Fall 2014

The State University of New York at Stony Brook Department of Art

ARH 333, 3 credits

Arts for the Public in the Twentieth Century!

This course satisfies the DEC category K
This course satisfies the SBC category HFA+
Course Description: The history of efforts to develop forms of artistic work that engage broad audiences of
citizens and consumers. Examination of a range of enterprises spanning the century, including monuments,
murals, animated cartoons, propaganda, and the Web. Drawing on perspectives from art history, social
history, and cultural studies, the course considers developments throughout the 20th century in the United
States such as urbanization, political and business expansion, class and racial conflict, war, and technological
innovation, in relation to art work.

Course Learning Objectives: The goals of this course are

to explore the history and significance of efforts to develop forms of artistic work that would engage broad
audiences of citizens and consumers.
to that end, to examine a range of enterprises, including monuments, murals, billboards, magazines,
animated cartoons, propaganda, and the Web.
to consider the impact of such developments as urbanization, political and business expansion, class and
racial conflict, war, and technological innovation, in relation to art work.
to probe the question of what is art for the public at the dawn of the 21st century, and of whether public
arts and popular arts in the present day are one and the same?

These objectives will be met through

participation in lectures on material covered in assigned books and articles.
student discussions of issues in assigned books and articles, for which they are prepared by instructor and
teaching assistant-posted questions on Blackboard.
student in-class discussions and analysis of images and objects covered in class and readings.
reading all assigned course material and completing all homework and paper assignments.

Progress will be assessed

through recording student attendance
through observation of students class participation
through performance on non-cumulative midterm examination and non-cumulative final examinations,
employing slide identifications and discussions, short answer questions, slide compare and contrast essays,
and other essay formats.
by giving special attention to degree of detail and mastery of material (analytical and factual) student shows
command of on midterm and final exams.
Successful completion of all assignments noted

!
!
!

Prerequisites: ARH 102 or ARH 209 or CCS 101

Lecture and discussion: Monday & Wednesday, 8:30 - 10 am, Staller Center 3220

!1
ARH 333, Fall 2014
Stony Brook University- Department of Art

Professor: Dr. Michele H. Bogart, Staller Center, 4215

Office hours: Monday 10:00 - 11:45 am, 1:00-2:15 pm

Wednesday 2:00 - 3:15 pm
(or by email appointment: michele.bogart@stonybrook.edu)

Teaching Assistant: Ms. Sierra Rooney

Office hours: Monday 10:00 - 11:00 am
(or by email appointment: r.sierra.rooney@gmail.com)

Required Texts (all available in campus bookstore):

Stefan Kanfer, Serious Business (New York: Da Capo Press, 2000). 0306809184
R. Roger Remington, American Modernism: Graphic Design 1920-1960 (New Haven: Yale University
Press, 2003) 0-300-09816-2
Harriet Senie, The Tilted Arc Controversy: Dangerous Precedent? (Minneapolis: University of
Minnesota Press, 2001). 0816637865

Other resources used for required work

Blackboard: Students in this course are required to obtain an account on Blackboard, an instructional
website. If you don't own a computer, please visit SINC site on first floor of the library (or other sites on
campus) for assistance. Blackboard will be used in the course to provide timely communication of
announcements, assignments, and other information. Announcements will also be emailed.
Especially important, images relevant to the class will be accessed through Blackboard. They will be available
as PDF Files keyed to the days lectures. These files will be available in Blackboard/Assignments, via
folders keyed to the lecture topics. The syllabus and paper assignments are also posted on Blackboard, so if
you lose your syllabus you can get it on Blackboard/Course Information. A requirement of this class is that
you check the Announcements, Course Documents, and Assignments sections of Blackboard on a daily
basis, especially on Monday and Wednesday afternoons.
NOTE: I do not accept papers or other assignments through Blackboard, except through SafeAssign. Unless
told otherwise, papers and assignments are to be submitted in hard copy only on the assigned due date.
Images: Careful study of images covered in class and reading are a fundamental requirement of this course.
If an images is discussed at length in class, then you are responsible for knowing it. It is assumed that you will
also be familiar with the works that are the primary subjects of the readings and/or class lecture or
discussions.
For exams, you should anticipate having either
to discuss the significance of the visual material (either alone or in a slide comparison), or
to use the information and example of a given image/work to answer an essay, short answer question, or
identification question.

Web Resources: Some assignments entail use of the Web, especially YouTube. Links will be provided under
Blackboard/Assignments, in folders keyed to the class topic. If you don't own a computer and modem, you
will need to use facilities on campus. Visit the SINC site on the first floor of the library, and they will assist you
in using the Web, Blackboard, and in obtaining an email account.
Screenings: Several of our classes explore early animation. I will be screening many of these short films
during the class period. (The screenings will generally take up only a portion of the class period. The rest of
the class will be devoted to lecture/discussion.) Many of the animated cartoons are available on YouTube, and
URL links will also be provided when available. You are expected to be able to discuss this material on your
quizzes and exams.
Anything that is not available on YouTube or Blackboard will be placed on reserve in the Library.

!!2

ARH 333, Fall 2014

Stony Brook University- Department of Art

!
Reserves and EReserves: Some of your readings are in books that I have placed on reserve in the Library,
3rd floor. They are listed as RESERVE. A number of your reading assignments have been placed on Ereserve
on Blackboard, and are indicated in your syllabus as ERESERVE. You will find them in Blackboard/
Documents. Some of your readings are journal articles, which you will find on the Librarys web page under
Ejournals. If you dont know how to access ejournals, please let Sierra or me know and we will show you how
to do so.

Course requirements and policies:

Your final grade will be based upon the weighted sums of your midterm and final exams, and class
participation. Poor class attendance will negatively affect your final grade (see policies below): [ 4-6
absences =-5% ; 7-8 absences = -10%; 9+ absences = 25%. Final grades are final.

Grade Breakdown_______________________________________________________________________________%__
The following percentages represent the weight of each graded item in relation to the final grade:
Midterm Exam I
Midterm Exam II
Final Exam
Class Participation

September 29, 2014 (covers from August 25-September 24 )

November 5, 2014 ((covers material from October 1-November 3)
December 16, 2014, 8:00 AM (covers Nov. 10 - Dec. 3)

!!
!

25%
35%
35%
5%

Attendance, Preparation, and Protocol:

Attendance will be taken in this class. The attendance sheet will be passed around at the beginning of
class. Please make sure to sign in with name and ID#. Students are expected to be in class and to arrive on
time. Students who arrive late are responsible for signing the attendance sheet. If your name is not
recorded, it will count as an absence even if you're actually there, so be sure to sign the sheet! If you are
absent from class more than three times, 5% will be deducted from your final grade numbers, up to six
absences. If you are absent seven or eight times, 10% will be deducted from your running total score. If you
are absent for nine or more classes, 25% will be deducted from your total weighted score. (This can bring
your final grade down from a B to a D.) Medical or severe family emergencies will be accepted if
accompanied by an original physicians note, signed, on letterhead with office phone number.
You are required to have read each days assigned reading by the time of class in order to be informed
during lecture and an active participant in class discussion. It expected that you will have given thought to
(and preferably to have some notes concerning) any questions that you are asked to ponder for the next
class. Also check Blackboard to see whether I have posted questions for you to think about for the
upcoming class. You should also be prepared to bring to class any questions or comments you may have
concerning class or reading material--or any broader issues of concern to the class. Participation and
dialogue with your fellow students is very much a part of the learning process, and meaningful participation
will have a bearing on your final grade.
Please arrive on time. It is very disruptive to the class to have students traipsing in late.
All mobile communications devices must be turned off and stored in purse or backpack before entering the
classroom. All purses, backpacks, coats, etc. must be placed on backs of chairs or on the floor during
examinations. Computers and tablets are permitted for purposes of note taking and web browsing for class
purposes, but text messaging, emailing, and surfing social media are not permitted in class!!
Recording of class lectures is not permitted without proper documentation of need.
Eating in class is not permitted. We do not want to give roaches and rodents the opportunity to participate in
this class and infest your backpack.
Please deposit all trash in trash receptacles. Please clean up any spills before leaving the classroom,

!!3

ARH 333, Fall 2014

Stony Brook University- Department of Art

Exams and Quizzes:

There will be two midterm exams and one final exam (midterm and final) for this course. The exams will
require you to identify slides by NAME OF ARTIST, A ROUGH TITLE, AND CULTURE PERIOD AND DATE
(see DATES below.) The exams will require you to write in essay form on some portion. You may be required
to write an essay on the basis of looking at slides, or you may be given a question that requires you to use
examples to back up your argument. Exams will likely also include some slide identifications with brief
discussions of their larger significance, and short answer questions based on readings and class material.
The mid term will take up one class period; the final will be held on the designated day and time (Tuesday,
December 16, 2014, 8:00-10:45 am period). The final exam is not cumulative.
The exams assume that you have attended all classes, read all the readings, thoroughly studied the images
covered in class in relation to lectures and readings, and that you have studied and restudied notes and visual
material all along. You cannot miss class, or cram for the exam, and expect to do very well. The best exams
combine detailed information and analysis; they are not merely descriptive. At the same time, the more
specific you can be, the better.
To prepare for exams, you should be familiar with the visual material covered in class and readings, as well as
the crucial information and key issues discussed in classes and in readings. YOU ARE ALSO EXPECTED
TO BE ABLE TO DISCUSS INTELLIGENTLY (i.e.--analytically, in light of the issues raised in class discussion
and/or readings) WORKS DISCUSSED IN CLASS OR AT LENGTH IN YOUR READINGS. You should try to
discuss the significance of a given work or group of works in some concrete way--a way that explains its
subject matter (if you have studied it), or that bears upon one of the themes of the course that you have
encountered. If you are shown a familiar image, for example, you need to be able to discuss not only its
formal aspects and/or subject matter, but also what it tells us about the larger issues or themes you have
studied in the class, like artistic or consumer identity; memory; race, gender, class, and representation, and
the evolution of commercial culture. In the more general essay questions, you will also want to discuss the
course's broader themes, and to discuss (as opposed to just pointing to) specific examples to back up your
argument. Thus you will need to know the names of artists and works discussed at length in class and in
readings, and the culture periods and dates of those works.
**No extra-credit exams or work are given in this class.
During exams, there should be nothing in your laps or pockets. Anyone caught cheating will receive a zero on
the exam and reported to academic judiciary, and very likely will fail the class.
Failure to sit for an exam without a valid excuse (a letter from a physician) will result in a score of
zero. The final cannot be missed. NO make-up midterm exam will be considered unless you or an
adult family member contacts me (email Sienna Rooney or me, or leave a message on the Art
Departments message machine 631-632-7250) BEFORE the exam to let me know you are ill. You
will also need to provide a written medical excuse, written on a physicians letterhead with office
phone number on it.

!
!

DATES, for purposes of identification on quizzes and exams:

g. (1946-1962) Early Cold Ward
a. (1860-1880) Civil War and Reconstruction

h. (1963-1980) Civil Rights Era

b. (1880-1890) Gilded Age

i. (1981-1992) Culture Wars

c. (1891-1920) Progressive Era

j. (1992-2000) Multicultural America

d. (1921-1929) Business Boom Era

k.(2001-2011) Contemporary

e. (1930-1939) Depression

You should also know dates of major historical

events and their impact on American society.

f. (1940-1945) World War II

Don't forget that the best exams are not just descriptive, but analytical. At the same time, the more specific
you can be, the better.

!!4

ARH 333, Fall 2014

Stony Brook University- Department of Art

OTHER: All mobile communication devices must remain off during class. During exams, all mobile
communications devices and computers must remain off and placed in backpacks or purses on the floor
underneath your seats.
ACADEMIC INTEGRITY: Each student must pursue his or her academic goals honestly and be personally
accountable for all submitted work. Representing another person's work as your own is always wrong. Faculty
are required to report any suspected instance of academic dishonesty to the Academic Judiciary. For more
comprehensive information on academic integrity, including categories of academic dishonesty, please refer
to the academic judiciary website at http://www.stonybrook.edu/uaa/academicjudiciary/
DISABILITY SUPPORT SERVICES (DSS) STATEMENT: If you have a physical, psychological, medical, or
learning disability that may affect your course work, please contact Disability Support Services (631)
632-6748 or http://studentaffairs.stonybrook.edu/dss/. They will determine with you what accommodations
are necessary and appropriate. All information and documentation is confidential.
Students who require assistance during emergency evacuation are encouraged to discuss their needs with
their professors and Disability Support Services. For procedures and information go to the following website:
http://www.stonybrook.edu/ehs/fire/disabilities/asp.
Critical Incident Management: Stony Brook University expects students to respect the rights, privileges, and
property of other people. Faculty are required to report to the Office of Judicial Affairs any disruptive behavior
that interrupts their ability to teach, compromises the safety of the learning environment, or inhibits students'
ability to learn. Faculty in the HSC Schools and the School of Medicine are required to follow their schoolspecific procedures.

!
!

!!5

ARH 333, Fall 2014

Stony Brook University- Department of Art

Tentative Schedule of Lectures and Assignments

Lectures are given by topic and topics tend to extend from one class into the next. I tend to run over and then
catch up at the end. Check Blackboard regularly for updates!!! Consult Blackboard for updated information on
which images you are responsible for. Please stay on top of your reading!!!
Summaries and Class Preparation: It is assumed you will be prepared for class. Class participation is worth
at least 5% of your grade.
LECTURE TOPICS AND READINGS

!
!
Civic Art, Public Culture at the Turn of the Century
!
August 25:

Introduction

August 27:
Public arts and urban culture, circa 1900 I
Michele H. Bogart, Public Sculpture and the Civic Ideal in New York City, 1890-1930 (Washington DC:
Smithsonian Institution Press, 1997), 3-48; 56-59, 89-96. RESERVE

September 3: Public arts and urban culture, II

Bogart, Public Sculpture and the Civic Ideal, 97-110. RESERVE

!
!

September 8: Public arts and urban culture, III

Bogart, Public Sculpture and the Civic Ideal, 243-57. RESERVE
September 10: Museums: Palaces for the People
Alan Wallach, The American Cast Museum: An Episode in the Institutional Definition of Art, in
Exhibiting Contradiction : Essays on the Art Museum in the United States (Amherst:
University of Massachusetts Press, 1998), 38-56. E-RESERVE.

!
Commercial Cultures and the Expansion of Art Work
!

September 15: Illustrating America

Class discussion of Caroline Kitch, Girl on the Magazine Cover: The Origins of Visual Stereotype in
American Mass Media (Chapel Hill: University of North Carolina Press, 2001), 16-36. ERESERVE.

September 17: The Ascendance of Advertising

Michele H. Bogart, Illustration at the Turning Point, Gannett Center Journal (Winter 1990): 64-77. ERESERVE

September 22: The Ascendance of Advertising

R. Roger Remington, American Modernism: Graphic Design 1920-1960 (New Haven: Yale University
Press, 2003), 8-14; 34-40.

!
!

September 24: The Ascendance of Advertising

September 29: EXAM I (covers material from August 25 - September 24)
October 1:
Early Animation, 1895-1915
Stephan Kanfer, Serious Business: The Art and Commerce of Animation in America from Betty Boop
to Toy Story (New York: Scribner, 1997), 17-32.
In-class viewings: Humorous Phases of Funny Faces, (1906) Little Nemo (1911), Gertie the Dinosaur
(1915), all on Animation, the Beginning, vol. 1 (Grapevine Video); Enchanted Drawing
(1900), on The Origins of American Animation (first film), video, or on Origins of American
Animation web site: http://memory.loc.gov/ammem/oahtml/oahome.html

!!6

ARH 333, Fall 2014

Stony Brook University- Department of Art

October 6:
Early Animation II, 1915-1928
Kanfer, Serious Business, 33-53, 55-57.
View Katzenjammer Kids (1918), Path/IFS at http://memory.loc.gov/ammem/oahtml/oahome.html.[or
on The In-class viewing: Bobby Bumps Beanery (Animation: Beginning), Tantalizing Fly,
Bubbles,(1915-20), Kokos Earth Control (28) [on video Koko the Clown]

October 8:
Uncle Sam Wants YOU!: the Visual Culture of World War I
Jennifer Wingate, Over the Top: The Doughboy in World War I Memorials and Visual Culture,
American Art 19, no. 2 (2005): 27-47. in EJOURNALS/University of Chicago Press.

For discussion:
1. What does this phrase refer to?
2. What is a "doughboy" What were some of the different types? Why were certain types popular?
What was the political impetus for some of them?
3. How did gender come into play?
4. How do you think Wingate's article complicates the meaning and significance of "the World War
I memorial."

Recommended: Bogart, Public Sculpture and the Civic Ideal, 271-292.

In class viewing: Winsor McCay, Sinking of the Lusitania, on Animation, the Beginning, vol. 1
(Grapevine Video)

!
Commerce, Consumerism, and the American Way of Life
!

October 13:
Fighting Depression: Animated Cartoons in the 1930s
Kanfer, Serious Business, 69-75, 95-99, 101-108, (113-118 recommended).
The Fleischer Studio website: http://www.fleischerstudios.com/
Animating Music: The Fleischer Era, http://www.wnyc.org/shows/soundcheck/2011/aug/22/
animating-music-fleischer-era/
In class viewing: a) Van Beuren Studio, In a Cartoon Factory b) Max Fleischer Studio, Bimbos
Initiation (1931), Red Hot Mama (34) [Betty Boops Definitive Collection, v. 3] Betty for
President (1932), [Betty Boops Definitive Collection video, v. 2]; Jazz Singer.

October 15:
Public Images of Race
October 20:
Public Images of Race
Patricia Turner, Ceramic Uncles and Celluloid Mammies: Black Images and Their Influence on
Culture (New York: Anchor Books, 1994), 9-30, 41-54. E-RESERVE. Be prepared to discuss
her argument.
Kanfer, Serious Business, 134-5.
View on your own: Bobby Bumps Starts a Lodge in Origins of American Animation, Library of
Congress, American Memory <http://memory.loc.gov/ammem/oahtml/oahome.html>
In class viewing: Sullivan Studio, Felix Saves the Day; Max Fleischer Studio, Minnie the Moocher
(1932) and Ill be Glad When Youre Dead You Rascal You (1932) [Betty Boop Definitive
Collection video, v. 2].

!
!

October 22:
Mickey Mouse History: The Art of Walt Disney
Kanfer, Serious Business, 57-65, 77-86, 118-123, 125-131, 139-143, 149-155, 177-182.
Recommended: View on your own Fantasia (November 1940) (through 1:07, Sound Track),
Pinocchio (February 1940) on reserve in library, or check out from Netflix or viewingyour local
CD store
In class viewing: Mickey Mouse, Band Concert; Thru the Mirror, Three Little Pigs [Walt Disney video].

!!7

ARH 333, Fall 2014

Stony Brook University- Department of Art

Cultural Cold Wars

October 27:
World War/Cold War
Karal Ann Marling, Willie Gillis Goes to War, Norman Rockwell (New York: Abrams, 1997), 91-109.
E-RESERVE. Be prepared to discuss how Rockwell represents the War and American culture.

!!

October 29:
World War/Cold War
Remington, American Modernism: Graphic Design 1920-1960, 84-101.
Kanfer, Serious Business, 131-147, 169-172. How does animated propaganda compare with that of
World War I? How are patriotism and nationalism represented?
Recommended: Four Freedoms Posters exhibition http://www.nara.gov/exhall/powers/freedoms.html
Powers of Persuasion: Posters from WWII, online exhibition:http://www.archives.gov/exhibits/
powers_of_persuasion/powers_of_persuasion_intro.html
View in class: Scrap Happy Daffy, Spirit of '43, Gerald McBoing Boing; If time: Coal Black (1943).

!!

November 3: The High/Low Debates (Sierra Rooney)

Dwight MacDonald, A Theory of Mass Culture, in Bernard Rosenberg and David Manning White,
Mass Culture: the Popular Arts in America (Glencoe, Il.: The Free Press, 1957), 59-66; 69-73.
E-RESERVE.
Gilbert Seldes, The Public Arts, (1956) , in Rosenberg and White, Mass Culture, 557-561. ERESERVE.

You do not have to know or understand every detail, but be prepared to compare and contrast
the authors two points of view keeping in mind the following questions:
1. Both writers propose that American culture has reached a fork in the road and steps must be
taken immediately to aid in the formation of present and future culture. How would you summarize
the steps which they propose?

!
!
!

2. Are there similarities in the viewpoints of these two writers?

3. How would these two writers define mass culture?

4. Both writers discuss the rise of modern mass culture/public arts in comparison to art of the past.
Based on what we have studied so far in this course, what were the factors which contributed to the
rise of modern public arts/culture and what are the defining characteristics of modern mass culture?

5. Compare MacDonalds viewpoint to Seldes what type of actions does MacDonald propose to
elevate culture? Whose hands does MacDonald place the fate of mass culture into? What does
MacDonald propose or imply must be done in regards to mass culture?

!
!

6. How can we compare MacDonald and Seldes views of the common man? What kind of public
do these two writers address?
For MacDonald also think about the following:

What were the forces that led to the development of mass culture? What are the
differences between mass culture and Folk Art? What is kitsch? What are the ways in which kitsch
homogenizes culture?

For Seldes think about:

To whom do culture and its institutions belong? What is Seldes proposition to the public
and those who are currently in charge of major cultural institutions?

*****We remind you that your grade is based in part on participation in class discussion which is
considered in part as an assessment of your mastery of class material, just as an exam is.*****

!!8

ARH 333, Fall 2014

Stony Brook University- Department of Art

!
!!

November 5:

EXAM II (covers material from October 1-November 3)

November 10: The Invention of Graphic Design I

Remington, American Modernism: Graphic Design 1920-1960, 40-46; 26-32; 48-82.

!
!

November 12: The Invention of Graphic Design II

Remington, American Modernism: Graphic Design 1920-1960, 102-156.
For discussion:
1. How do trends shift from wartime to the postwar period, and then to the sixties. In what ways do they
remain the same?

!
!
!
!

2. Who are some of the key artists, graphic designers, and art directors associated with the
different developments
3. What are some of the notable stylistic innovations?
4. What are some of the most notable corporate logos and identities

!!

5. When, according to some commentators, does "modern" graphic design seen to end?

November 17: The Movie Poster and Fifties Culture

In-class screening of The Man Who Drew Bug-Eyed Monsters (Mel Bucklin Productions).

!!

Be prepared to discuss: what are two key points of this documentary?

November 19: Whose Public Art? Who Decides? (Sierra Rooney)

Discussion of Harriet Senie, The Tilted Arc Controversy: Dangerous Precedent? (Minneapolis:
University of Minnesota Press, 2001).

!
!
!
!
!
!
!
!
!
!
!
!
!

Come fully prepared to articulate each of the different perspectives on Tilted Arc that Senie
presents. The class will be divided into four-arbitrarily chosen groups, each of which will describe
the perspective that Senie puts forward (The Art Historical Context, The Public Art Context, The
Public Space Context, The Public Policy Context). After that, instructor will open up the class for
discussion/debate about your opinions about Tilted Arc and its impact.

!!9

ARH 333, Fall 2014

Stony Brook University- Department of Art

Public Art and Publics at the turn of the Twenty-first Century

Reflect on the following as we go along: What does it mean to talk about arts for the public in this day and
age? How have its enterprises changed from the turn of the century, both in terms of ideals and aesthetics,
and in terms of production and reception? Can public art continue to express an ideal of an unified civil
society? Or must it invariably express social, cultural, political, and economic differences? What is its
relationship to public culture? The state? The multinational corporation? Individual self expression? What is
its connection to commercial popular culture? What do you envision will be the public arts of the future? Who
will the public be? Do advertising design and animation continue to be arts for the public in the way that they
aspired to be at the turn of the century? Are public art and popular culture one and the same? Has one
supplanted the other?

!!

November 24: Memorials as Therapy: Commemorating War and Victims of Terrorism

Paul Goldberger, Up From Zero, xi-xiv, 19-35, 204-234. ERESERVES.
See also: Readings on Memorial: Follow links on Blackboard (External Links/Memorial Process).

!!
!!

November 26: THANKSGIVING -- No Class

December 1: Public Art as Urban Renewal (Community and Economic Development)
Jeff Koons, Split Rocker (2014), Public Art Fund http://www.publicartfund.org/view/exhibitions/
6044_split-rocker
DOT Urban Art Program http://www.nyc.gov/html/dot/html/pedestrians/dotart.shtml
Creative Time, Kara Walkers A Subtlety (2014): http://creativetime.org/projects/karawalker/
Wiki Loves Monuments: http://www.wikilovesmonuments.org/contest/
http://www.wikilovesmonuments.org/wiki-loves-monuments-panoramap/

!!

December 3: Art Bytes: The Impact of the Digital Realm (digitally animated cartoons, web design,
apps, and web art)
Kanfer, Serious Business, 215 (The events leading up to Oliver...)- 235.
Select articles on John Lasseter of Pixar. See Blackboard/Documents

!!

Final Exam: Tuesday, December 16, 2014, 8:00-10:45 AM am period, covers from
November 10.

Take note
Complete each reading BEFORE the lecture.
The order of topics and or/duration of coverage may change during the semester.
Exam dates are fixed.
Additional readings or assignments might be given during the semester.

!!10

ARH 333, Fall 2014

Stony Brook University- Department of Art