-1059)
DUE: 3-5 pp. Methodology (submit Word doc D2L)
Week 8 (Mar 2) THE BARNES FOUNDATION
Week 9(Mar 9)
Topic: Psychology and Perception in Art
Read: Barnet, “Some Critical Approaches” (pp. 150-171)
Read (on reserve): Olin, Margaret. “Gaze,” in Nelson’s Critical Terms for Art History
Read (on reserve):
DUE: 3-5 pp. Literature Review (submit Word doc D2L)
Week 11 (Mar 23)
Topic: Taking a Stance Toward Knowledge
Read: Barnet, “Art-Historical Research” (pp. 172-185)
Read (on reserve):
DUE: 3-5 pp. Annotated Bibliography (submit Word doc D2L)

12
Week 13 (Apr 6)
Topic: Writing with Theory
Read: Barnet, “Manuscript Form” (pp. 221-264)
Read (on reserve):
Read (on reserve):
DUE: 12-15pp. Senior Seminar Prospectus Second Draft with Cover page, Bibliography
and Images with Captions (submit Word doc D2L)
Week 14 (Apr 13) THE BARNES FOUNDATION
Week 15 (Apr 20) FINALS WEEK: CONSULT UNIVERSITY EXAM SCHEDULE
Special office hours-See sign-up sheet and rules on office door.
DUE: 20 min. Oral Presentations
15-20pp. Senior Seminar Prospectus Final Draft (submit Word doc D2L)

13
Students are responsible for proper conduct and integrity in all of their scholastic work. They must follow
a professor's instructions when completing tests, homework, and laboratory reports, and must ask for
clarification if the instructions are not clear. In general, students should not give or receive aid when
taking exams, or exceed the time limitations specified by the professor. In seeking the truth, in learning to
think critically, and in preparing for a life of
constructive service, honesty is imperative. Honesty in the classroom and in the preparation of papers is
therefore expected of all students. Each student has the responsibility to submit work that is uniquely his
or her own. All of this work must be done in accordance with established principles of academic integrity.
Specific violations of this responsibility include, but are not limited to, the following:
! Copying, offering and/or receiving unauthorized assistance or information in examinations, tests,
quizzes; in the writing of reports, assigned papers, or special assignments, as in computer programming;
and in the preparation of creative works (i.e. music, studio work, art).
! The physical theft, duplication, unauthorized distribution, use or sale of tests, examinations, papers, or
computer programs.
! Tampering with grades, grade books or otherwise attempting to alter grades assigned by the instructor.
! The multiple submission of the same paper or report for assignments in more than one course without
the prior written permission of each instructor.
2. Plagiarism

14
If a student represents “another person's ideas or scholarship as his/her own,” that student is committing
an act of plagiarism.
The most common form of plagiarism among college students is the unintentional use of others' published
ideas in their own work, and representing these ideas as their own by neglecting to acknowledge the
sources of such materials. Students are expected to cite all sources used in the preparation of written
work, including examinations.
It is each student's responsibility to find out exactly what each of his/her professors expects in terms of
acknowledging sources of information on papers, exams, and assignments. It is the responsibility of each
faculty person to state clearly in the syllabus for the course all expectations pertaining to academic
3. Sanctions
A: Warning
A written notice that repetitions of misconduct will result in more severe disciplinary action. The warning
becomes part of the student's file in the Office of the Registrar and, if there is no other example of
misconduct, is removed at the time of graduation.
For serious and repeat offenses, the University reserves the right to suspend or expel.
Expectations and sanctions will be explained in every syllabus. Students failing a course because of an
instance of academic dishonesty may not drop the course. The student may appeal a charge of academic
dishonesty within ten days of receiving notice of same. The appeal will be heard by an Academic Hearing
Board (AHB) consisting of the chairs of each division of
study (or their designees). Files on violations of this academic integrity code will be kept in the Office of
the Registrar.

15
Lincoln University
Spring 2012
snlawton@lincoln.edu Office Hours: T/R 9-11, F 1-3
ARH 376: African American Art History Prerequisite:ARH200 (permission)
T/R 1:00-2:20 pm 138 Ware Center University Core: 3 credits
Course Description:
This course will introduce the student to visual art created by artists of African descent in the Americas,
organized primarily as a historical overview. The focus will be on artists of the United States from the
colonial period to the present, with some art of the Diaspora in Central and South America and the
Caribbean also included. In addition, images of people of African descent created by others through time
will be examined as a contextual component.
Theme: This semester the course will explore the notion of imagination and examine the life, career and
artworks of a specific featured self-taught artists each week. We will compare and contrast how the
African American experience is imagined and imaged by each self-taught artist versus trained artists.
Required Textbook and Resources
River, NJ, 2010. (highly recommended but also available on reserve)
Patton, Sharon F. African-American Art. Oxford: Oxford U. Press, 1998.
Powell, Richard J. Black Art: A Cultural History: Thames and Hudson, 2002.
Library Reserve
Assigned readings see schedule for details.
Oxford: Oxford University Press, 2009. (see Library Reference)
Student Learning Outcomes
1. employ art historical terms to describe, discuss, analyze, and interpret African American art (SLO1),
2. identify personal styles of different 18th
to 21st
century African American artists (SLO ),
3. synthesize various arguments articulated by different scholars about black representation and
consciousness (SLO ),
4. understand the legacy and study of “African American Art” as a discipline (SLO ),
5. understand how African Diaspora identity and “traditions” inform African American art forms (SLO
),

16
6. be conversant in critical race and post-race theory (SLO )
7. analyze and interpret how African American material and visual culture advances notions about
objectification, agency, subjectivity and cultural identity (SLO ),
8. develop a thesis statement that evolves into a research paper supported by visual and documented
evidence (SLO 7).
REQUIRED GRADED ASSIGNMENTS (see italics in schedule for due dates)
Five Short Papers 30% total (5% each)
2 Visual Analyses (2pp max. each)
1 Comparison & Contrast (3pp max.)
2 Precis (2pp max)
1 Research Paper Primer (3pp max.)
-Thesis Statement
-Bulleted Outline
-Images and Labels
-Bibliography
Research Paper (12-15 pp.) 50%
Oral Presentations 25%
Points 4.0 3.7 3.3 3.0 2.7 2.3 2.0 1.7 1.3 1 0
Percent 100-
93
92.9-
90
89.9-
88
87.9-
82
81.9-
80
79.9-
78
77.9-
72
71.9-
70
69.9-
67
66.9-
60.1
60 and
under
9. Four (4) absences will result an automatic failure of course. Only official medical, legal and/or
extracurricular notice of absences will be honored as an excused absence.
one (1) absence.
SCHEDULE
Week 1 (Jan 13):

17
Read: (Chapter 1)
Read (on reserve):
Week 2 (Jan 20) The African in African American Art History
(Read Patton, pp.11-16, and Powell, pp.7-22)
From Africa to the Diaspora
(Read Patton, pp. 19-50)
Week 3 (Jan 27) Black Art in the Antebellum Period
(Read Patton, pp.51-104.)
Week 4 (Feb 3) Black Art beyond the Antebellum Period: Case Study
(See email for additional reading assignment)
Visual Analysis #1 Due
Week 5 (Feb 10): Black Representation in Theory
(Read Powell pp.23-40)
Week 6 (Feb 17) Reconstruct, Reinvent and Renaissance: Representing The New Negro
(Read Powell, pp. 41-85. Read Patton, pp. 105-135)
Week 7 (Feb 24) Black Arts and the Harlem Renaissance
Week 8 (Mar 2) Research Day- Trip to Library
Research Paper Guidelines Distributed and Discussed
Précis #1 Due
Week 9 (Mar 9) WPA, Social Realism and Black Pride
(Read Powell, pp. 87-160)
WPA, Social Realism and Black Pride continued
Week 10 (Mar 16) Postmodernism and the Black Artist Response
Compare & Contrast Paper Due
Postmodernism and the Black Artist Response continued
(Read Powell, pp. 161-202)

18
Week 11 (Mar 23) Subversive Images: Black Visual Culture in the New Millennium
(Read Powell pp. 203-241)
Subversive Images: Black Visual Culture in the New Millennium continued
(See email for reading assignments)
Week 12 (Mar 30) Mining the Museum: HBCU and Other Collections
(See email for reading assignments about Barnes Foundation,
Hampton U, Howard U, Spelman, etc…)
Précis #2 Due
Mining the Museum: Black Art and Museum Studies Programs
Week 13 (Apr 6) Black (still) Matters: Post-Race Theory and the Age of Obama
Research Paper Primer Due.
Moving Beyond Critical Race Theories about Black Representation
Week 14 (Apr 13)
Week 15 (Apr 20) Oral Presentations
12/2 Final Review and Course Evaluations
Research Papers Due
FINALS WEEK: consult university exam schedule for details.

19
http://www.lincoln.edu/registrar/catalog/LUcatalog0306.pdf
Students are responsible for proper conduct and integrity in all of their
scholastic work. They must follow a professor's instructions when completing
tests, homework, and laboratory reports, and must ask for clarification if the
instructions are not clear. In general, students should not give or receive aid
when taking exams, or exceed the time limitations specified by the professor. In
seeking the truth, in learning to think critically, and in preparing for a life of
constructive service, honesty is imperative. Honesty in the classroom and in the
preparation of papers is therefore expected of all students. Each student has the
responsibility to submit work that is uniquely his or her own. All of this work
must be done in accordance with established principles of academic integrity.
Specific violations of this responsibility include, but are not limited to, the
following:
! Copying, offering and/or receiving unauthorized assistance or information in
examinations, tests, quizzes; in the writing of reports, assigned papers, or special
assignments, as in computer programming; and in the preparation of creative
works (i.e. music, studio work, art).

20
! The physical theft, duplication, unauthorized distribution, use or sale of tests,
examinations, papers, or computer programs.
! Tampering with grades, grade books or otherwise attempting to alter grades
assigned by the instructor.
! The multiple submission of the same paper or report for assignments in more
than one course without the prior written permission of each instructor.
2. Plagiarism
If a student represents “another person's ideas or scholarship as his/her own,”
that student is committing an act of plagiarism.
The most common form of plagiarism among college students is the unintentional
use of others' published ideas in their own work, and representing these ideas as
their own by neglecting to acknowledge the sources of such materials. Students
are expected to cite all sources used in the preparation of written work,
including examinations.
It is each student's responsibility to find out exactly what each of his/her
professors expects in terms of acknowledging sources of information on papers,
exams, and assignments. It is the responsibility of each faculty person to state
clearly in the syllabus for the course all expectations pertaining to academic
3. Sanctions
A: Warning
A written notice that repetitions of misconduct will result in more severe
disciplinary action. The warning becomes part of the student's file in the Office of
the Registrar and, if there is no other example of misconduct, is removed at the
time of graduation.
For serious and repeat offenses, the University reserves the right to suspend or
expel.
Expectations and sanctions will be explained in every syllabus. Students failing a
course because of an instance of academic dishonesty may not drop the course.
The student may appeal a charge of academic dishonesty within ten days of
receiving notice of same. The appeal will be heard by an Academic Hearing Board
(AHB) consisting of the chairs of each division of
study (or their designees). Files on violations of this academic integrity code will
be kept in the Office of the Registrar.

21
Lincoln University Instructor: Dr. Saadia N. Lawton
Visual & Performing Arts snlawton@lincoln.edu
ART212- Art History II (3 cr.) Office: Rm. WC 132; ext. 7538
Prerequisite: ENG102 Office Hours: M 2-4; T/R 12-2
Spring 2011 F 9-11am F 11am-1pm, or by appt. (see me)
ART HISTORY II is a survey of world art and architecture from ca. 1400 to present day. This course
chronicles the development of different art traditions from Europe to the indigenous cultures of early
Americas, Asia, Africa, and the Pacific. Major works of art associated with specific geographic locations
and events are discussed to understand the relationship between form, function, cultural values,
technology, and audience response.
A trip to The Barnes Foundation, which houses a world-famous collection of artworks by French
Impressionist and Modernist, is planned for this course. Attendance is MANDATORY.
Required Textbook (see University bookstore)
Kleiner, Fred S. and Christin Mamiya, et. al. Gardner's Art through the Ages. Thirteenth Edition, vol. 1,
Boston, Massachusetts: Wadsworth, Cengage Learning, 2011.
Recommended Text
River, NJ, 2010.
Student Learning Objectives
1. To develop/reinforce a working knowledge of descriptive terms employed in the field that facilitates
informed discussions about various art forms and techniques,
2. To recognize different forms, periods, and styles of world art along with the social, political,
economic, and cultural mores that influenced production over time,
3. To use art as a means to explicate the chronological events that transpired within specific
geographic locations and for different ancient civilizations,
4. To think critically about multiple works of art, synthesize information gathered and analyze formal
components through concise written and spoken comparisons and contrasts,
5. To research the purpose(s) and meaning(s) of different art form(s), object(s) and site(s) of societies
who created them and showcase such understanding through oral and written presentations,
6. To develop interpersonal skills and engage in intellectual exchange of ideas about art within various
forms of “classroom” settings.
Learning Opportunities
 Class attendance and participation
 Office Hours (individual/ one-on-one assistance)
 Required and assigned readings from textbook and Library Reserves
 Weekly Image Bank and Note Taking
 Knowledge Probe, Expectations Query, Evaluations
 Pre- and Post Tests (not graded); Graded Exams

22
 Review Sessions and Study Guides
 Graded assignments (as noted below) with guidelines and rubrics
 Oral Presentations
 Weekly Facebook Essential Question
 Visit The Barnes Foundation
REQUIRED GRADED ASSIGNMENTS (see italics in schedule for due dates)
Four Short Papers 40%
4 Visual Analyses (5pp max.)
1 Precis: Barnes/Dewey (4pp)
Four Exams 40%
Exam #1: Italian Patronage, Methods and Meanings
Mid-Term Exam: Impressionism and The Barnes Foundation
Exam #2: The Art of Making Myth/ The Myth of Making Art
Final Exam: Compare/Contrast Research Paper on Content and Context
Art History Dialogue 20%
Weekly Face Book Essential Question (FBEQ) Responses
Oral Presentation
Grading Scale Standard for Lincoln University Visual & Performing Arts Dept.
Points 4.0 3.7 3.3 3.0 2.7 2.3 2.0 1.7 1.3 1 0
Percent 100-
93
92.9-
90
89.9-
88
87.9-
82
81.9-
80
79.9-
78
77.9-
72
71.9-
70
69.9-
67
66.9-
60.1
60 and
under
SCHEDULE
PART I: ITALIAN PATRONAGE, METHODS AND MEANINGS
Week 1
R 1/13 What Is Art History? & Art Before History Introduction
Knowledge Probe, Expectation Query, FBEQ, Review Syllabus
Week 2 ITALIAN PATRONAGE, METHODS AND MEANINGS
T 1/18 Italy 1200-1400 Ch. 19
R 1/20 Italy 1400-1500 Ch. 21
F 1/28 Italy 1500-1600 Ch. 22
Italy 1600-1700 Ch. 24

23
Pre-Test (non-graded exercise for assessment)
F 2/4 Review for Exam #1
Exam #1: Italian Patronage, Methods and Meanings (Ch. 19, 21, 22, 24)
PART II: GLOBAL ART MARKETS: N. EUROPE TO AMERICA
Week 5 GLOBAL ART MARKETS: N. EUROPE TO AMERICA
F 2/11 Northern Europe 1400-1500 Ch. 20
Northern Europe 1500-1600 Ch. 23
F 2/18 Northern Europe 1600-1700 Ch. 25
Europe and America 1800-1870 Ch. 30 (p798; pp803-804)
Europe and America 1870-1900 Ch. 31 (pp821-838)
F 2/25 African Influences, European Art, American Foundation Ch. 34 (select artwork)
Library Reserve
Europe and America, 1900-1945 Ch. 35 (pp909-926)
Week 8
F 3/5 Mid-Term Review
Mid-Semester Course Evaluation
Mid-Term Exam (Ch. 20, 23, 25, parts of Ch. 30, 31, 34 and 35)
PART III: THE ART OF MAKING MYTH/ THE MYTH OF MAKING ART
Week 9 THE ART OF MAKING MYTH/ THE MYTH OF MAKING ART
F 3/11 The Art of Asia Ch. 26-28
The Art of Asia
F 3/18 Native Arts of America, Oceania, and Africa after 1800 Ch. 32-34
Native Arts of America, Oceania, and Africa after 1800
F 3/25 Review for Exam #2 Library Reserve
Exam # 2 (Ch. 26-28, 32-34)
PART IV: THE AFRICAN AMERICAN IMAGINATION
Week 12 THE AFRICAN AMERICAN IMAGINATION
F 4/1 Europe and America 1700-1800 Ch. 29

24
Barnes Paper Due
Europe and America 1800-1870 Ch. 30
F 4/8 Europe and America 1870-1900 Ch. 31 (pp838-851)
Europe and America 1900-1945 Ch. 35 (pp926-966)
Europe and America after 1945 Ch. 36 (select artwork)
Post-Test (non-graded exercise for assessment)
F 4/15 Oral Presentations using PowerPoint
Course Evaluations
Week 15 FINALS WEEK: CONSULT UNIVERSITY EXAM SCHEDULE FOR DETAILS.
Special Office Hrs-See Sign Up Sheet & Rules On Office Door
LINCOLN UNIVERSITY-WIDE ATTENDENCE POLICY
Students are responsible for proper conduct and integrity in all of their
scholastic work. They must follow a professor's instructions when completing
tests, homework, and laboratory reports, and must ask for clarification if the
instructions are not clear. In general, students should not give or receive aid

25
when taking exams, or exceed the time limitations specified by the professor. In
seeking the truth, in learning to think critically, and in preparing for a life of
constructive service, honesty is imperative. Honesty in the classroom and in the
preparation of papers is therefore expected of all students. Each student has the
responsibility to submit work that is uniquely his or her own. All of this work
must be done in accordance with established principles of academic integrity.
Specific violations of this responsibility include, but are not limited to, the
following:
! Copying, offering and/or receiving unauthorized assistance or information in
examinations, tests, quizzes; in the writing of reports, assigned papers, or special
assignments, as in computer programming; and in the preparation of creative
works (i.e. music, studio work, art).
! The physical theft, duplication, unauthorized distribution, use or sale of tests,
examinations, papers, or computer programs.
! Tampering with grades, grade books or otherwise attempting to alter grades
assigned by the instructor.
! The multiple submission of the same paper or report for assignments in more
than one course without the prior written permission of each instructor.
2. Plagiarism
If a student represents “another person's ideas or scholarship as his/her own,”
that student is committing an act of plagiarism.
The most common form of plagiarism among college students is the unintentional
use of others' published ideas in their own work, and representing these ideas as
their own by neglecting to acknowledge the sources of such materials. Students
are expected to cite all sources used in the preparation of written work,
including examinations.
It is each student's responsibility to find out exactly what each of his/her
professors expects in terms of acknowledging sources of information on papers,
exams, and assignments. It is the responsibility of each faculty person to state
clearly in the syllabus for the course all expectations pertaining to academic
3. Sanctions
A: Warning
A written notice that repetitions of misconduct will result in more severe
disciplinary action. The warning becomes part of the student's file in the Office of
the Registrar and, if there is no other example of misconduct, is removed at the
time of graduation.

26
For serious and repeat offenses, the University reserves the right to suspend or
expel.
Expectations and sanctions will be explained in every syllabus. Students failing a
course because of an instance of academic dishonesty may not drop the course.
The student may appeal a charge of academic dishonesty within ten days of
receiving notice of same. The appeal will be heard by an Academic Hearing Board
(AHB) consisting of the chairs of each division of
study (or their designees). Files on violations of this academic integrity code will
be kept in the Office of the Registrar.

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