CCMAS Course Search

The course is a practical work experience that aims to relate studio theory and practice to the industry. It obtains for six months, at which time a student is attached to an industry/artist/institution to work under an experienced professional/atelier/institutional setting. At the end of the course, a bound report on the nature of work engagement(s) during the period. The experience acquired shall be presented in a written statement in a group seminar and evaluated. 400 Level Painting

This course is designed to explore multiple theoretical approaches to the study of advertising and the digital media vis-à-vis the dynamics of an ever-changing visual ecology. Chosen texts will be developed to examine the messages’ cultural reflections, nature, and characteristics. Students will initially be required to develop an image bank and an in-depth bibliography of critical texts addressing the construction of visual imagery within a defined period of time and/or location.

The course is a survey history of the notions that govern art as an idea and its response as a product of culture regarding taste in the philosophy of art and aesthetics. The focus will be on the thoughts of Plato on art as false imitation, to the theory of imitation of Aristotle, the idealism of the medieval thoughts and the speculative idealism of Immanuel Kant and the formalist ethic, the new art and crafts movement rooted in the Western traditions of scholarship and contemporary aesthetic realities and reception and the concept and an idea in African cultures especially its conceptual foundations in idealism.

A chronological survey of art in Africa beginning with the rock art traditions in Southern Africa dated 70,000 BC typified among others in the Blombos Stone to the Saharan frescos in North Africa, the art of pharaonic Egypt and ancillary traditions of Nubians (Kushite kingdom), Meroe and Axium, Bantu and Sudanese kingdoms and city-states in Africa south of the Sahara to 1,700 AD. The focus shall be on the stylistic progression of forms, symbolism, and the social value of works as metaphors that bear pan-continental identities.

This course is a continuation in the rendering of forms as a visual language with emphasis on individual students developing personal approaches to the rendition of forms and developing an aptitude towards analyzing conceptual issues that arise from the form as rendered. Class sessions focus on projects that encourage exploring known conventions towards developing personal initiatives in the rendition of forms. 300 Level Art Education

The course sets out to provide the methods of evaluating art as a configuration of form. These include descriptive and analytical procedures that aid the definition of style/stylistics and meaning making in the art object. The course accommodates foundational knowledge in such theoretical and methodological conventions as formalism, iconography and iconology, semiotics, critical theory, and deconstruction. 400 LEVEL COURSES NEW MEDIA ART

The course introduces majors in art history to the history and methods of the discipline. It surveys the approach and methods adopted by Gorgio Vasari’s Life of the Artists and its artistic biography approach. Johan Joachim Winkelmann, Jacob Burckhardt among others are explored. Topics such as determination of periods, stylistics and atelier attribution and provenance studies, the primitive and the progressive chronology applied to African art history constitute the core of this course.

This course provides the conceptual frame of art in general education, calling attention to the location of art within the overall aim of educating the child. Studies in the artistic abilities of children, typologies of creative achievements concerning age and social class complex, from the age of scribbling to the age of artistic awareness, evaluating child art, strategies for building confidence artistic attainment in the child in critical practice and perception, understanding the workings of the art curricular for child pedagogy.

This course is an introduction to basic drawing skills. The course aims to sharpen manual skills through exercises that stress the relationship between the drawing tool and the wrist and fingers, the coordination between the hand and the eyes, and the design and placement of objects on paper. Competence is honed through the exploration of analytical and expressive drawing to develop technical, intellectual, and observational skills

This course furthers on FAA 121 on the exploration of analytical and expressive drawing of purposively arranged objects, the composition of scenery, perspective rendition, and interpretation, including the bird’s eye-view interpretation of tones and shades vis-à-vis points of illumination and the attainment of solidity in the drawn object through a variety of shading mechanisms.