2016-2017 Annual Program Assessment Report

Please submit report to your department chair or program coordinator, the Associate Dean of your College, and to james.solomon@csun.edu, Director of the Office of Academic Assessment and Program Review, by September 30, 2016. You may, but are not required to, submit a separate report for each program, including graduate degree programs, which conducted assessment activities, or you may combine programs in a single report. Please identify your department/program in the file name for your report.

College: MCCAMC

Department: Art

Program: B.A., M.A., M.F.A.

Assessment liaison: Magdy Rizk

1. Please check off whichever is applicable:A. X Measured student work.B. X Analyzed results of measurement.C. X Applied results of analysis to program review/curriculum/review/revision.

2. Overview of Annual Assessment Project(s). On a separate sheet, provide a brief overview of this year’s assessment activities, including: an explanation for why your department chose the assessment activities (measurement, analysis, and/or application) that it enacted if your department implemented assessment option A, identify which program SLOs were assessed (please identify the SLOs in full), in which classes

and/or contexts, what assessment instruments were used and the methodology employed, the resulting scores, and the relation between this year’s measure of student work and that of past years: (include as an appendix any and all relevant materials that you wish to include)

if your department implemented assessment option B, identify what conclusions were drawn from the analysis of measured results, what changes to the program were planned in response, and the relation between this year’s analyses and past and future assessment activities

if your department implemented option C, identify the program modifications that were adopted, and the relation between program modifications and past and future assessment activities

in what way(s) your assessment activities may reflect the university’s commitment to diversity in all its dimensions but especially with respect to underrepresented groups

any other assessment-related information you wish to include, including SLO revision (especially to ensure continuing alignment between program course offerings and both program and university student learning outcomes), and/or the creation and modification of new assessment instruments

3. Preview of planned assessment activities for next year. Include a brief description and explanation of how next year’s assessment will contribute to a continuous program of ongoing assessment.

2. Overview of Annual Assessment Project(s).

Explanation: The Department of Art is conducting a pilot assessment project addressing critical thinking in the upper division course offerings, using direct assessment. This project came about after our findings in the previous year’s graduate assessment project. The committee members currently include art education, graphic design and art history faculty, and we are searching for an additional member from the studio area. Assessment faculty wanted to see what levels of preparation our students experience within upper division courses for skills/knowledge that could transfer into the grad program. This project was also done to coincide with accreditation requirements, to accumulate viable data with which to measure and improve the B.A. program, as well as address strengths and weakness in critical thinking skills among our juniors and senior levels. In this pilot project, the department assessment committee reviewed a sample of upper division coursework, which include various artwork assignments and written material. A rubric was created to measure critical thinking for different types of media including illustration, photography, graphic design, and writing for art history. The initial norming warranted revisions to the original rubric; a second set of data was then scored and discussed.

In addition to the above, as a result of our previous year’s graduate assessment project, a list of recommended changes and discussion topics, (including paper formatting, prompts for content, and incorporating oral presentation) have been developed to aid faculty working with graduates. These practices and requirements for the graduate thesis and culminating experience have been revised and will be implemented for future graduates. (See section C below for more details on these revisions.)

A: Upper Division Critical Thinking AssessmentThe rubric (Attachment 1) was developed to measure the new SLO 4 for the B.A program (below).

Art Department SLO #1.

1. Students will utilize and apply critical thinking skills to communicate ideas for their intended audience at a competent level in visual, oral, and written formats.

This Art Department SLO is in line with following University ILO:

Intellectual and Practical Skills: CSUN graduates can effectively engage in inquiry and problem-solving, critical analysis, and creative thinking; they have quantitative literacy, are information competent and appreciate the role of these as life-long learning skills.

Rubric and Scoring Process: The rubric for scoring B.A. upper division student work was reviewed by the department assessment committee, and language altered to be more concise and specific for easier measurement of various types of student work. The student work samples include illustration, photography, graphic design, and writing for art history. After a preliminary norming of the instrument, using a very small sample (4 student works), changes to the rubric text were made under the category of "Analysis". In addition, each category (Synthesis, Context, Interpretation, and Analysis) were defined and written into the rubric for better reference while scoring (See Attachment 1 below). The committee found the instrument viable, at this point, to score another larger set (12 student works from 4 different upper division courses, again including illustration, photography, graphic design, and art history).

While scoring the second set of student work, the committee found the process much more fluid. Nevertheless, extensive discussion amongst committee members was very important to reach consensus with scores and exemplars. Discussions about various aspects of each project including formal qualities and visual communication of concepts brought forth details and biases in scoring by fellow members, due to variations in disciplinary expertise. Although we are all in the Department of Art, the sub-disciplines utilize the language of art differently. Details on these results are outlined below.

Results of Scoring and Analysis: As mentioned, after two norming sessions, the Assessment Committee is confident in the resulting validity of the rubric language. The final instrument was also used to revisit projects scored in the first norming session. We adjusted our scoring as we better understood each other and agreed on the meaning of the rubric language; we were then able to consolidate all 12 scored projects for averages. The assigned projects included illustrations for the freshman reading for the year (Coates' book); photography for both technical skills and responses to selected artists' images; posters for a current exhibition; and written abstracts and proposals (see Attachment 2). One committee member was not involved in scoring the written work, as that person was the instructor of record for the art history writing. Interestingly, scoring by the other 2 members coincided with the instructor's grading of the coursework (post-scoring discussion). All of the student work in the sample included assigned technical skills and concepts for visual communication, excluding a set of photography artworks that emphasized a technical skill only.

The committee refrained from scoring two of the visual projects in the photography samples: the assignments that were student responses to the work of selected artists. We needed to know which specific artists the students were responding to, in order to score the work, as a part of the assignment was for this response to be visually evident. These accompanying written components will be retrieved from the professor of record in order to complete the scoring of those items. The remaining scores gave the committee some exemplars, however, for the next round of this assessment activity. For the visual work, we have exemplars for scoring levels 1, 2, and 3; we are still looking for "4" (4 being the highest score). The committee hopes this will be found when scoring a full sample later this fall semester. The written works revealed exemplars for level 3 and 4.

The committee is confident that these findings are solid, but will cross-reference with a new fourth member from the studio area later this fall. Historically, the committee has always consisted of 4 members, at this time there are 3.

C: Proposed Changes to Graduate Program MA in Visual Art Practices The committee proposed incorporating several practices that could reinforce the of the M.F.A. and M.A. programs, including the following: Required organizing principles/sections for a culminating project writing Requirements or standardized format for culminating oral review/presentation of thesis Required content framework for graduate inquiry Verbal presentation/defense activity (contextual) Research practice/tools (digital tutorials for writing and research) Standardize formatting of thesis documents appropriate for MA and MFA.

The Graduate Committee for the M.A. in Visual Art was in line with the Assessment Committee’s findings and have revised their practices accordingly. Initial discussions revealed that the department Graduate Committee has been moving forward with reforms. This assessment project proved to be a reinforcement of the Graduate Committee’s, to change old practices. (see Attachment 4)

C: Rewriting of Department SLOs The committee has presented updated drafts of new SLOs for all its programs, including the B.A., M.A., and M.F.A. and the proposed B.F.A

(still under review), to our faculty in the Fall 2016 semester. Changes were made after brief discussions, keeping in mind the correlation to the university ILOs. The new SLOs were adopted by our faculty, in Spring 2017. All faculty were required to revise their syllabi to reflect this change (see Attachment 4)

Diversity The B.A. Art program at CSUN, by its very nature, is a liberal arts degree that encourages exploration in many areas. The discovery of various

art forms and media is just one aspect of the program. The professors who conduct courses in both lower and upper division also encourage collaborative exercises, community outreach, and extracurricular activities that include clubs and student organizations. With the student success initiative permeating our campus, the department has been planning and conducting further events and activities for students to meet and familiarize themselves to fellow students, faculty, and staff. Such events include the Ceramic Guild sale, Yart Sale (Sculpture Club), Hi-Rez (VISCOM alumni event), Welcome to the Art Department event, Summit (SAGA portfolio review), Animation Portfolio Review, SmArt Day, and many more. The sense of “belonging” will facilitate a better student retention, especially between first and second-year students. Studies have shown that a large drop occurs between the first and second semesters in freshmen year.

Student clubs and organizations:

ASLN (Animation Student League of Northridge) CSUN Painting Guild CSUN Sculpture Club CSUN Photo Club CSUN Illustration Group CSUN Ceramics Guild CSUN Printmaking Society SAGA (Student Advertising Graphic Association) VISCOM (Center for Visual Communication) RADIUS (Center for Brand Strategy) DesignHub (Center for Non-Profit Design)

3. Preview of Planned Assessment Activities for Next Year.

Undergraduate Assessment: The assessment committee will continue to score a larger and final sample for the current Upper Division project. Analysis of findings and proposals to close the loop will be presented to department faculty in late Spring 2017, or Fall 2018. The committee will examine the following possible SLO areas in the next year for undergraduate and graduate assessment for spring, as well as plan for next year’s GE assessment: Diversity Collaborations Verbal Presentation Critical thinking (ongoing)

GE Assessment : Art is slated to be part of 2017-2018 GE assessment in the area of Arts and Humanities. The committee will review what may be needed for the following year, 2018-2019. This new endeavor will also tie-in to the student success initiative on campus, as our lower division GEs are in need of closer scrutiny due to high DFU rates and large opportunity gaps. Two of the assessment committee members are also on the MCCAMC Student Success committee, we hope to bring these issues forward to assessment even further.

GE Art courses include the following: Art 100, Introduction to Art Processes and Lab – Arts and Humanities Art 110, World Arts, the Western Tradition – Arts and Humanities Art 112, World Arts, Africa, Oceana and The Americas - Comparative Cultural Studies Art 114, World Arts, Asia - Arts and Humanities Art 124A, Drawing I - Arts and Humanities

Art 140, Beginning Two-Dimensional Design - Arts and Humanities Art 141, Beginning Three-Dimensional Design - Arts and Humanities Art 151, Photography as Art – Lifelong Learning Art 305, Art and Mass Culture - Arts and Humanities Art 315, World Perspectives in Art History - Comparative Cultural Studies

Attachment 1

Rubric: Upper Division Critical Thinking

Scoring Scale (1-4) Synthesis

(def: combine, blend, fuse or integrate)

Context

(def: interrelated surrounding conditions )

Interpretation

(def: explanation, clarification, exposition or illumination)

Analysis

(def: investigation, deconstruction, or examination)

EXCEPTIONAL – 4 Exceptionally clear combination of various elements resulting in a highly credible and unified composition.

Exceptionally clear in-depth discussion, statement about, or representation of art in historical, personal, political and socio-cultural contexts.

Exceptionally clear explanation of assignment objective(s) and/or a specific point-of-view.

Exceptionally clear and perfectly appropriate deconstruction, investigation or examination of formal and conceptual elements within the work.

GOOD – 3 Mostly clear combination of various elements resulting in a credible and mostly unified composition.

Mostly clear general discussion, statement about, or representation of art in historical, personal, political and socio-cultural contexts.

Mostly clear explanation of assignment objective(s) and/or a specific point-of-view.

Mostly clear and appropriate deconstruction, investigation or examination of formal and conceptual elements within the work.

SATISFACTORY - 2 Combination of various elements resulting in a moderately credible and unified composition.

Somewhat limited discussion, statement about, or representation of art in historical, personal, political and socio-cultural contexts.

Partially clear explanation of assignment objective(s) and/or a specific point-of-view.

Partial clear and somewhat appropriate deconstruction, investigation or examination of formal and conceptual elements within the work.

MINIMAL - 1 Unclear combination of various elements resulting in a non-credible and disjointed composition.

Minimal to no discussion, statement about, or representation of art in historical, personal, political and socio-cultural contexts.

Minimal to no explanation of assignment objective(s) and/or a specific point-of-view.

Minimal to no deconstruction, investigation or examination of formal and conceptual elements within the work.

Consolidated Scoring Sheet: Upper Division Critical Thinking

In the above scoring sheet, Entries #5, #6, and #10 represent faculty scores and averages for writing samples. Entry #5 is a level “4” exemplar and #6 is a level “3” exemplar for the written materials. All others are scores and averages of artworks. For the visual art samples, we have exemplars for levels “1”, “2”, and “3”. A level “4” may be discovered when scoring the full sample this FALL semester.

Attachment 2

Level 3 exemplar; Poster for Exhibition Level 3 exemplar; Illustration for Freshman Reading Level 3 exemplar; Illustration for Freshman Reading

Level 3 exemplar; Poster for Exhibition Level 3 exemplar; Photography for technical skills.

Level 4 Writing Exemplar, Art History

The Heart of Mingei

Paper Proposal and Annotated Bibliography

Art 414 - History of Japanese Art

March 18, 2017

The Heart of Mingei in Contemporary Ceramics

Abstract: In the early twentieth century amid Japan’s sudden and rapid modernization, philosopher and writer Yanagi Soetsu called for a return to the practice and appreciation of

traditional folk crafts. Through many conversations with British potter and friend Bernard Leach, he developed Mingei Theory, which extolled the virtues of the humble, nameless

craftsman of utilitarian objects over the mass-produced wares that were becoming increasingly available through industrialization. Simultaneously, the government sought

legitimacy for Japan in the eyes of the West through the establishment of a national identity that valued heavily its history and traditions; its unique “Japaneseness”. Yanagi and

Leach eagerly disseminated their message the world over, and were particularly well-received in America in the 1950s. The result was a generation of American potters who

embraced the overall aesthetic and idealistic qualities of Japanese Mingei but had incomplete information about the traditions and practices their counterparts in Japan had been

handed down through previous generations. Mingei as it was envisioned in the first half of the twentieth century in Japan is not viable in contemporary America, and perhaps never

was; it is inauthentic for Western potters to attempt to produce work informed by a culture to which they have no connection. Still, Mingei theory continues to inform the work of

potters in the West, and I would argue that the true heart of Mingei is the connection between people via the creation of an intimate, everyday utilitarian object, and that Yanagi

Soetsu would certainly agree.

Introduction: Preserving National Identity in a Post-Industrial Japan

In this section I will discuss the factors which led Yanagi Soetsu to develop the theory of Mingei, including the official opening of the country in 1853 and subsequent rapid

modernization and industrialization. I will also introduce the reader to the aesthetic and ideological foundations of Mingei theory, its international origins, and cooption by the

Japanese government to, ironically, aid the nation in its attempt to modernize quickly.

Content:

Mingei World Tour

Here I will discuss the promotion of Mingei theory in the United States by Yanagi and Leach beginning with Yanagi’s year teaching at Harvard in 1929-30, and ending with the

publication of his collection of writings on the topic, The Unknown Craftsman: A Japanese Insight into Beauty in 1972. I will explain the eagerness with which American

craftspeople, specifically potters, adopted this approach to creation, and some of the reasons for this.

Mingei in America: Misunderstandings and Incomplete Information

In this section I will focus on the issues inherent in the wholesale adoption of Mingei theory by American potters and how this contributed to the forming of an inauthentic practice

of folk craft based on Western ideas of Japanese identity.

Discovering the Heart of Mingei Tradition

Here I will highlight some of the ways in which Mingei theory has positively impacted the culture of American pottery and propose another, more broad interpretation that allows

non-Japanese craftspeople to honor the tradition of Mingei while avoiding the cooption of Japanese culture.

Conclusion:

Yanagi Soetsu’s theory of folk craft, Mingei, though developed in response to the encroachment of modern Western culture, has found its way into the hearts and kilns of many

contemporary American potters, and indeed continues to teach us the value of handmade craft. Yanagi recognized in Japanese folk craft tradition a beauty informed by its rich

history of adapting imported aesthetics and ideas into a unique native style to be honored for its simplicity, accessibility, and functionality. The Unknown Craftsman is humble,

thoughtful, selfless; but he practices his craft with warmth and a wholeness of heart that is communicated through the use of his handmade goods. This community, this human

connection, is the heart and soul of Mingei.

Annotated Bibliography (Primary sources marked with *)

1. Ajioka, Chiaki, “Aspects of Twentieth-Century Crafts: The New Craft and Mingei Movements.” In Since Meiji : Perspectives on the Japanese Visual Arts 1868-2000, edited by Thomas J. Rimer, Toshiko M. McCallum. Honolulu, US: University of Hawaii Press, 2012. Accessed March 16, 2017. http://site.ebrary.com.libproxy.csun.edu/lib/csun/detail.action?docID=10755818.

This chapter serves as a chronological record of events following the Meiji Restoration of 1868 which spurred developments such as New Craft and Mingei in art and craft worlds in Japan. This objective historical overview is helpful for contextualizing the rise of different craft movements in relation to the political and industrial factors at that time. The sections

4devoted to Mingei examine the movement within the larger context of artists, craftspeople, and collectors, as well as other contemporaneous movements rather than only as it applies to Yanagi and Leach. Helpful in its comprehensive and objective look at Mingei and other art and craft movements of the early 20th century.

2. Goring, Holly. "Selling Mingei." Ceramics Monthly, June, 2011. Accessed March 16, 2017. http://libproxy.csun.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=61357814&site=ehost-live.

This article discusses contemporary American potter Warren MacKenzie’s difficulties in staying true to the Mingei movement while making a living in the twenty-first century. It is helpful for addressing questions surrounding Mingei’s viability in contemporary society.

3. Hewitt, Mark. "The Impact of the Japanese Folk Craft Movement on 20th-century American Ceramics." Studio Potter, June, 1997. Accessed March 17, 2017. http://libproxy.csun.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ofm&AN=505681464&site=ehost-live.

Hewitt discusses the many paradoxes inherent in contemporary attempts to adhere to Mingei theory, and argues that the impact of the movement on 20th-century American ceramics is perhaps less extensive than we’ve come to believe. Himself a potter, he relates his own personal appreciation for folk pottery as more visceral than ideological. This article is helpful for its critical view of Mingei theory as it is applied in a Western context.

*4. Horie, Ayumi. “Ayumi Horie is a Potter.” Ayumi Horie. Accessed March 16, 2017. http://ayumihorie.com.

A contemporary studio potter and activist, Horie’s pots express many of the aesthetic and ideological tenets Mingei espouses, without much resemblance to the traditional folk craft of Japan as did 20th-century potter Hamada Shoji. Her website contains photos of her works which show her commitment to playful design, simplicity and naturalness of form, and truthfulness of the ceramic medium as she allows the clay to bloat, crack, or retain fingerprints. In addition, her website gives information about her other craft-related endeavor, Project Brick, a Portland, Maine-based organization that honors ordinary members of the community by laying bricks imprinted with their stories and wishes for the future in the rapidly changing India Street neighborhood. This is useful for aiding my reinterpretation of what Mingei could mean to practitioners of craft in the 21st-century.

5. Kikuchi, Yuko. "Hybridity and the Oriental Orientalism of "Mingei" Theory." Journal of Design History 10, no. 4 (1997): 343-54. Accessed March 17, 2017. http://www.jstor.org.libproxy.csun.edu/stable/1316206.

Author Yuko Kikuchi provides a critical analysis of the development of Mingei theory by merging Western social and design philosophy with Japanese folk craft aesthetics and practices. It offers insight into how this served the nationalist agenda in Japan but promoted a

5limited perspective of Japanese culture to the West. Some black and white photos of Japanese, Chinese, and Korean folk craft pottery are included as well.

6. Lynn, Martha Drexler. "Japanese & Western Mingei." Ceramics: Art & Perception, no. 70 (December 2007): 38-42. Accessed March 16, 2017.http://libproxy.csun.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=28775648&site=ehost-live.

The author discusses Mingei as a “useful misunderstanding”, acknowledging the convoluted history of its formation as a movement, the naive eagerness with which Americans received it, and highlighting some of the developments in American pottery as a result of having incomplete information about the traditions and practices of Japanese craft. The article is helpful for understanding the questions of identity among mid-century American craftspeople who had no longstanding tradition of their own.

7. Turner, Tom. "American Mingei." Ceramics Monthly, November, 2008. Accessed March 17, 2017. http://libproxy.csun.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=36985939&site=ehost-live.

This is an editorial piece in which author and potter Tom Turner shines a light on the folk potters of the American Southeast, an oft-overlooked group in discussions on folk craft. His anecdotal perspective recounts his own ceramic education and how discussions relating to other Asian ceramic traditions and philosophies was overlooked, and that any exploration of folk craft in America was sorely lacking. He argues that the pottery traditions of Georgia and the Carolinas were a parallel in ideology (or lack thereof)

to those which inspired the Mingei movement in Japan. Further, Turner brings up the paradoxical relationship between Mingei theory and academia; that a movement which sought to exalt the unknown peasant craftsperson in Japan became the basis of ceramic art education in American universities in the mid-20th century. The piece is helpful for examining the pervasiveness of Mingei theory in the United States after its introduction and offers an interesting perspective on the heart of Mingei.

*8. Yanagi, Soetsu. The Unknown Craftsman: A Japanese Insight into Beauty. Adapted by Bernard Leach. New York: Kodansha USA, Inc., 2013.

This publication, a collection of Yanagi Soetsu’s writings, is the essential guide to Mingei theory. The introduction, written by his friend Bernard Leach, is an endearing tribute to his memory and contributions. Also contains various images of various folk craft works which inspired Yanagi, bookended by a Korean Yi dynasty tea bowl and a stoneware teacup by Hamada Shoji, another of Yanagi’s friends and active member of the Mingei movement. Useful as it provides the details of Mingei theory as envisioned in earnest by its creator.

Level 3 Writing Exemplar, Art History

Rebirth of Japanese Traditional Painting

California State University Northridge

Art 414: History of Japanese Art

November 24, 2016

Abstract: As Japan entered the modern era Japanese art enthusiasts decided that traditional Japanese art was dying out, thus deciding to rebirth it through trade with Japan.

Meanwhile, Japan was attempting to ascertain foreign interest in Japanese painting, and had begun focusing greatly on teaching Western aspects of art around 1875. The interest

Western countries had on Japanese painting did not revive it, but rebirthed it, as it gave way to a more modern style of Japanese painting. A few artists in Japan had a goal of

incorporating traditional western art into Japanese traditional art by merging aspects of both to portray Japanese subject matter, and created the Tokyo school of Fine Arts. Kano

Hogai was a pioneer of this new modern Japanese-style painting, and through use of both Western and Japanese painting techniques he helped rebirth traditional Japanese painting.

As traditional Japanese painting declined, it was integration and combination of multiple countries art styles that brought it back to life.

Introduction: The Decline of Traditional Japanese Painting and The Beginnings of Japan’s interest in the Western Arts

This section will explain the downfall of traditional Japanese art and the rise in interest they began to have in Western art.

Content:

1. Creation of the Tokyo School of Fine arts and its intentions

Explain the goal of the Tokyo School of Fine arts to encourage use of traditional Japanese art, while attacking it in a whole new way. One of the founders of the school

defined this art as intertwining Western painting techniques such as perspective and shading with Japanese use of watercolor on silk.

2. Kano Hogai (student of TSoFA) and his accomplishments

Define the importance Kano Hogai had in creating this new style of painting and how he accomplished this difficult feat of intertwining two cultures art styles. Explain

his artworks in great detail, and compare them to older more traditional forms of Japanese painting.

3. Effect this new form of Japanese-style painting had on Japan

Explain how this new form of Japanese painting helped Japan come out of the art crisis they had in the Meiji era. Explain how this sparked and renewed an interest in

purchasing Japanese art throughout the Western hemisphere, as well as keep the Japanese traditions alive.

Conclusion

Keeping tradition and culture alive through the creation of art is extremely important, and through implementation of a new modern version, Kano Hogai has achieved this difficult

feat. Though traditions were fading, an important piece of Japanese culture was kept alive due to the interest of Western countries and the ingenuity of Tokyo School of Fine Arts

students.

Bibliography

Foxwell, Chelsea. Making modern Japanese-style painting Kano Hogai and the search for images. Chicago: University of Chicago Press, 2015.

Explains Japans introduction into the modern world and interaction with Western countries due to their interest of Japanese culture and profit it could make. Goes into great depth about the life of Kano Hogai and the creation of his artworks. Talks about the evolution of Japanese painting into a more naturalistic version of itself.

2003. Institutionalizing Talent and the Kano Legacy at the Tokyo School of Fine Arts, 1889–1893. . 147.

Explains how to keep up with the times, Japan began to institutionalize the arts and create schools specifically for it. Tells the story of the Tokyo School of Fine Arts and its importance in moving Japan revitalizing and reinventing the old ‘Kano’ form of training. Helps define the birth and intent of this new form of painting as well as introduce the pioneers of the idea.

Conant, Ellen, Steven Owyoung, J. Thomas Rimer1995. Nihonga : Transcending the Past : Japanese-style Painting, 1868-1968. St. Louis, Mo. : [Tokyo]: St. Louis Art Museum ; Japan Foundation.

Defines the origin and meaning of Japanese-Style painting (nihonga) and the reason for its existence in terms of the current situation of Japan at the time. Explains how the rapid change from the old Japanese culture into modernism brought about the need for Japanese artists to go back to their roots and revitalize their traditions.

Miki, Tamon. "The Influence of Western Culture on Japanese Art." Monumenta Nipponica 19, no. 3/4 (1964): 380-401. doi:10.2307/2383178.

Explains how Japan became interested in Western art through the introduction of Christianity and its affiliated artworks. Defines how Japan began to imitate European designs, clothing, and habits, thus they had accepted it into their culture. Japan began to focus seriously on Western art education around 1875 and this resulted in an outburst of new Japanese-style painters. Helps me explain why this new form of painting took artistic styles from other nations, why it became popular, and how it affected their nation.

Kano, Hogai, and Gedai Museum. 1887. Fudo Myoo. n.p.:

This artwork is a primary source that is needed to help explain Kano Hogai’s success in merging old traditions of Japanese painting with Western methods. This artwork helps prove the point that this new form of painting is indeed an homage to Japanese tradition and not a completely Western painting.

Sotatsu, Tawaraya, and Tokyo National Museum. 17th century. Fujin Raijin-zu. n.p.:

This artwork helps me compare the old style of Japanese painting with the new, and help me define the new as another form of its traditions. The physical forms of the deities in this painting are greatly like Hogai’s Fudo Myoo as they share the same curvy muscle definition and lines under the chest and they are both color on paper. Helps me better define traditional Japanese painting in terms of visuals and aesthetics, and show how they come forth in Kano Hogai’s work.

Attachment 3

CSUN Visual Art Graduate Project: Abstract

The Graduate Project consists of the Exhibition and the Abstract. The Abstract is the written portion of your Graduate Project which supplements and expands upon your actual artwork. It should provideinsight and context for your work, and detail the research completed as a student in order to arrive at your Graduate Project. The Abstract will include information on the form, content and influences of your Graduate Project artwork.

The Graduate Project Abstract should include the following sections:1. Abstract (artist statement)

a. Your artist statement can be used as your abstract, or the basis of your abstract.

2. Introduction (write last)a. Summarize your Graduate Project in one or two paragraphs. b. You can include portions of your artist statement here.

3. Project Description (write first)a. Provide a detailed description of your artwork. b. Answering the following questions will help:

i. How did you arrive at your subject? (Recap past work)ii. How have you approached the representation of the subject? iii. Why did you choose this particular media, or mix of media, to explore the subject? iv. If the work is site specific or installation based, explain your rationale.

4. Form/Process/Technique (write first)a. How did you make the work and how does the process relate to your subject matter and conceptual agenda?

i. Does the material convey content? How?ii. Does the process of making the work impact the end result/content?iii. Is time a factor?

5. Research Analysis/Historical Contextualization (write first)a. Detail your Graduate Project research. b. Answering the questions will help:

i. What kind of research did you conduct?ii. In order to situate your artwork within critical and historical context, ask this: what artists influence you and why (historical and

contemporary)? What traditions are you working within or questioning?iii. Are you refuting any aspects of discourse? Why?iv. Do you have any references outside of visual art: pop culture, literature, politics?What are they and how do they relate to your work?

6. Conclusion (write last)a. Summarize your written thesis and draw conclusions from the project.

7. Bibliography

8. Appendixa. Images of your artworkb. (Optional) Images of influences

BibliographyThroughout your Abstract, you will cite sources. These are documented in your bibliography. Sources are anything that informs your Graduate Project, and anything that you directly cite. Think about what books, exhibitions, essays, etc. really impacted how you think about and make your work.

In text citation:Include a bibliography using AMA or MLS style as directed by Graduate Studies. http://www.easybib.com/

When to Cite SourcesAdapted from: http://www.princeton.edu/pr/pub/integrity/pages/cite/

You’ll discover that different academic disciplines have different rules and protocols concerning when and how to cite sources, a practice known as “citation.” For example, some disciplines use footnotes, whereas others use parenthetical in-text citations; some require complete bibliographic information on all works consulted, whereas others require only a list of “Works Cited.” As you decide on a concentration andbegin advanced work in your department, you’ll need to learn the particular protocols for your discipline. Near the end of this booklet, you’ll find a brief sampling of commonly used citation styles.

The five basic principles described below apply to all disciplines and should guide your own citation practice. Even more fundamental, however, is this general rule: when in doubt, cite. You’ll certainly never find yourself in trouble if you acknowledge a source when it’s not absolutely necessary; it’s always preferable to err on the side of caution and completeness. Better still, if you’re unsure about whether or not to cite a source, ask your professor or preceptor for guidance before submitting the paper or report.

1. Quotation. Any verbatim use of a source, no matter how large or small the quotation, must be placedin quotation marks or, if longer than three lines, clearly indented beyond the regular margin. The quotation must be accompanied, either within the text or in a footnote, by a precise indication of the source, identifying the author, title, place and date of publication (where relevant), and page numbers. Even if you use only a short phrase, or even one key word, you must use quotation marks in order to set off the borrowed language from your own, and you must cite the source.

2. Paraphrase. Paraphrase is a restatement of another person’s thoughts or ideas in your own words, using your own sentence structure. A paraphrase is normally about the same length as the original. Although you don’t need to use quotation marks when you paraphrase, you absolutely do need to cite the source, either in parentheses or in a footnote. If another author’s idea is particularly well put, quote it verbatim and use quotation marks to distinguish his or her words from your own. Paraphrase your source if you can restate the idea more clearly or simply, or if you want to place the idea in the flow of your own thoughts—though be sure to announce your source in your own text (“Albert Einstein believed that…”) and always include a citation. Paraphrasing does not relieve you of the responsibility to cite your source.

3. Summary. Summary is a concise statement of another person’s thoughts or ideas in your own words. A summary is normally shorter than the original — a distillation of the source’s ideas. When summarizing other people’s ideas, arguments, or conclusions, you must cite your sources — for example, with a footnote at the

end of each summary. Taking good notes while doing your research will help you keep straight which ideas belong to which author. Good note-taking habits are especially important when you’re reviewing a series of interpretations or ideas on your subject.

4. Facts, Information, and Data. Often you’ll want to use facts or information to support your own argument. If the information is found exclusively in a particular source, you must clearly acknowledge that source. For example, if you use data from a scientific experiment conducted and reported by aresearcher, you must cite your source, probably a scientific journal or a website. Or if you use a piece of information discovered by another scholar in the course of his or her own research, you must cite your source. But if the fact or information is generally well known and accepted—for example, that Woodrow Wilson served as

president of both Princeton University and the United States, or that Avogadro’s number is 6.02 x 1023

—you do not need to cite a source. Note that facts are different from ideas: facts may not need to be cited, whereas ideas must always be cited. Deciding which facts or pieces of information require citation and which are common knowledge, and thus do not require citation, isn’t always easy. For example, finding the same fact or piece of information in multiple sources doesn’t necessarily mean that it counts as common knowledge. Your best course of action in such a case may be to cite the most credible or authoritative of the multiple sources. But remember: when in doubt, cite.

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University SLOs:

Knowledge of Human Cultures and the Physical and Natural World: CSUN graduates understand the history and scope of human knowledge in the natural and social sciences and appreciate the diversity of aesthetic and cultural achievements throughout the world.

Intellectual and Practical Skills: CSUN graduates can effectively engage in inquiry and problem-solving, critical analysis, and creative thinking; they have quantitative literacy, are information competent and appreciate the role of these as life-long learning skills.

Communication Skills: CSUN graduates can communicate effectively through written, signed or spoken languages, through visual and audio media using text, video, graphics, and quantitative data, both individually and as a member of a team.

Personal and Social Responsibility: CSUN graduates are actively engaged in diverse local and global communities, have multi-cultural knowledge, and use ethical principles in reasoning and action when solving real-world challenges.

B.A. Program SLOS:

1. Students will acquire competent knowledge and skills in various art media, concepts and methodologies.

2. Students will produce a competent body of individual and collaborative work suitable for a liberal arts degree, for the local, national and global marketplace.

3. Students will solve visual problems at a competent level, including understanding/application of the elements of art and principles of design.

4. Students will utilize and apply critical thinking skills to communicate ideas for their intended audience at a competent level in visual, oral, and written formats.

5. Students will acquire historical and contemporary knowledge of diverse cultural and aesthetic contexts, including political, visual and material culture.

B.F.A. Program SLOS (New program under review–not yet adopted):

1. Students will acquire professional knowledge and skills in various art media, concepts and methodologies.

2. Students will produce a professional body of individual and collaborative work suitable for a bachelor of fine arts degree, for the local, national and global marketplace.

3. Students will solve visual problems at a professional level, including understanding/application of the elements of art and principles of design.

4. Students will utilize and apply critical thinking skills to communicate ideas for their intended audience at a professional level in visual, oral, and written formats.

5. Students will acquire historical and contemporary knowledge of diverse cultural and aesthetic contexts, including political, visual and material culture.

M.A. Program SLOS:

1. Students will acquire advanced knowledge and skills in various art media, concepts and methodologies.

2. Students will produce an advanced body of individual and collaborative work suitable for a master of arts degree, for the local, national and global marketplace.

3. Students will solve visual problems at an advanced level, including understanding/application of the elements of art and principles of design.

4. Students will utilize and apply critical thinking skills to communicate ideas for their intended audience at an advanced level in visual, oral, and written formats.

5. Students will acquire historical and contemporary knowledge of diverse cultural and aesthetic contexts, including political, visual and material culture.

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M.F.A. Program SLOS:

1. Students will acquire academic and professional knowledge and skills in various art media, concepts and methodologies.

2. Students will produce an academic and professional body of individual and collaborative work suitable for a master of fine arts degree, for the local, national and global marketplace.

3. Students will solve visual problems at academic and professional levels, including understanding/application of the elements of art and principles of design.

4. Students will utilize and apply critical thinking skills to communicate ideas for their intended audience at an academic and professional level in visual, oral, and written formats.

5. Students will acquire historical and contemporary knowledge of diverse cultural and aesthetic contexts, including political, visual and material culture.

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