Course Proposals

Course Name:  Travel–Study Art History:  
Course Prefix: ARTH
Course Number: 3850
             Submitted by (Name & E-Mail):  Jim Jacobs, jcjacobs@weber.edu

Current Date:  10/3/2011
College: Arts & Humanities
Department:   Visual Arts                              
From Term: Select Semester  2010 

Substantive

new 

Current Course Subject N/A
Current Course Number

Variable Course Number

New/Revised Course Information:

Subject:  ARTH            

Course Number: 3850

 Check all that apply:
    This is for courses already approved for gen ed.
    Use a different form for proposing a new gen ed designation.
DV  CA  HU  LS  PS  SS 
EN  AI  QL  TA  TB  TC  TD  TE

Course Title: Travel–Study Art History:

Abbreviated Course Title:

Course Type:  LEC

Credit Hours:    or if variable hours:  1  4

Contact Hours: Lecture 15 per crhr  Lab    Other

Repeat Information:  Limit 0   Max Hrs 0 

Grading Mode:  standard

This course is/will be: a required course in a major program
a required course in a minor program
a required course in a 1- or 2- year program
elective

Prerequisites/Co-requisites:

ARTH 1090 or ARTH 1100 or ARTH 2040

Course description (exactly as it will appear in the catalog, including prerequisites):

Variable Title Course - The study of the history of art and architecture will be in direct response to a country or region and its culture or it may be related to an event that takes place in that area while students are there. Instruction will be given in English.
 

Justification for the new course or for changes to an existing course. (Note: Justification should emphasize academic rationale for the change or new course. This is particularly important for courses requesting upper-division status.)

The Department of Visual Arts now offers study abroad opportunities in art history on a regular basis. In previous study abroad trips faculty have used experimental numbers to list and run courses. Since the study abroad experiences in art history are offered on an annual basis, and sometimes more frequently, and since the experimental courses can only be run twice, it makes sense to establish a variable topic study abroad course in art history. One example would be, Travel–Study Art History: The Art and Architecture of Peru.

INFORMATION PAGE
for substantive proposals only

1. Did this course receive unanimous approval within the Department?

true

If not, what are the major concerns raised by the opponents?

2. If this is a new course proposal, could you achieve the desired results by revising an existing course within your department or by requiring an existing course in another department?

No. See justification.

3. How will the proposed course differ from similar offerings by other departments? Comment on any subject overlap between this course and topics generally taught by other departments, even if no similar courses are currently offered by the other departments. Explain any effects that this proposal will have on program requirements or enrollments in other department. Please forward letters (email communication is sufficient) from all departments that you have identified above stating their support or opposition to the proposed course.

No other departments teach the history of art and architecture as a standalone subject.

4. Is this course required for certification/accreditation of a program?

no

If so, a statement to that effect should appear in the justification and supporting documents should accompany this form.

5. For course proposals, e-mail a syllabus to Faculty Senate which should be sufficiently detailed that the committees can determine that the course is at the appropriate level and matches the description. There should be an indication of the amount and type of outside activity required in the course (projects, research papers, homework, etc.).

ARTH 3850:  Art and Architecture of Peru

Travel Study Summer 2012

 

SYLLABUS

(subject to changes)

 

 

The bulleted items indicate required journal entries.  Required readings are indicated per section.  Please note that the readings/bibliography may change and are still a 'work-in-progress'.  Detailed course requirements are listed at the end of this syllabus.

 

Readings pre-travel:

1.   Section on Andean South America in Gardner's Art Through the Ages, 13th edition.

2.   "Introduction" from Rebecca Stone Miller's Art of the Andes from Chavin to Inca  (Thames    and Hudson 1995)

3.   Tom Cummins, "Silver Threads and Golden Needles:  The Inca, the Spanish, and the Sacred         World of Humanity," in The Colonial Andes:  Tapestries and Silverwork 1530-1830 (NY and      New Haven:  Metropolitan Museum of Art and Yale University Press, 2004).

4.   Selections from the Peru Reader

 

Lima

Sunday, June 10

 

1.  16th-century Cathedral:

            •The Retablo-Façade by Constantino de Vasconcelos andManuel de Escobar, 1657-74

            •17th c choir stalls by Pedro Noguera

            •1724 painting by Alonso de la Cueva (Cathedral Museum)

            •Art from Northern Italy:  Bassano Brothers (Cathedral Museum)

            •Chest altars with miniature paintings made from potato flour (Cathedral Museum)

 

2.   16th-century Convento de San Francisco:

            •azulejos (Sevillean tiles)

            •machimbrado (roof feature)

            •Saint Francis of Assisi frescoes

            •1656 painting of Last Supper with disciples eating guinea pig and drinking wine from                                   golden Inca cups (qeros)

            •catacombs

 

Monday, June 11

 

1.   Museo Nacional de Arqueología, Antropología e Historia:

            •Estela Raimondi, Chavín de Huantar (1300-200 BCE)

            •one piece of your choice from the Paracas tapestries

            •one piece of your choice from the Chimú gold collection

 

2.   Museo Larca:  Ceramics, textiles, gold-pieces

            •Paracas textile with 398 threads per inch

            •one piece of your choice from the jewelry vault

            •one piece of your choice from the Moche erotic ceramics collection

 

 

 

 

Readings:

1.   Richard L. Burger, "The Sacred Center of Chavín de Huántar", in The Ancient Americas: Art          from Sacred Landscapes (Chicago:  Art Institute of Chicago, 1992).

2.   Elizabeth P. Benson: "The World of Moche" in The Ancient Americas (see above)

3.   Susan E. Bergh, "Death and Renewal in Moche Phallic-Spouted Vessels," Res 24 (Fall 1993).

 

Cusco °Urubamba Valley

Readings:

1.   Tom Cummins:  "A Tale of Two Cities: Cuzco, Lima and the Construction of Colonial        Representation" in Converging Cultures:  Art and Identity in Spanish America (Brooklyn           Museum 1996)

2.   Fernando Elorrieta Salazar and Edgar Elorrieta Salazar:  "The Origin of the City of Cusco" in        Cusco and the Sacred Valley of the Incas (Lima:  Tankar E.I.R.L., 2006).

 

Pisac

Wednesday, June 13

 

1.  Inca Ruins of Pisac:

          •Qanchisraqay (1st residential area)

            •Han'am P'isaq (2nd residential area)

            •Q'alla Q'asa (3rd residential area)

            •Chacana step pattern

 

2.  Artesanía market of Pisac:

            •personal observations about Peruvian arts and crafts

           

Reading:

John Hemming, "Pisac," in Monuments of the Incas (Boston:  Little, Brown and Co., 1982).

 

Ollantaytambo

Thursday, June 14

 

1.  Inca Town and Ruins of Ollantaytambo:

          •Museo CATCCO

            •Qozqo Ayllu (Inca town)

            •Temple of the Sun

            •Temple of Ten Niches

            •Archaeo-astronomy at Ollantaytambo

 

Reading:

John Hemming, "Ollantaytambo," in Monuments of the Incas (Boston:  Little, Brown and Co., 1982).

 

Maras, Moray and Chinchero

Friday, June 15

 

1.  Salt Mines at Maras

2.  Inca Ruins of Moray

          •Moray as a gigantic crops laboratory

1.  Chinchero

          •Inca wall with niches on main square

            •personal observations about the Awana Wasi textile cooperative

 

Readings:

1.   John Hemming, "Moary," in Monuments of the Incas (Boston:  Little, Brown and Co., 1982).

2.   Yukihoro Tsunoyama, "Textiles of the Andes," in Textiles of the Andes Catalog of the Amano             Collection (San Francisco:  Heian International, 1979).

 

Cusco

Saturday, June 16 through Friday, June 22

 

1.  16/17th-century Catedral

          •Cusco School Paintings

2.  17th-century Iglesia de La Compañia

          •Façade

            •Baroque altar

3.  Iglesia de La Merced

4.  Museo Inka

          •qeros collection

5.  Coricancha ("Sun Temple")

           •open journal entry

6.  Museo de Arte Pre-Colombino  (layout designed by Fernando de Szyszlo, one of                        Peru's most respected contemporary painters)

            •open journal entry

7.  Museo Historico Regional  (Chavin;  Moche;  Chimú;  Chancay;  Inca;  Nazca mummy;                    Cusco School Painting)

            •open journal entry

8.  Palacio Municipal

9.  Museo Santa Catalina

10.Museo Municipal de Arte Contemporáneo                           

            •open journal entry

11.Inca Ruins of Sacsayhuamán above Cusco (Monday, June 18)

            •open journal entry

12.Qenqo/Kenko Inca Ruins near Sacsayhuamån (Monday, June 18)

            •the ubiquitous sacred motif, the puma/condor carvings, the zigzag channels, the caves,                          the amphitheater

13.Church of San Pedro at Andahuaylillas (the "Sistine Chapel" of the Americas;                         mural by Luis de Riaño)  (Wednesday, June 20)

            •open journal entry

14.Inca agricultiural terracing at Tipón (Wednesday, June 20)

 

Readings:

1.   Carolyn Dean, "The Renewal of Old World Images and the Creation of Colonial Peruvian             Visual Culture," in Converging Cultures: Art and Identity in Spanish America (NY:     Brooklyn Museum, 1996).

2.   John Hemming, "Coricancha," in Monuments of the Incas (Boston:  Little, Brown and Co.,    1982).

3.   Carolyn Dean, "Creating a Ruin in Colonial Cusco:  Sacsahuamán and What Was Made of           It," in Andean Past 5 (1998).

 

 

 

 

 

 

 

Inca Trail to Macchu Picchu

Saturday, June 23 through Wednesday, June 27

 

1.  Inca Ruins Along the Trail

      •Huillca Raccay

      •Patallacta & Pulpituyoc

      •Runcu Raccay

      •Sayac Marca & Concha Marca

      •Phuyu Pata Marca/Puyupatamarca

 

2.  Macchu Picchu

     •Sun Gate (Intipunku)

      •Agricultural terraces

      •Temple of the Sun with "Royal Tomb" below

      •Fountains

      •Temple of the Three Windows and Principal Temple

      •Intihuatana

      •Sacred Rock with wayronas

      •open journal entry:  general impressions

     

Readings:

1.   Lucy C. Salazar, "Macchu Picchu:  Mysterious Royal Estate in the Cloud Forest," in Richard          L. Burger and Lucy C. Salazar, eds., Macchu Picchu:  Unveiling the Mystery of the Incas (New         Haven:  Yale University Press, 2004).

2.   Susan A Niles, "Inca Architecture and the Sacred Landscape," in The Ancient Americas: Art           from Sacred Landscapes (Chicago:  Art Institute of Chicago, 1992).

3.   Select sections from Ruth M. Wright and Dr. Alfredo Valencia Zegarra:  The Machu Pichu Guidebook, revised edition. (Boulder, Co.:  Johnson Books, 2004).

4.   John Hemming, "Machu Picchu" in Monuments of the Incas (Boston:  Little, Brown and Co.,            1982).

 

Nasca-Paracas

Sunday, July 1 and Monday, July 2

 

1.  Cahuachi and Estaquería Archaeological Complex  (400 BCE - 400 CE,     Nasca)

          •open journal entry

2. Nasca graveyard at Tambo de Perro

          •open journal entry

3.  Museo Antonini

            •ceremonial fishing net

            •Nasca ceramics

4.  Nasca Lines

            •open journal entry

 

Reading:

Rebecca Stone-Miller, "Paracas and Nasca," in Stone-Miller Art of the Andes from Chavín to Inca (London:  Thames and Hudson, 1995).

 

 

 

 

COURSE REQUIREMENTS

 

1.  Art History Journal (60%):

 

In the tradition of the 19th-century traveler-reporter artists to Latin America such as Alexander von Humboldt and Frederick Catherwood, you are required to produce a journal, documenting sites and artifacts. 

 

There are 53 required entries - the bulleted items in the syllabus.  Each entry should be a minimum of 1/2 to 1 page (and if you feel especially inspired:  more! by all means!).  The entries should be as "scholarly" as possible:  i.e. facts, data, historical information, art historical and cultural observations.  You may want to conclude each entry with a personal evaluation, appreciation or even a follow-up question for discussion during class "sessions".

 

Additional entries (concerning art history, archaeology, Peruvian culture past and present) will be awarded with extra credit.

 

If you are planning to keep a "personal" travel journal, I kindly ask that you do so in a separate notebook.

 

2.  Readings (30%):

 

The required readings are listed in the syllabus; most are courtesy of VCU Professor Schreffler's "Peru Readings".  A version of this reader will be compiled for this class. We will get together while in Peru to discuss these readings as they become "due".  Your honesty, sense of fairness towards your peers and participation in discussions will determine your committed reading of these essays.

 

3.  Class Participation (10%):

 

Your commitment to learning about the art and architecture of Peru must be evident at all times.  Make sure to spend a portion of your free time writing your art history journal entries  and reading the required essays. I will check journals while we are in Peru. You must have a "field journal" for note-taking (may be the same as your art history journal) - and I expect you to busily take notes "in situ" as much as possible.  Field-notes must then be transcribed into either a typed or 'clean' handwritten format.

 

 

Working Bibliography

 

Ades, Dawn:  Art in Latin America  (Yale 1989)

Braun, Barbara:  Pre-Columbian Art and the Post-Columbian World:  Ancient American Sources     of Modern Art  (Abrams 1993)

Contemporary Peruvian Paintings and Sculptures  (Corcoran Gallery of Art 1966)

Frank, Patrick ed.:  Readings in Latin American Modern Art  (Yale 2004)

Inka - Peru:  3000 Jahre Indianische Hochkulturen (Berlin 1992)

LaRosa, Fernando:  BrokenVessel:  Eleven Contemporary Photographers (Lehigh University

      1995)

Lucie-Smith, Edward:  Latin American Art of the 20th Century;  2nd ed. (Thames and

      Hudson 2004)

Morris, Craig & Adriana von Hagen:  The Cities of the Ancient Andes  (Thames and                                Hudson, 1998)

Mosquera, Gerardo:  Beyond the Fantastic:  Contemporary Art Criticism from Latin America         

      (MIT 1996)

Starn, Orin et al. eds:  The Peru Reader:  History, Culture, Politics, 2nd edition (Duke University            2005)

Wright, Ruth & Alfredo Valencia Zegarra:  The Machu Picchu Guidebook (Johnson Books 2004)

 

Note:  A section on Modern and Contemporary Art in Peru (i.e. 20th- and 21st-century) is being              researched and developed.  This will complement the course focus on ancient Peruvian                             art with an introduction to contemporary currents (other than the indigenous arts and                              crafts).

 

 

Learning Outcomes

 

Students will have the opportunity to progress in a number of key areas that the department has identified as qualities that our best Visual Arts graduates should possess. These include:

 

1.                Possess a basic knowledge of visual culture from prehistoric to contemporary times.

 

We will study the art and architecture of Peru ranging from Pre-Colombian architecture, such as Machu Picchu, through the Colonial period, visiting colonial cathedrals, such as, La Compañia. In addition, we will examine contemporary Peruvian art through visits to galleries in Lima. Students will have assigned readings to provide an art history background for the areas we will visit.

 

2.                Have an awareness of the richness of cultural diversity through the study of creative work from many cultures.

 

This trip will focus on Peru. It will provide insights into a culture that is not highly represented in Utah. It will give you a chance to study this culture in breadth and depth that would not be possible on campus at WSU.

 

 

3.                Possess skills in oral and written communication as they pertain to the visual arts.

 

You will continue to develop your writing ability through journal entries. In addition you will continue to develop their skills in oral communication as they participate in discussions.

 

 

4.                Be able to think critically. Students should be able not only to analyze a work of art using traditional methods, but should also be able to develop thoughtful new interpretations.

 

In all of the courses you will be encouraged to critically analyze artworks through guided critiques and discussions applying the concepts covered in their readings.