Australian Aboriginal art is one of the oldest continuing art traditions in the world. Much of the most important knowledge of aboriginal society was conveyed through different kinds of storytelling—including narratives that were spoken, performed as dances or songs, and those that were painted. In this lesson students will learn about the Aboriginal storytelling tradition through the spoken word and through visual culture. They will have the opportunity to hear stories of the Dreamtime told by the Aboriginal people, as well as to investigate Aboriginal storytelling in contemporary dot paintings.

The BSU Introduction to Art is intended for an undergraduate course in art and art history. It incorporates OER material primarily from Saylor Academy and Lumen/Boundless Art History along with original additions by this editor. Educators may use this adaptation as parts of modules or as the entire reading for a course.

This resource is a complete course in art appreciation/art history for an art 100 or arthist 101 level. It is most complete in its art history sections including non-Western art. The introductory materials on techniques and media are not as comprehensive, but the art period overviews are very good. There is a complete list of sources, licenses, and attributions located at the end of every module. This resource lends itself to inclusion in a modular fashion and there is a fee-based LMS integration available if desired. Quiz files and lecture slides are also available, although that may also be on a fee-basis.

This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed.

Video introduction to simple comics reading, how comics are representational, and the vocabulary of comics. Also includes a brief list of the possible jobs in creating a comic such as writer, artist, penciler, and inker.

In this course students create digital visual images and analyze designs from historical and theoretical perspectives with an emphasis on art and design, examining visual experience in broad terms, and from the perspectives of both creators and viewers. The course addresses key topics such as: image making as a cognitive and perceptual practice, the production of visual significance and meaning, and the role of technology in creating and understanding digitally produced images. Students will be given design problems growing out of their reading and present solutions using technologies such as the Adobe Creative Suite and/or similar applications.

We will doggedly ask two questions in this class: “What is history?” and “How do you do it in 2010?” In pursuit of the answers, we will survey a variety of approaches to the past used by historians writing in the last several decades. We will examine how these historians conceive of their object of study, how they use primary sources as a basis for their accounts, how they structure the narrative and analytical discussion of their topic, and the advantages and limitations of their approaches.

This subject examines some of the many ways that contemporary historians interpret the past, as well as the multiple types of sources on which they rely for evidence. It is by no means an exhaustive survey, but the topics and readings have been chosen to give a sense of the diversity of work that is encompassed in the discipline of history.