SiMON FRASER
UNIVERSITY ?
S.
7r F,5
:
MEMORANDUM
Senate
Senate Committee on
To
.....................................
....................
.
From ?
.....................................................
UndergraduateStudie.
Subject...
.
?
M.IN.....
PROGRAM
........
Q.
IN ?
VISUAL
.
.
.P.T ......
Date
.........p91•
?
23 ..
97.
CHANGES
TO FPA.
?
160-3, ?
260-3.,
261-3;
NEW COURSES FPA. 161-3,
360-3,
361-3,
?
366-3, ?
367-3,
469-5.
Action taken by the Senate Committee on Undergraduate
Studies at its meeting on August:
15,
1978 gives rise
to the following motions:
Motion 1:
"That Senate approve, and recommend approval
to the Board of Governors, as set forth in
S78-85, the proposed changes in title and
description for the following courses:
S ?
FPA. 160-3
FPA. 260-3
FPA. 261-3
Motion 2:
"That Senate approve, and recommend approval
• to the Board of' Governors, as set forth in
S78-85, the proposed new courses:
FPA. 161-3 - Introductory Studio in Visual Art II
FPA. 360-3 - Studio in Visual Art III
FPA. 361-3 - Studio in Visual Art IV
FPA. 366-3 - Problems in Visual Art I
FPA. 367-3 ?
Problems in Visual Art II
FPA. 469-5 - Directed Project in Visual Art."
Note: Subject to the approval by Senate and the
Board of the course the Senate' Committee on
Undergraduate Studies
his
approved waiver
of the timu 1 aq requi remonL in ord'r that
FPA. 161-3 may be otfered i.n Sprinq s.'inester
79-1.
*
Coll Ld
MINOR PROGRAM IN VISUAL ART ?
2
CONTD ...
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fq
Motion 3:
"That Senate ap
p
rove, and recommend approval to
the Board of Governors, as set forth in S78-85
the proposed Minor Program in Visual Art."
Note: Senate has earlier approved in principle
the establishment of a Minor program in
Visual Art and the current submissions
are consistent with the earlier proposals
approved in principle.
'C
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S
R.
C.
Brown
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RegistrarSecretary
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.
Subject
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Program in
Visual .Art •
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From ... P...Th
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Faculty of
.
Interdisciplinary Studies
Date. . .
Ju].y 19, 197.
SiMON FRASER UNIVERSITY
?
MEMORANDUM
S
The Minor Program in Visual Art was approved July 18 by the Faculty of
Interdisciplinary Studies Undergraduate Curriculum Committee. Would you
please place it on the agenda for the next meeting of the Senate Committee
on Undergraduate Studies.
We request a waiver of Senate rules in order that FPA. 161 may be offered
in 79-1.
Q
Thomas W. Calvert, Dean
mrc.
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F
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MINOR PROGRAM IN VISUAL ART
?
10
The Centre for the Arts proposes the introduction of a minor pro-
gram in Visual Art, to become effective in September of 1979. We fur-
ther propose that two of the new courses involved be offered first in
1979-1. The proposal follows the approval in principle for a Visual
Art minor given by Senate in April of 1978 (paper S. 78-39). The struc-
ture of the proposed minor is identical with that approved in principle
in April. We are putting forward the full proposal at this time for two
reasons: first, with the recent appointment of a new faculty member and
the acquisition of some on-campus studio space, this program does not
require any significant new resources for implementation; second, our
desire to provide some continuity for current students and to utilize
teaching resources most effectively suggests the introduction in 79-1
a single new course which is related to the minor, but which also has
an independent justification within the current studio sequence.
All the lower division pre-requisites for the minor are currently
in place and have received an excellent response from students. We now
propose the addition of a small number of upper division courses and one
elective lower division course. Even as independent courses, these
additions make good sense in relation to other offerings of the Centre
and to student interest. Together with the Visual Art courses now in
place, they will provide a coherent and unusual opportunity for students
to pursue a minor concentration in Visual Art. This paper will attempt
to convey more fully than S. 78-39 the special nature of the program,
both in relation to other programs in the Centre and in its approach
to the Visual Art field, before detailing the new course and resource
requirements.
The Centre for the Arts was established as an interdisciplinary
department. The proximity of film, dance and theatre programs provides
excellent opportunities for cross-fertilization, mutual. influence and
critical stimulation. The Visual Art section was conceived as essentially
linked to this process. In this, it actively reflects the situation
in the Visual Art world today, in which theatrical, musical, cinematic,
and other modes and processes are being integrated with continuing tart"
concerns and structured into the art object or the art experience itself.
Such areas as conceptual art, video art, structural-abstract cinena,
and performance work, among others, are relevant here. Skills and
approaches developed as a matter of course in the other programs will
naturally find their place in the production and thinking of students
pursuing Visual Art fields such as these, and the discoveries and rein-
ventions made in the context of Visual Art will in turn have their
effects on the practitioners of dance, theatre, and film. The resolutely
open and flexible structure of both the present and proposed studio
courses is our response to the interdisciplinary opportunities provided
by the Centre. This open and critical structuring is based on contemp-
orary thinking about the nature of art itself. The Visual Art section
will therefore provide an effective focus-point for this thinking, as
it impinges on the arts as a whole, and it. can be anticipated that its
attitudes will have a considerable effect on the critical atmosphere
which the Centre is endeavoring to create in and between its studios.
-2-
The Visual Art program itself has been conceived in a special way.
This conception flowed naturally from its position within the Centre,
but it has some characteristics which must be discussed separately.
The program is and will for the forseeable future remain rather modest
in scale due to the present financial ci irnate in the universities, and
the fact that there exist on the lower mainland two major art institu-
tions with diversified and well-equipped programs. We do not see this
modest scale as a restriction, however
?
We do not wish and could not
hope to duplicate the existing studio art programs at the Emily Carr
College of Art and U.B.C. They are based on a large and varied group
of craft-based studio disciplines (drawing, painting, printmaking, vari-
ous kinds of sculpture activity, ceramics, fabric arts, photography, etc.).
Both institutions, like almost all others today, are-attempting to inte-
grate this-craft-based structure, which characterized the visual arts in
educational institutions until relatively recently, with new approaches
stimulated by the sweeping changes in the arts beginning in the 1960's.
These changes have led to a critical and problematic situation in visual
art, in which the influences of other arts and of mass culture media are
deeply felt.
The studio program at S.F.U. was oriented from the start in 1976 to-
ward dealing specifically and in practice with these problems. Our de-
cision was certainly based on the hard facts of the educational situa-
tion in the arts in B.C. We could at best provide only a fraction of
the craft or media training offered at Emily Carr. For example, we
S
?
could create a new painting school, or a printmaking centre. But, given
our budget, faculty and space limitations, we could provide nothing much
in addition to this. Craft basis for us means narrowness and overspecial-
ization; this was definitely undesirable, especially since we expected
(and have had) a large number of beginning students needing an introduc-
tion-and immersion in the whole spectrum of contemporary art making. But
this decision on orientation was not simply an adaption to existing in-
stitutional. conditions. We hope to begin something completely unique in
the area: a studio program based on the critical situation itself, and
upon the tremendous possibilities that situation provides for the young
artist. We are aiming at a more openly "experimental" approach, based on
a theoretical comprehension of the major movements in contemporary art
and a commitment to their possibilities in practice. This approach must
combine a rigorous and stimulating critical investigation of art with
flexible, yet appropriately structured studio situations in which all
kinds of possibilities, even the most provisional, can be explored freely
and in an atmosphere of constant discourse.
The movement away from a specific craft base does not imply the
negation or the neglect of technique. It does mean that technical in-
struction will tend to accompany the developing concerns of the student
rather than be instituted as a prior requirement. Technical expertise
and creative ideas are to. be developed as aspects of a single integrated
process: the student is exposed to and encouraged to deal with a wide
range of technical possibilities; the acquisition of technical profic-
iency is then begun in those areas required for the student's own work.
40
?
The open and critical studio environment and the emphasis on dis-
-S?
-S)-
?
-
course are designed to take advantage of the university situation. We
want to produce students who are prepared to deal creatively and in-
tellectually with many possible contemporary forms. Students will be
encouraged to articulate clearly the historical and theoretical problems
which face them today, and to become familiar with important literature
in the field, particularly with writing of the past two decades by artists
themselves. In this attempt to relate theory and practice the university
context is particularly useful, one in which intellectual treatment of
creative problems can play its most effective role. In this sense the
Visual Art program is expected to have its effects on the university
community as a whole.
The Structure of the Minor
Lower level students begin their work in visual art by enrolling in
EPA. 160. Although we are proposing a change in the calendar descrip-
tion of this course in order that student expectations can be more
effectively guided, the course will remain what it is at present - an
introductory and exploratory course
.
in which students work in a variety
of media and through readings and discussion begin to familiarize them-
selves with the landscape of contemporary art-making.
After completing 160, some students may wish to undertake EPA.
161-3, a new course which continues the introductory approach of 160.
Although 161 is not a part of the minor requirements, the reasons for
its existence are the same as those which led us to establish similar
courses with the dance and theatre areas: many students, once engaged
in studio work desire to continue their work without an interruption of
two semesters; and talented students without much previous experience
often need additional instruction in order to perfrom acceptably at the
200 level. Because this course fills in an existing sequence of studio
courses, we propose that it be offered first in 1979-1 and that its intro-
duction not be contingent on formal approval of the minor as a whole.
From this first year base and with the concurrent requirement to
complete two of our existing context courses, selected students will pro-
ceed to the second year studio work, the present EPA. 260 and 261. We
are proposing a change in the calendar description of these courses, but
they remain substantially the same. They represent a substantial inten-
sification of first year work in a somewhat freer and more critical en-
vironment. Rather than working on prescribed exercises, our students
choose the kind of art they wish to make, and in the light of these
choices receive appropriate technical training as well as further sug-
gestion for expansion of their work into new areas. Their interests and
directions, particularly in the second year, can take shape in a con-
trolled but extremely flexible and informal environment. One of the
faculty's primary responsibilities in this situation is to bring an aware-
ness of major art problems as they are being faced today. We expect
that by the end of the second year the student will have become reason-
ably familiar with the current national and international art situation,
and will be working toward relating his own desire to make art within the
demands of that situation.
.
.
. ?
-4 -
In the third year students take concurrent courses of two differ-
ent types - a continuing studio in FPA 360-3 and 361-3 and theoretical
seminars in EPA 366-3 and 367-3. These four new courses form the core
of the minor program, and their interconnection is an essential aspect
of the proposal. The concept of combining an intensive theoretical and
historical seminar situation with an active studio arises from our con-
viction that art is a way of comprehending and acting in the world, and
that it is not possible to make serious art wi Lhuut a firm understindinq
of the major historical forces which have shaped our a'sthetic attitude".
As described further in the attached course proposals, the combined
studio-seminar courses are extremely flexible in terms of relating the
specific artistic problems of individual students to the intellectual
and historical issues of current art: all critical discourse in the stu-
dio must originate in the work students do there. At the same time the
disciplined seminar situation provides the framework for a systematic
investigation of issues which, if left at the individualized level of a
student's own work, are understood in a one-sided and partial way. Al-
though the seminars are required for all those in the studios, the sem-
inars will also be open to reasonably prepared students who are not.
taking the studios, and should provide for some an extension of the
critical and historical work undertaken in the context courses.
The final course requirement for the minor is the new directed
•
?
study course, FPA. 469-5. In this course students will work independ-
ently under the guidance of a faculty member to complete a small body
of carefully planned work. It is intended that this work, as the culmin-
ation of the training received should be done under the pressure of ex-
hibition, and public or departmental exhibition of the completed work
will be arranged. In this way each student, at a level appropriate to
the limits of a minor concentration, will simulate the experience of the
professional artist preparing for a group show.
Prp_gra
,
m _J us ti
fl cation
?
0
Student demand for the present Visual Art courses far exceeds the
present enrollment restrictions. There has consistently been a waiting
list for entry into EPA. 160. Visual Art instruction has enrollment
limits based on space and the amount of individual attention required
for each student. The demand for the courses has increased as the
experimental nature of these courses and the level of
.
intensity with
which they have been conducted has become more widely known. The students
who have completed EPA. 261 are interested in continuing their studies in
visual art.
The program offers students the opportunity to prepare themselves
for further study in visual art, for example at the MFA level in other
institutions. We expect that students wishing to complete a BFA degree
at another insitution would he able to transfer their credits to other
institutions. Already our students are being accepted at other art
schools across the country. Those students who do not go on to other
institutions will find that their training in the program prepares them
for an active participation in the arts, either professional or other-
wise. We do not expect all our students to become practising artists
given the unpredictable and erratic economy of the art world. We have a
serious interest in providing an enlightening and provocative exposure
to the problems and atmosphere of art for those who wish to make it part
of their lives in less predictable ways. Furthermore, the minor degree
status of the program will make it possible for university students of
all types to integrate our program with their other studies, and use it
as a complement to a wide range of possibilities. Students who are ma-
joring in other fields can minor in visual art, using the perspective
and training of our program to enrich their expertise in their major
field or to increase their knowledge of art and thus to enhance their
lives.
0
Resources
Space
Resources for the minor program are substantially in hand now.
One large and one smaller studio are being made available to Visual
Arts in the relocation of the Centre in January 1979. These, in addi-
tion to the dowtown loft currently in use, will be sufficient for
housing all the courses currently proposed. With this space, the 100,
200, and 300 level courses will each have a studio. The individualized
nature of FPA. 469 and its restricted enrolment, will mean that those
students will be able to find space in thes' three studios for their
work.
Faculty
• There are now two faculty members in the Visual Arts area and with
the sessional instructor support we are currently utilizing the minor
program will not require additional faculty appointments.
Equipment
Students are encouraged to discover materials in the environment as
•
?
a central aspect of their study of contemporary art production. Con-
sequently, large stocks of expensive craft - art materials are not re-
quired. Photographic equipment has already been purchased and will con-
tinueto be of use in the Program. It is anticipated that video art will
become important in the Program and video equipment which can be used
both for this program and other departmental purposes was requested in
the 78-79 budget. Our future equipment needs, none of them more substan-
tial than our current request, will likely be in this area and we intend
to add slowly to
.
our stock of video production equipment.
.
Proposed Cal.endar Entry
The
Visual
Art Minor
Visual
Art minors will. complete 21 hours of Lower Division
credit, distributed
as follows; ?
i
Any two
of:
EPA. 110-6
?
The Arts in Context: The Renaissance.
EPA. 113-6 . The Arts in Context: European Romanticism
FPA. 114-6
?
The Arts in Context: The Modernist Era
FPA. 116-6
?
The Arts in Context: North American Styles
Pl.us.all of:
?
. ?
.
FPA. 160-3
?
Introductory Studio in Visual Art I
EPA. 260-3
?
Studio in Visual Art I
EPA. 261-3 . Studio in Visual Art II
Visual Art minors will
also
complete 17 hours
of
Upper
Division credit, distributed
as follows:
All of:
?
. ?
.
EPA. 360-3
?
Studio in Visual Art III
EPA. 361-3
?
Studio in Visual Art IV
EPA. 366-3 ?
Problems in Visual Art I
EPA. 367-3
?
Problems in Visual Art II
EPA. 469-5
?
Directed Studies in Visual Art
.
.
COURSE TITLE AND CALENDAR DESCRIPTION CHANGE ONLY
SENATE COMMITTEE
ON
UNDERGRADU
ATE
.
.
Calendar Information
Abbreviation Code: FP A. Course Number:160
Title of Course:
INTRODUCTORY
STUDIO IN VISUAL ART
*L.*-GWLj*Sr1^
PROPOSAL
FORM
Departme
nt:
Centre for the Arts
Credit Hours:3 ?
Vector:
OO
I
Calendar Description of Course:
This
introductory
studio deals with problems of art
making in terms
derived from
recent
and
non
-
traditional directions
in visual art. Work in a variety of media
will
be
assigned,
and some reading is required.
Nature of Course
Prerequisites
(or
special
instructions):''
t1s
?
fo
H".
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r
?
-fre,'
?
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a
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t
What course (courses), if any, is being dropped from the calendar
if this course is
approved:
2.
Scheduling
Row frequently will the course be offered?
Semester in which the course will first be offered?.
.
Which of your present faculty
?
be available to
make
the proposed offering
possible?
3.
Objectives of the Course
4.
Budgetary
and
Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
Staff
Library
Audio Visual
Space
Equipment
LJG
2 4 1:.
5. Approval
Date:
?
9ic4j
oDepartment Chairman
IJ/ I
7g
4QYf
Dean
Chairman,
SCUS
SCUS
73-34b:-
(When
completing this form, for instructions see
Memorandum
SCUS 73-34a.
Attach course outline).
?
., ?
S
SENATE
COMMITTEE
ON UNDERC1CADIJATE. STUDIES
?
NEW COuRSE PROPOSAL FORM
I
Calendar Information
?
Department:
Centre for the Arts
Abbreviation Code:
F P A.
Course Number:
161 ?
Credit Hours:3
?
Vector:
0-0-6
Title
of Course:
INTRODUCTORY STUDIO IN VISUAL ART II
Calendar Description of Course:
This course is designed to permit interested students to continue work undertaken in
FPA.160-3. Work in a variety of media will be assigned, and some reading is required.
Nature of Course
Studio and Seminar
Prerequisites
(or special instructions):
FPA.160 or written permission of the Department.
What course
(courses) i
if any, i; being dropped from the calendar if this course is
approved:
None
2.
Scheduling
How frequently will the course be offered?
Once a year
Semester in which the course will first be offered? 79-1
Which of your present faculty w
'
u!.d
be available to male the proposed offering
possible? ?
Barber
3.
Objectives of the Course
?
.
(see attached)
4.
Budgetary and Space Requirements (for Information only)
What additional resources will be required.in
the following areas:
Faculty
Staff
Library
Audio Visual
Space
Equipment
5. Approval
Date:
17
94
i c i ?
-
Department Chairman
MG
4 t
)?C
Chairman, SCUS
SCUS 73-34b:- (Whcu coniplitlng thili form, for instructions see Memorandum SCUS 73-34a.
Attach coIitte outline).
.
? . ?
FPA. 161-3
?
Introducty Studio in
-
Vi
?
±
This course is an elective continuation of approaches developed in
FPA. 160. It is aimed at the student who wishes to work further at the level
of supervision established at the introductorystage.
This course is not a required part of the minor program, but it. is an-
ticipated that 'a number of students will wish.. to continue introductory work
in the first year, and that students without substantial previous art
making experience may need this course to prepare for EPA. 260.
Students in FPA. 161 will work on assigned projects and will develop
the assignment in his or her own way. These projects will be concerned with
newer directions in visual art and students will be encouraged to experiment
freely with the possibilities
,
offered by media, forms, and structures and to
familiarize themselves with the relevant contemporary work through gallery
visits, and reading assignments. Traditional media and approaches will be in-
vestigated in the context of critical situation in art today.
Constant technical instruction in all media is given in the studio. How-
ever, the aim of the course is not just to develop technical expertise within
the familiar context of visual art, but to provide a critical, investigative
and creative atmosphere in which the entire range of contemporary art produc-
tion can be explored (including environmental work, performance art, video,
photographic work, writing and theory) and related to the student's own
emerging concerns. Reading is required, and students are expectedto con-
tribute verbally to regular critique sessions which bring problems arising
from class work 'together with those, suggested by general study of art and art
ideas.
The studio is therefore a further introduction to the situation and the
problems of art making and to the general situation of contemporary art, its
problems, directions, theories and discourse.
Special Requirements: Basic-equipment and certainsupplies are provided in the
studio, but "art materials" are not. Part of the course is the discovery of
what art materials can be. Students will be responsible for a part of the cost
of whatever materials are necessary for their projects.
Course Requirements: Students are, assigned projects:.evaluation ismade on
the basis of the creativity of their response' to the problems suggested by
the projects and their critical' understanding of the issues as outlined in
studio critiques and assigned readings.
COURSE TITLE AND CALENDAR DESCRIPTION CHANGE ONLY
SENATE COMMITTEE ON U E1C1<M)UATE sTLJr)rEs
_ g '?.P ?
PWPflSA(. ?
R11
Calendar Information ?
...
Department:
Centre for the Arts
Abbreviation Code:
F
P A.
Course Number: _260
?
Credit Hours:3
?
Vector: C_O
S
6
Title of Course:
STUDIO IN VISUAL ART I'
Calendar Description of Course:
This course permits students to work extensively in a mature critical studio
environment on.a combination of freely chosen and assigned projects in various
contemporary media. Reading will be required.
Nature of Course
Prerequisites (or special instructions):
What course (courses), if any, is being dropped from the calendar if this course is
approved: ?
.
?
.
?
•.
?
.
?
.
2.
Scheduling ? .
How frequently will the course be. offered?
Semester in which the course will first be offered?
Which of your present faculty
.
wu!d be available to make the proposed offering
possible?
? . ?
.
3.
Objectives of the Course
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required
,
in the following areas:
Faculty
Staff
Library
Audio Visual
Space
Equipment
5. Approval
Date;J1
9).4
147c'
Chairman
ir ;77
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When'completiflg this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
?
.
?
,
COURSE TITLE AND CALENDAR DESCRIPTION CHANGE ONLY
SENATE
COMMITTEE ON
UNDERGRADUATE STUDIES
S
COURSE PROPOSAL F0101
£.
Calendar
Information ?
Department:Centre
for
the Arts
Abbreviation Code:
F
P A. Course Number:. 261
?
Credit Hours:_3
?
Vector:o-
O --
Title
of Course: STUDIO IN VISUAL ART II
Calendar
FPA.261-3
D escrip
continues
t
ion
work
of
done in
Course:.0
FPA.260-3. Work will combine freely chosen and
assigned projects in a variety of contemporary media.. Readings will be required
as an integral part of studio work
Nature of
.
Course
Prerequisites
(or special instructions):
What course (courses), if any, is being dropped from the calendar if this course is
approved: . ?
.
?
. .
2.
Scheduling ?
0
How frequently will the course be offered?
Semester in which the course will first be offered?
Which of your present faculty
wr.u!d
be available to make the proposed offering
possible?
3.
Objectives of the Course
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following
areas:
Faculty
Staff
Library
Audio Visual
Space
Equipment
5.
Approval
?
.
7 ?
7
•0 -
( ?
JJ
?
7
Date;
ft
?
/
S
Department
tLLL
Chairman
. ?
7
Dean
.
?
Chairman, SCUS
SCUS 73-34b:- (When completing
this form, for instructions
see Memorandum SCUS 73-34a.
Attach course outline).
.
?
.
?
.
?
.
.
SENATE COMMITTEE ON UNL)ERCHADUATE STUDIES
?
NEW COURSE PROPOSAL FORM
r.
Calendar Information
?
Department:Centre for the Arts
Abbreviation Code
:
FPA. ?
Course Number:360
?
Credit Hours:3 Vector: 0-0-g
Title of Course: Studio in Visual Art III
Calendar Description
of Course: An open critical studio course. Students are required
to have a program of work prepared at the beginning of the semester. This program will
constitute the basis of the student's work in the course, and will be the subject-of
continuing critical discussion. This discussion will be integrated with theoretical
studies in the parallel seminar course, FPA. 366.
Nature of Course Studio
Prerequisites (or special instructions):
EPA. 261 and written permission of the department. Students without course pre-
requisites must present a portfolio and have completed all readings required in FPA. 261.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
2.
Scheduling
How frequently will the course be offered? once a year
Semester in which the course will first be offered? 79-3
Which of your present faculty
uk
be available to make the proposed offerIng
possible?
Jeff Wall -Bruce Barber
3.
Objectives of the Course
To provide an intensive and highly individualized studio environment for prepared
students with strong personal interest in visual art. Students are encouraged to
think about their own work in the context of the problems and possibilities of
current art. See attached statement.
4.
Budgetary and Space Requireme
n
ts (for information only)
What additional resources will be required in the following areas:
Faculty
Staff
Library ?
See statement of resource requirements In minor
Audio Visual
?
program proposal.
Space
Equipment
S
5. Approval
Date;
1-7
?
,"
cJ4
Department
LJ
Chairman
AUG :' 4
h
o
(t
ec
• ?
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructiott8 see Memorandum SCUS 73-348.
Attach course outline).
EPA. 360-3 - Rationale and Outline
FPA. 360 is an open critical studio course. •There is no
"assigned" work; students are required to have a prospectus of Work
prepared at the beginning of the course. This program will con-
stitute the basis of the student's activity throughout the semes-
ter, and so will be the subject Of a continuing critical discus-
sion and of technical instruction and suggestion.. These discus-
siOns will be integrated with the parallel seminar course, FPA.
366-3, and problemsraised in the student's work in the studio
will be dealt with in terms of the perspectives being developed
in the seminars. Each student's seminar assignments will be cor-
related with the areas in which he is working in his. studio pro-
duction, and special readings will be assigned dealing with these
particular areas.
The objective of this course is to provide an intensive and
highly individualized studio environment for prepared students with
strong personal interest in visual art. Students will be encouraged
to think of themselves as artists and to begin to deal with the
problems and possibilities of relating their own work to the con-
text of current art as a whole. IPA. 360 then, is an "intermediate"
level of the studio program: the student has gone beyond the
assigned work and introductory aspects of the first and second
. ?
. year levels, and is approaching the point at which it is productive
to think about one's work in the light of the educated and com-
mitted art audience.
Although students are required to work on their own projects,
certain important problems will be dealt with throughout thesem-
ester and will inform all technical and production instruction
and critique. These problems include:
1)
The distinction more recently being drawn between
"making art" (i.e., making objects and images) and "doing art"
(performing activities for spectators), as a central issue in
the structure of art.
?
. . ?
,.
?
.
2)
The relationship between technical choices and possibil-
ities and the expressive and analytical intentions of the work.
3)
The problem of "style", and the meaning of the trends
toward impersonality, the machine-oriented, the utilitarian, and
at the same time personal performanceasthe basic:
.
modes of newer
art.
?
.
4)
The relatiànship between the traditional conceptions and
frameworks of art and the effects.of media suchas photography and
television upon these, as a basic condition for making work today.
S
5) The meaning and effect of the "art world". Who runs it?
Why is it the way it is? Where did it come from? How does one
enter it? Is it possible to make art or do art outside of it? How
does one speak about it?
?
..
?
. ?
.
-2-
6) The issue of discourse: How does one speak about art?
These subjects will form much of the context for the regular
critique sessions held in front of work being done in the studio.
These sessions will deal with the work of both students and in-
structors, and will assume a structural continuum between "student'
and "professional" work. Problems raised in dealing with studio
work will be integrated with the theoretical discussion centering
in EPA. 366-3, and the 'perspectives gained their will in turn, pro-
vide support for analysis of current projects.
Evaluation
Students are assigned projects; evaluation is made on the basis
of the creativity of their response to the problems suggested by
the projects and their critical understanding of the issues as out-
lined in studio critiques and assigned readings.
0
SENATE COMMITTEE ON UNDERCI<ADUATE STUDIE
.1
?
NEW COURSE PROPOSAL FORM
Calendar Information ?
Department:Centre for the Arts
Abbreviation Code:
FPA.
?
CoUrse Number:361 ?
Credit
Hours:.
3 ?
Vector:()...fl..g
Title of Course
?
Studio in Visual Art IV
Calendar Description
of Course: An open critical studio course. It will continue and
and extend work done in EPA. 360-3. Students are required to have a program of work
prepared-at
the beginning of the' semester. This program will form the basis of the
student's work
in
the course, and will be the subject, of a continuing critical discussion.
This discussion will be integrated with theoretical studies in the parallel seminar course
FPA. 367.
Nature of Course Studio
Prerequisites ..(or special instructions): . . . .
?
. ?
. - ..
EPA. 360 and .FPA 366. Students without course prerequisites must present a 'portfolio
and have completed all required readings for EPA. 360-3 and 366-3.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
I
none
2.
Scheduling
How frequently will the course be offered?
•
once a year
Semester in which the course will first beoffered? 804
•Which of your present faculty wc
'
u!I
be available to make the proposed offering
•
?
possible?
Jeff Wall
3.
Objectives of the Course
To provide an intensive and highly individualized studio environment for advanced
students with strong personal interest in visual art. Students will be encouraged
to think about their own work in the context of the problems'and possibilities of
current art. See attached statement.
4.
Budgetar
y
and Space Requirements
.
(for information only)
What additional
'
resources will be required in the following areas:
Faculty
Staff
Library
Audio Visual
?
See statement of resource requirement's in minor
program proposal.
Space,
Equipment
?
.
S. AUjoval
Chairman, SCUS
•k
Department Chairman
?
,
?
a
SCUS 73-34b:-
(When completing this form, for
thi;1ructiO
?
ce
Memorandum CUS
73-34n.
Attach course outline).
EPA. ?
.
EPA. 361 is an open critical studio course. It may continue or
extend work done in EPA. 360, but is generally conceived as a further
level of development, and a more demanding situation. As in EPA.
360, there is no assigned work. Students are required to have a pro-
gram of work prepared for the course. This program will form the
body of the student's activity and will be the subject of continuing
critical discussion and technical instruction. This discussion will
be carried on in connection with the parallel theoretical seminar
course, EPA. 367-3, and issues raised in the studio work will be
dealt with in terms of perspectives being developed in the seminars.
The objective of this course is to provide an intense and high-
ly individualized studio environment for reasonably advanced students
with strong personal interest in visual art. Students will be en-
couraged to think about their work in terms of the educated and
committed art audience, and not solely for the student or studio
peer group. In this sense, EPA. 361 is seen as the first "advanced"
studio course in the visual art program. Although students are re-
quired to work on their own projects, certain basic problems will
be dealt with throughout the semester and will inform all techni-
cal and production instruction. These problems include:
1)
The integration of the inevitable influences one's work
undergoes into the deliberate structure of the work of art.
2)
Relationships between newer technical possibilities (such
as video, holography, etc.) andthe image-making tradition of
culture. ?
. ?
•.
3)
The issue of subject-matter: What constitutes it? Who
determines its significance? How do structural or stylistic or
technical choices alter it? What is its relation to the physi-
cality of the work?
? . ?
.
4)
The issue of discourse: How does one spéakabout work?
These subjects will form much of the context for regular
critique sessions for which the class wil.l meet as a group.; These
sessions will deal with the work of both students and instructors.,
and will assume a structural continuum between "student" and "pro-
fessional" production. Problems raised in dealing with studio
work will be integrated with the theoretical discussions centering
in EPA. 367-3, and the perspectives gained there Will, in turn,
provide support for the active consideration of current projects.
In addition to the required readings in EPA. 367-3, students
will have assigned special readings in.areas relevant to their
studio work. These readings-will mainly be from periodicals, and
students are expected to have thoroughly familiarized themselves
with the important art publications. . .
?
.
Evaluation ?
- 2-
Students are assigned projects; evaluation is made on the basis
of the creativity of their response to the problems suggested by
the projects and their critical understanding of the issues as out-
lined in studio critiques and assigned readings.
?
S
Li
5. Approval
Date:
/
a
J
Depart
1
1
?
Chairman
i9T
7,
Dean
Cha&
a
n,^
SCUS
SENATE COMMITTEE ON' UNDF.RGRADVAT1,STU
DI
E
S
NEW COURSE PROPOSAL -FOM
"r Calendar Information
?
Department: Centre for the Arts
Abbreviation Code:. FPA.
?
Course
Number:
366
?
Credit Hours:3 ?
Vector: 0-4-0
Title of Course: Problems in Visual Art I
Calendar Description of Course: This is a seminar course to be taken by all students
in
EPA. 360. It deals with visual arts topics of
'
'an historical
.
, critical and
theoretical nature which concern practising rtists in the contemporary
context. Students will be required to present research papers. .
Each
research subject will be studied in connectionw
i
t
h
the student's own
artistic work.
? .
Nature ot Course Seminar
Prerequisites (or special instructions): Admission to EPA. 360-3.
Well :prepared students not concurrently enrolled in 360 maybe admitted by permission
of the Department.
It is recommended that students take
PHIL 242
before taking
FPA. 366.
What course (courses), if any, is being dropped from
the
calendar if this course is
approved: none
2.
Scheduling ?
.5
?
.
How frequently will the course be offered? once a year
Semester in which the course will first be offered? 79-3
Which
of your present faculty
r.'u!d
be. available to make the proposed offering
possible? Jeff Wall
3.
Objectives of the Course
To provide an intellectual compTément to intermediate.studio production courses.
To study theoretically, problems raised by practice in visual art today, and to
integrate the analytical skills developed by theoretical thinking with the studio
?
•.
work.
4. Budgetary
and
Space Regu1reme(f0r informationOn1Y)
What additional resources will, be required in the following areas:
Faculty ?
none
Staff
?
'
?
none
Library ?
some 'additional acquisition, especially in current art periodicals, and
some recent publication.
Audio Visual none
Space ?
none
Equipment .
?
none
SCUS 73-34b:- (When
completing this form, for
instructions
see
Memorandum
SCUS
73-34a.
Attach course outline).
.
SENATE COMMITTEE ON IJNI)ERCRADIIATE STUDIES
.
?
NEW COURSE PROPOSAL FOR
Li
Calendar information
?
Department:Centre for the Arts
Abbreviation Code:
FPA.
?
Courue
Number:.
367 ?
Credit Hours:3
?
Vector: 0-4-0?
Title of
Course: Problems in Visual Art II
Calendar Description
of
CouVy.,1Tk%is
a seminar course to be taken by all students
in EPA. 361-3. It deals with
Atopics
of an historical, critical and theoretical nature
which concern practising artists in the contemporary-con
' text. Students will, be required
topresent research papers. Each research subject willbe studied in the context of
the student's own artistic work.
Nature of Course Seminar
Prerequisites (or special instructions):
Admission to FPA. 361-3. Well prepared students not concurrently enrolled in 361
may be 'admitted by permission of the.Department.
What course' (courses), if any, is being dropped from the calendar if this course is
approved:' none
2.
Scheduling
Row frequently will the course be offered? once a year
Semester in which the course will first be offered? 80-1
Which of your present faculty w
'
u!i be available-to make the proposed offering
.osstble?
Jeff Wall - Bruce Barber
3.
Objectives of the Course
To provide an intellectual complement to-advanced studio production courses. To
study in a'theoretical manner problems raised by practice in visual art today, and
to integrate the analytical skills developed by theoretical thinking with the studio
work. ?
, ?
'•
4 •
Budgetary and Space Requir
ements
..
(for information only)
What additional resources will be required in the following areas:
Faculty ?
none
Staff
?
none
Library '
?
some additional acquisition, especially in current art periodicals.
Audio Visual
none - will use studio equipment
Space ?
.,
?
none
,
- will use existing studio and those projected for 1979.
Equipment
?
none
5. Approval , ?
p
Date:
?
94'
/ 7
?
-J f
?
7 ?
'-
2c-
• ?
4r
?
Chirman
?
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructionS see Memorandum SCUS 73-34a.
Attach course outlifle).
EPA. 366 - Problems in Visual Art I
?
and
EPA. 367 - Problems in Visual Art II
EPA. 366 will betaken concurrently with EPA. 360, and EPA. 367
will be taken concurrently with FPA. 361. Well prepared students in
other artistic disciplines may also be admitted with written permission
of the Department.
V1i14.J Ar's
These seminar courses deal withtopicsof an historical, critical
and theoretical nature which concern practising artists in the contemp-
orary context. In this sense, EPA 361 may continue or extend subjects
of discussion fromEPA. 360-3,-but it is conceived generally as a fur-.
ther study. of an-interrelated field of problems.
Students will be required to prepare written reports on researched
subjects, to present these reports in class and to discuss them. The
discussions will be a continuing process of dealing with a set of inter-
related problems. The specific assignments given will be organized by
the instructor to form just such a structure of connected issues, and
that whole group of projects will form the "subject" for the source as
a whole. This idea of a unifying subject of a group of related dis-
cussions derives from the intention of the course: to provide the
grounds for a coherent theoretical discourse in visual art as it exists
today.
Each research subject will be studied in the context of the
student's own artistic work. Considerations in research seminars will
naturally carry over into critique sessions in front of work in the
studio. This process is designed to develop means of speaking, writing-
and thinking about current art, both, the student's own and that of
others; This speaking is to' be considered not as an.adjunct to the
"real" work done in the studio, but as part 'of art
'
i itself, as a central
issue.
Evaluation ?
. ?
.
Research papers and reports will form the basis of academic
evaluation. Students should be prepared to write' two such reports
during the semester. Participation in class discussion will be taken
strongly into account.
S
.
- 2 -
Lippard, Lucy R. Pop Art
Six Years: The Dematerialization of Art
Meyer, Ursula. Conceptual Art
Rank, Otto. The Artist
Sandler, Irving. Abstract Expressionism: The Triumph of American
Painting
Tuchman, Maurice, ed. The New York School
Prerequisites
Admission to
.
FPA. 360. Well prepared students not concurrently enrolled
in 360 may be admitted by permission of the Department.
fl
o
.
FPA. 366 - Course Outline
Possible subjects to' be considered include:
1.
Problems of photography in art; photography as art, as a medi-
um which continues and restructures older pictorial traditions; as part
of a signifying industry within which art must now be located.
2.
Performance as a mode of art production: this recent develop-
ment will be studied through a review of its historical roots and devel-
opment, and in its critical relationship with mainstream theatrical or
performing art traditions. Students will be required to present a
critical evaluation of this work and, where relevant, to examine the
relationship of their own-work to it.
3.
Architectural metaphors for sculptural production: much of
the interesting 'newer three-dimensional work being done is altering'
the relationship between sculpture as an object and sculpture as an en-
closure in which the behavior of the users or occupants of the space
becomes a central focus. Research will lead to the presentation of
papers dealing with the basic structural and theoretical issues, and,
where relevant, the relation of the student's own work to this field.
4.
Video-art: the theoretical, social-political, and historical
bases of the newer video production will be studied in connection
with the development of mass T.V. as a critical frame of reference.
Technical instruction in production may be involved in these studies.
Students will be required to present papers on specific aspects of the
question, and these papers may be integrated with actual video pro-
ductions.
5.
Reading projects in which significant critical and theoreti
cal writing around a major figure or movement will be studied, and a
critical evaluation of the-relationship between this writing and the
art will be made.
Required. Reading
The following is a brief selection of texts which will be used
in all discussion. Other, more specialized material will be added to
this list, depending on the student's specific assignments.
Barthes, Roland.. Mythologies
"The Photographic Message"
"The Rhetoric of the Image"
"The Third Meaning" - from Image/MusiText
Ba'ttcock, Gregory. Minimal Art
Benjamin, Walter. "The Work of Art in the Age of Mechanical
Reproduction" - from Illuminations
Hauser, Arnold.
Iii
Social History of Art
.
S
.
.
FPA. 367- Course. Outline
Possible subjects to be considered include:
1) Aspects of mechanical and electronic reproduction as a history
of-image-making parallel with and complementary to painting.
• ?
2) Historical studied of the major movements of. the Post WW II
period. These stüdies,will change each semester the course if offered,
but will centre around such phenomena as Pop Art, Minimalism, Earth Art,
Performance Art, Conceptual Art. Students will be required to present
a critical evaluation of the movement from an historical viewpoint, or
an evaluation of the-work or part of the work of a major artist identi-
fied with one of these
,
kinds of art.
3)
Reading projects in which significant criticism surrounding a
major figure or problem in the field will be studied. The purpose of
the project will be to form a
.
critical evaluation of the infrastruc-
•
ture' of language or the discourse surrounding the production and re-
ception of important art, and in this process, to establish a coherent
critica.lvocabula'ry for the-student's continuing critical approach to
his own work and that of his immediate environment.,
4)
Intensive-encounter projects in which a.student must write a
coherent critical and historical account of a. specific
,
work, taking it
in all its complexity. This account will include a "reading" of the
structure of the' work on the semiOtic level; and will therefor,e be in-
volved with the field of semiology as it impinges on the problems of
image-making and the comprehension of images.
Required Reading
The following is a brief selection of'tëxts which will be used in
all discussion. Other, more specialized material will be added to this
list, depending on the
,
projects assigned.'
Barthes, Roland. Writing Degree Zero
Elements of Semiology
?
S
Image/Mus.ic/Text
Benjamin, Walter. The Author As Producer
Breton, Andre. Manifestoes of Surrealism
Foucault, Michel. The Order of Thipg
• Freud, Sigmund. Leonardo
?
•
Gale, Peggy, ed. Performance Art Anthology.
-2 -
Hauser, Arnold. The Social Hisyof Art
Nadeau, Maurice. The History of Surrealism
Williams, Raymond. Television: Technology and Cultural Form
Prerequisites
Admission to FPA.. 361. Well prepared students not concurrently enrolled
in 361 may be admitted by permission of the department
.
0
SENATE
CO011TTEF ON UNDERGRADUATE STUDIES
- ?
'
NEW COURSh
rKU'u)P..L r)zsj
£. Calendar Information
?
Department:
Centre for the Arts
Abbreviation Code:_
F.P.A•
?
Course Number:
469 ?
Credit Hours:5
?
Vector:O-O-10?
Title of Course:
DIRECTED PROJECT IN VISUAL ART
Calendar Description of Course:
This is an independent guided studio course for students completing a Minor in
Visual, Art. Students will be
s
expected to complete a body of, planned and approved
work.
Nature of Course
?
Independent work/Studio
Prerequièites (or- special instructions):
' -
FPA.361 and 367 and written permission of the Department..
What course (courses), if any, is being dropped from the calendar if this course is
approved:
None
2.
Scheduling
How 'frequently will the course be offered?
Twice a year
Semester 'in which the course will first be offered?
79-3
Which of your present faculty wc.lu!d be
,
available to make the proposed offering
/ossible?
?
Barber, Wall
3.
Objectives of the Course
(see attached)
4.
Budgetary and Space Requirements (for information only) -
What additional resources will be required in the following areas:
Faculty
Staff
Library
Audio Visual
Space
Equipment
5. Approval ?
Date:
•Department Chairman -
/
?
7
DChairman,SCUN
?
Dean
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-348.
Attach course outline).
FPA.469-5
DIRECTED PROJECT IN VISUAL ART
This is an independent guided studio course for students completing a
Minor in Visual Art. The student is required to be involved in a continuing
programme of work in whatever media he or she chooses. Students at this stage
of development will not need to work in a class or group situation, and their
scheduling will be by arrangement with the instructor. Faculty members will
accept •FPA.469 students for individual instruction through consultation.
Meetings for criticism and discussion of work will be held on a regular basis
in the student's working space or in the instructor's studio. The intention
of this course is to give the experienced and committed student the opportunity
to work freely while being in constant connection with faculty members who are
particularly familiar with their development and who can provide.mature and
extensive criticism and advice; and to provide the student with the opportunity
to produce a small body of exhjbitable art work, This body of work will be
placed in an exhibition situation as the final fulfilment of the requirements
of the course, but the exhibition will not necessarily be public.
As in FPA.360/366 and 361/37, students will be required to do some
?
theoretical or historical research and reading. iThese study programmes will
be organized at the beginning of the semester by the instructor in. consultation
with the student. The instructor will be responsible for structuring a con-
centrated and specific field of study intimately related to the student's.con-
cerns. Students will generally be responsible-for defining their field of
interest, but the instructor will organize that field into specific assignments.
These may take the form of written papers, but may also beoral presentations,
or presentations in other media. Students may consider as
?
studies as a
way for them to make a written presentation or statement in regard to their
own work, its relationship to contemporary art history, its position in the
critical spectrum, its intentions, etc.
SPECIAL REQUIREMENTS: Students will be r6sponsible for
.
a part of the cost
of their materials. . ?
.
?
. ?
. ?
.
COURSE REQUIREMENTS: Students will be evaluated on the basis of their course
work viewed in an exhibition.situatiOn,. and on their theoretical or historical
presentations. ?
. ,. ?
.
