AH 329 - Black Subjects in White Art History


Interterm 2020
Monday through Thursday 1 to 3:50 PM
Instructor: Denise Johnson
Office Hours by appointment
Monday - Thursday
noon to 1 PM


click here for a printable syllabus



Course Description

This experimental course endeavors to explore both depictions of Black subjects in the western art tradition and the emergence of Black artists within an art historical canon that not only reflects white supremacy, but is actively referenced and used to further argue against the merit and very existence of Black cultural contributions in the Global North. We’ll interrogate the use of Black subjects by European artists, grapple with dominant concerns in the western canon that exclude Black artistic aesthetics, and work to untangle philosophical themes that have long been used to support the notion that the white male perspective is singular, natural, and normal. Our course will trace the emergence of Black artists in the 19th and 20th centuries, and examine the jubilant and varied successes of Black artists in the 21st century. Students will be introduced to works not typically considered in art historical surveys such as folk art, quilts, and literature to address gaps in scholarly research and understanding. We will also consider painting, sculpture, photography, and new genre works intending to problematize, complicate, and intervene in assumed narratives and foundational art historical texts.

In this work, we’ll ask who is served by such narrow restrictions, and what responsibilities we might hold as viewers, artists, scholars, and citizens to challenge art’s institutions? Our investigation aims to develop a clear and compelling understanding of the remarkably diverse and rewarding artistic expressions of Black artists and subjects from the early modern period to the present.

While this upper division survey will utilize art historical terminology and methodologies, there are no prerequisites. Students who have taken Art 195 Art and Text, AH 201 Renaissance to Modern Art, and/or AH 341 Contemporary Art: 1970 to Present will find themselves well grounded to begin this exploration. Students who have not previously taken an art history course may have to do some additional introductory reading (which won’t be too time consuming) to establish a firm footing.

Objectives & Outcomes
Students who successfully complete the course will:
Demonstrate a critical understanding of the contributions of Black artists and collectives to the western art tradition;
Demonstrate an understanding of the historical context of Black artist’s contributions to the western art tradition including elements of the canon that dismissed, rendered invisible, and negated Black cultural production;
Develop understanding of the ways that the intersecting dynamics of race, ethnicity, class, and gender produce dissimilar experiences for individuals and groups;
Describe, discuss, and interpret the formal, stylistic, material, and conceptual components of works of art by Black artists and considering Black subjects from the early modern period to the present day utilizing appropriate art historical methodologies; and
Synthesize strategies in critical theory to write about and discuss works by Black artists and about Black subjects with nuance and complexity.
Program Learning Outcomes

Students who successfully complete the course will:


Develop the writing competencies used in the discipline of art history;


Locate works of art and visual culture within the context of world art history and articulate the relationship between intended meaning/function and audience response in specific cultural and historical contexts;


Conduct advanced art historical research using the full range of scholarly resources; and


Recognize the theoretical concerns of art history and its allied disciplines, and discuss and apply specific theoretical perspectives to a given art historical context and to their own research projects.

General Education Learning Outcomes

AI Artistic Inquiry: Provides students an opportunity to explore artistic media, performance and/or creative expression.

Learning Outcome: Students compose critical or creative works that embody or analyze conceptually an artistic form at a baccalaureate/pre-professional level.


SI Social Inquiry: Provides students an opportunity to explore processes by which human beings develop social and/or historical perspectives.

Learning Outcome: Students identify, frame and analyze social and/or historical structures and institutions in the world today.


CCS Citizenship, Community, and Service Inquiry: Encourages students to be active learners in and beyond the classroom.

Community Learning Outcome: Students demonstrate through analysis and/or personal engagement an understanding of the emergence, development, changes and challenges to and, in some cases, destruction of diverse social groups who are marginalized within the context of larger societal environments. Students demonstrate through written, oral, media or other communication process a critical perspective on issues of civil rights, self-representation, participatory politics, and/or similar issues of inclusiveness.



Instructional Websites

This class will be taught from the instructional website The Slide Projector at, www.theslideprojector.com. Lecture presentations, assignments, and other course materials will be available for you at this site and you will need to access it regularly. Coursework must be submitted on Blackboard before the class session which it is due on begins.

The textbook’s companion website offering additional information and can be found here: https://global.oup.com/us/companion.websites/9780199995394/

Required Text

Farrington, Lisa. African-American Art: A Visual and Cultural History, Oxford University Press, 2016. ISBN: 9780199995394


Recommended Supplemental Texts
Patton, Sharon F. African-American Art. Oxford History of Art, 1998. ISBN: 9780192842138
Powell, Richard J. Black Art: A Cultural History (World of Art series), 2003. ISBN 978-0500203620.
Additional Readings
ARTnews Editors, “Auction Items: Flipping a Kerry James Marshall, Day-Sale Surprises, and Jeff Koons Oddities.” ARTnews, November 17, 2017, http://www.artnews.com/2017/11/17/auction-items-flipping-kerry-james-marshall-day-sale-surprises-couple-jeff-koons-oddities/.
Atkins, Robert. ArtSpeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present, 3rd edition. New York: Abbeville Press, 2013. ISBN 978-0789211514
Cooks, Bridget R. Exhibiting Blackness: African Americans and the American Art Museum. University of Massachusetts Press, 2011. ISBN 978-1558498754
Du Bois, W. E. B. “Criteria of Negro Art.” 1926. Writings, Library of America, 1986.
- - -. “The Negro in Literature and Art.” 1913. Writings, Library of America, 1986.
- - -. “Of the Dawn of Freedom,” The Souls of Black Folk, 1903. Writings, Library of America, 1986.
- - -.”Of Our Spiritual Strivings,” The Souls of Black Folk, 1903. Writings, Library of America, 1986.
Ellison, Ralph. Invisible Man. 1952.
Hartman, Saidiya. Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval. New York: W.W. Norton & Company, 2019. ISBN 978-0393285673
Hughes, Langston. “The Negro Artist and the Racial Mountain.” The Nation, 1926. https://www.english.illinois.edu/maps/poets/g_l/hughes/mountain.htm.
Lorde, Audre. “The Master's Tools Will Never Dismantle the Master's House.” 1984. Sister Outsider: Essays and Speeches. Berkeley, CA: Crossing Press. 110- 114. 2007.
Marshall, Kerry J, Helen A. Molesworth, Ian Alteveer, Dieter Roelstraete, and Lanka Tattersall. Kerry James Marshall: Mastry. Skira Rizzoli Publications, Inc., 2016. ISBN 978-0847848331
Painter, Nell Irvin. Creating Black Americans: African-American History and Its Meanings, 1619 to the Present. New York: Oxford University Press, 2007. ISBN 978-0195137569.
Pindell, Howardena. “Gallery Statistics.” We wanted a Revolution Black Radical Women, 1965-85: A Sourcebook, edited by Catherine Morris, Brooklyn Museum, 2017, 273-290.
Tully, Judd. “Kerry James Marshall Painting Sells for Record-Smashing $21.1 M. in Sotheby’s High-Flying $284.5 M. Contemporary Art Evening Sale.” ARTnews, May 17, 2018, http://www.artnews.com/2018/05/17/kerry-james-marshall-painting-sells-record-smashing-21-1-m-sothebys-high-flying-contemporary-art-evening-sale/.


Instructional Strategies
Students will work toward course objectives through: lecture presentations; student reports on readings, active participation in class discussions; in class partner exercises; reading assignments; writing assignments; exams; viewing images, videos, and audio representations of art from the prehistoric era to the medieval period; and viewing of an off-campus exhibition that will require a commute, and may entail a parking fee, and/or entrance fee.
Major Study Units
  • Art History and its institutions

• Semiotics

  • Ancient Models

• Conceptualism

  • Renaissance “Masters”
  • Black Freedom Movements
  • Modernism & the Avant-Garde


• Ideas of Utopia

• Black Panther Party

• Ideas of Radical Will

• Civil Rights Congress

  • Great Migration
  • Defining Black Art
    • Folk Art
    • Black Art and Black Power
  • Harlem Renaissance
    • Black Art Aesthetics
  • Double Consciousness
  • Postmodernism
  • Federal Arts Project
    • Appropriation
    • Social Realism
    • Identity Politics
  • American Abstraction & Formalism
    • Figuration vs. Abstraction
    • Abstract Expressionism
  • Postcolonialism
    • Primitivism
    • Institutional Critique
    • Second Generation Ab Ex
    • Mining the Museum
  • Civil Rights Movement
  • Mastry
    • Student Worker Strikes
  • The Art Market
    • Marxism
  • Things Fall Apart



Methods of Evaluation

Students will be evaluated on the presentation of evidence that they have achieved the course objectives; the frequency and quality of their contributions to in-class discussion; their ability to make oral and written critical observations about the artists, movements, and concepts presented in the course; the quality of the writing they present in written assignments; and on their ability to demonstrate growth in their understanding of, and application of art historical methodologies for analyzing works of art considering Black subjects as well as works of made by Black artists within the western tradition.

There are 500 points possible, which will be earned through the following graded components:


Class Participation 20%

Students will earn class participation points through the following activities:

  • Actively and consistently contributing to in-class discussions and applying theoretical ideas to works of art, historical context, and theories considered during class. Students may earn up to 50 points through their regular attendance, engagement, and contributions to class discussions; and
  • Posting at least ten times to the class Inquiry Blog with questions and thoughts that synthesize class discussions, readings and individual writing projects. Posts need to be made throughout the term, with one post in a single day, and no more than three in the same week. Students may earn up to ten points on each post, for a total of 50 points possible.

Mapping Time and Space 25%

Considering the tools that art historians use to locate art viewers in the time and space in which an artist creates can reveal gaps in knowledge, moments of connectivity, under acknowledged work, and otherwise possibilities. Likewise, creating a historical timeline or mapping important spaces to an artist’s practice can be a necessary, although infrequently discussed, task when endeavoring to learn about their work more deeply. This assignment asks students to team up to create either a map or a timeline that visualizes the contributions, networks, chronology, and historical placement of a single Black artist, the influence of an idea or project, the work of an artist collective, or the activities of an institution focusing on the work of Black artists. Student groups may earn up to 125 points on the Mapping Time and Space project.


Exams 20%

Students will take two exams worth 50 points each on Blackboard. Due to the nature of online testing, and the multi-day duration offered to submit, exams may not be made up. Please use the class schedule to plan accordingly.


Compendium of Knowledge 35%

Over the course of the term, students will work on a research project considering a Black artist’s work, a creative movement in which Black artists were active, a Black artist collective, a problem and/or theory relative to the study of works by Black artists, or a work considering Black subjects. The research paper will be written in Chicago Manual of Style, with properly formatted footnote citations for a minimum of five different credible, scholarly sources.

Students will identify topics of interest during the first week, then narrow their focus to develop a strong thesis. During the second week, students will learn strategies for developing and engaging in in-depth research on their chosen topic. In the third week, students will collaboratively expand their drafts, and fine tune their thesis argument. In the final week, finishing touches will be made to the paper, and its final version will be submitted to an online class Compendium of Knowledge. This final version of the research paper will likely be about ten pages in length, and may earn up to 175 points.


Extra Credit

Students are limited to earning 25 points in extra credit during the semester. Any points earned above this cap will NOT be applied to the final grade.

To earn extra credit, students may see a professional exhibition, in person, during this term, featuring or including works by Black artists and/or including Black subjects and write a visual analysis in response to one work on view. This assignment will require students to commute to a relevant venue off campus, and pay for parking and/or an entrance fee, and may earn up to 25 extra credit points. Students may attend an exhibition and write the paper as a group. All students working on the paper are expected to contribute equally to the final submission, and will thus be credited equal points. Please include proof of your attendance by including a photo of yourself at the venue, and next to a title wall or other advertisement of the exhibition you write about.



Points will be earned on writing assignments through committed consideration of the material, demonstration of learned concepts and language, and evidence of critical thinking. In addition to the individual requirements, each writing assignment will earn points based on rigorous analysis through the skilled application of the art historical methodologies, as well as pointed and thoughtful responses to the questions proposed.
100 to 97%
500 - 483 points

Writing demonstrates excellence in both articulation and critical thinking. Art historical methodologies are used thoughtfully and with skill. A clear thesis is presented, artworks are correctly identified, credible scholarly sources are employed to support the author's position, and Chicago Manual of Style citation rules are carefully followed. The written assignment leaves little to no room for improvement, and demonstrates committed interest in the discipline.

A -
96 to 90%
482 - 448 points
B +
89 to 87%
447 - 433 points

Writing demonstrates clear focus and an above average consideration of the subject matter. However, the essay can be improved by carrying the analysis and discussion beyond basic and/or superficial observations unsupported by scholarly research. Writing exhibits potential for excellence however, a clearer application and understanding of the art historical methodologies is needed. Author has met the requirements for research and citations with few errors. Thesis could be better supported by additional research.

86 to 84%
432 - 418 points
B -
83 to 80%
417 - 398 points
C +
79 to 77%
397 - 383 points

Most of the material is understood, but thesis is not entirely clear, and analysis is cursory. Distracting citation, grammatical, and/or spelling, issues are present, little research was executed in support of thesis, and/or sources are not credible, or scholarly. There are issues with language that make the writing difficult to understand.

76 to 74%
382 - 368 points
C -
73 to 70%
367 - 348 points
D +
69 to 67%
347 - 333 points

Writing demonstrates little understanding or connection with the material and is flawed in content and form. Little evidence of critical thinking is apparent. Major citation issues are present, no research was executed in support of thesis, and/or sources are not credible, or scholarly. Issues with language make the writing very difficult to understand.

66 - 64%
332 - 318 points
D -
63 - 60%
317 - 298 points
< 59%
297 - 0

Work fails to meet any requirements satisfactorily.



Assignment is incomplete but shows potential. Student is offered additional time to revise, add to, and resubmit the assignment.



Class Schedule and Required Reading
Please come to class having read the required reading posted for that class date.
Discussion Theme & Field Trip
Assignment Due
Week 1
January 6
Black Subjects in White Art History
Farrington: Chapter 1
January 7
Black Subjects, Science, and the Construction of Race
Wallace: "Why Are There No Great Black Artists?"
Bouie: "America holds onto an undemocratic assumption"
Optional Reading: Collins, "Historic Retrievals"
January 8
From Here I Saw What Happened and I Cried
Farrington: Chapter 2
Murray: "From Here I Saw What Happened and I Cried"
Hartcollis "Who Should Own Photos of Slaves?"
January 9
Still Life and Still Lives?
Farrington: Chapter 3
Desmond: "In order to understand the brutality of American capitalism, you have to start on the plantation"
Optional Reading: Farrington, Chapter 4
Optional Viewing: Harriet (January 14)
Week 2
January 13
Art as a Fugitive Practice

Annotated Bibliography Due

Ford: "The Difficult Miracle"
Wheatley: To Maecenas
Optional Reading: "10 Poems by Phillis Wheatley"
January 14
Wayward Lives
Hartman: excerpt from Wayward Lives, Beautiful Experiments
Farrington: Chapter 6
Du Bois: "Criteria of Negro Art"
Hughes: "The Negro Artist and the Racial Mountain"
Optional Viewing: "Ralph Ellison: An American Journey"
January 15
The Racial Mountain
Murrell: excerpt from Posing Modernity
Farrington: Chapter 5
Optional Reading: Smith, "A Long Overdue Light on Black Models of Early Modernism"
January 16
The Case for Reparations
Farrington: Chapter 7
Coates: "The Case for Reparations"
Optional Reading: Farrington, Chapter 8
Optional Reading: Farrington, Chapter 9
Week 3
January 20
No Class in observance of Dr. Martin Luther King Jr. Day
January 21
The Master's Tools
Research Paper Draft Due
Pindell: "Gallery Statistics"
Lorde: “The Master's Tools Will Never Dismantle the Master's House”
Farrington: Chapter 11
Optional Reading: Farrington, Chapter 10
January 22
Mining the Museum
Farrington: Chapter 12
Wilson and Halle: excerpt from Mining the Museum
Optional Reading: Kerr, "How Mining the Museum Changed the Art World"
January 23
Black Male
Golden: "My Brother"
Cooks: “New York to L.A., Black Male: Representations of Black Masculinity in Contemporary American Art, 1994-1995”
Optional Reading: Kennedy, "White Artist’s Painting of Emmett Till at Whitney Biennial Draws Protest"
Optional Reading: "Looking Back at Black Male"
Optional Reading: Streeter, "Is Slavery’s Legacy in the Power Dynamics of Sports?"
Week 4
January 27
A Subtlety
Mapping Time & Space Project Due
Shaw: "Final Cut"
Optional Reading: Muhammad, "The sugar that saturates the American diet has a barbaric history as the ‘white gold’ that fueled slavery"
Optional Reading: Mitter, "Kara Walker Takes a Monumental Jab at Britannia"
January 28
Farrington: Chapter 13
Kennedy: "Black Artists and the March into the Museum"
Marshall and Molesworth: excerpt from Kerry James Marshall: Mastry
January 29
The New Millennium
Farrington: Chapter 14
Hannah-Jones: "Our democracy’s founding ideals were false when they were written Black Americans have fought to make them true"
January 30
No Class
All late, re-submitted, and extra credit coursework due
February 1
Research Paper Post Due



Instructor Policies
Commitment to the Conversation

Art historians do not work in secluded spaces that are entirely disconnected from the world around them. Therefore, conversation and debate will be central to the learning experience this semester. Given the importance of engagement, students will be expected to fully commit to in-class dialogues and will agree to refrain from sleeping, texting, emailing, and completing class assignments during class meetings.

Notes on Note Taking

Some students benefit greatly from taking notes during class, others gain more by completely immersing themselves in the dialogue, or doodling while actively listening. However, it’s doubtful that any student is assisted in their learning by social media alerts, text messages, online shopping, pop-up ads, news feeds, or catching up on errands during class time. Although laptops and smart phones are powerful tools that are sold to us on the (increasingly false claim) that they help us to be more efficient and productive, their potential to distract and disrupt our learning is significant enough to warrant alarm. This can be especially true for classmates with different learning styles then your own who might be substantially distracted by the flashes and swipes happening in your shopping bag, even if they don’t seem to be a bother for you.

With these issues in mind, students are strongly advised to take hand-written notes on paper. Students who find paper notes difficult to handle, or who’s learning is significantly assisted with a laptop are welcome to share their concerns with the instructor, who is open to making accommodations. No matter your note taking approach, please think of class time as a luxury–you’ve just secured the time to clear your head, and practice deep focus on an incredible subject. ??

Respect is Key
This semester, we will consider provocative, challenging, even vulgar subject matter and imagery. It is assumed that each of us undertakes this learning endeavor with honorable intent and a commitment to understanding diverse perspectives and histories. When this is difficult, we agree to keep an open mind and to respect all views and identities–even those with which we do not personally agree. While engaging in class activities, we agree to avoid using derogatory, inflammatory, or otherwise hurtful language.
Pronoun Guide

Creating and maintaining a safe and inclusive classroom for all participants is our shared work! Our commitment to this effort communicates respect for each other and encourages all of us to engage in self-discovery, self-awareness, and creative decision-making. One of the easiest ways that we do this work is in how we refer to each other. Everyone will be asked on the first day of class to specify pronouns, if desired, and commit to utilizing correct pronouns at all times. In this endeavor, I’ve found the following guidelines helpful:

    • Some common pronouns are “she, her, hers,” “he, him, his,” and “they, their, them.” Other useful pronouns are: “ze or zie” (pronounced “zee”), and “hir or hirs” (pronounced “here”). Some people don’t use pronouns, and would like their names to be used instead (i.e. “Denise just sent Julie an email.”)
    • Keep in mind that a person’s pronouns can’t be assumed.
    • Remember that It can sometimes be difficult to announce one’s pronouns publicly. As well, self-discovery is an ongoing process, so pronouns can change from situation to situation, and day to day. Please respect everyone’s privacy by only sharing their identities after receiving their consent.
    • Last, but not least, remember that if you make a mistake, that’s okay! Simply, apologize, move on, and continue working to utilize correct pronouns.

Regular attendance is mandatory. You are permitted two unexcused absence without damage to your grade. More than two missed classes will potentially lower your grade, and missing four or more classes will put you at risk of failing (FW) the class. Please also be punctual! Students arriving 15 or more minutes late should expect to be marked absent for the entire class.

Letting the instructor know that you will be absent by email is appreciated! Please understand, due to the large number of emails received, the instructor may not be able to reply to your absence notification. Additionally, the instructor will maintain a simple record of attendance that will not distinguish between excused and unexcused absences. If you are not present, you are not able to participate. The circumstances that prevented you from being able to attend class, however unfortunate, do not change this.

Assignment Submissions on Blackboard

Please submit all coursework–including Research Papers, drafts, and extra credit assignments–to the class Blackboard page before class begins, on the day the assignment is due, whether you will be absent or in attendance. If you encounter a problem with your submission, please notify the instructor immediately, and attach your completed assignment to the message. Assignments will not be graded via email.

All coursework, with the exception of the final Research Paper post, must be submitted by the last class meeting, on Thursday, January 30.

Late Assignments
You may submit one assignment, one class day late. The late assignment will not be marked down, however any assignments turned in more than one class late, or in addition to the one accepted assignment, will only receive credit at the discretion of the instructor.



Chapman University Policies
Academic Integrity Policy
Chapman University is a community of scholars which emphasizes the mutual responsibility of all members to seek knowledge honestly and in good faith. Students are responsible for doing their own work, and for submitting coursework completed this semester, for this class. Academic dishonesty of any kind will not be tolerated anywhere in the university. Academic dishonesty of any kind will be subject to sanction by the instructor/administrator and referral to the university's Academic Integrity Committee, which may impose additional sanctions up to and including expulsion. Please see the full description of Chapman University's policy on Academic Integrity at www.chapman.edu/academics/academic-integrity/index.aspx
Students with Disabilities
In compliance with ADA guidelines, students who have any condition, either permanent or temporary, that might affect their ability to perform in this class are encouraged to contact the Office of Disability Services at: DS@chapman.edu; www.chapman.edu/students/health-and-safety/disability-services/index.aspx; and 714.516.4520. If you will need to utilize your approved accommodations in this class, please follow the proper notification procedure for informing your professor(s). This notification process must occur more than a week before any accommodation can be utilized. Please contact Disability Services if you have questions regarding this procedure, or for information and to make an appointment to discuss and/or request potential accommodations based on documentation of your disability. Once formal approval of your need for an accommodation has been granted, you are encouraged to talk with your professor(s) about your accommodation options. The granting of any accommodation will not be retroactive and cannot jeopardize the academic standards or integrity of the course.
Equity and Diversity Policy

Chapman University is committed to ensuring equality and valuing diversity. Students and professors are reminded to show respect at all times as outlined in Chapman’s Harassment and Discrimination Policy: at www.chapman.edu/faculty-staff/human-resources/eoo.aspx. Any violations of this policy should be discussed with the professor, the Dean of Students and/or otherwise reported in accordance with this policy.

Chapman Diversity & Inclusion Program

Chapman University is deeply committed to enriching diversity and inclusion through on-going efforts to cultivate a welcoming campus climate for all members of the Chapman community. We strive to provide an inclusive academic curriculum, promote equity and access in recruitment and retention, and develop meaningful outreach programs and partnerships with our diverse local communities. We value diversity and inclusion in the learning environment and believe it is vital to the fulfillment of the university mission. It is our conviction that an inclusive learning environment facilitates complex, critical and creative thinking and that differences in identities, values, beliefs and perspectives are fundamental to a comprehensive education.

At Chapman the term diversity implies a respect for all and an understanding of individual differences including race, color, religion, sex, gender identity, gender expression, pregnancy, national origin, ancestry, citizenship status, age, marital status, physical disability, mental disability, medical condition, sexual orientation, military or veteran status, genetic information and any other characteristic protected by applicable state or federal law, so that all members of the community are treated at all times with dignity and respect.

Students are strongly encouraged to get involved with the Diversity & Inclusion Program by filling out the CDP Engage Interest form at: www.chapman.campuslabs.com/engage/submitter/form/step/1?Guid=3fbdfffe-ac83-4d60-a505-00dab304572e to share your areas of interest and we will connect you with opportunities to further engage with the initiative. You can always reach the Diversity Project at cdp@chapman.edu if you have any questions.


Writing Center
All Chapman students are welcome to meet with Writing Center tutors, who can help you with any part of the writing process, from understanding the assignment and finding a significant topic to editing your final drafts. The Writing Center is located in DeMille Hall 130. To guarantee time with a tutor, call (714) 997-6828 or email tutor@chapman.edu to schedule an appointment.
Food Pantry
Students in need of access to the food pantry should contact Dave Sunby sunby@chapman.edu and/or Omar Zuwayed zuwayed@chapman.edu.
Sexual Assault
If you have been sexually assaulted, make sure you are in a safe place. Call 911 in an emergency, Chapman University Public Safety at (714) 997-6721 and, Chapman University’s Sexual Assault Information Line at (714) 744-7000. Contact Orange PD at (714) 744-7444.
Student Support

Over the course of the semester, you may experience a range of challenges that interfere with your learning, such as problems with friend, family, and or significant other relationships; substance use; concerns about personal adequacy; feeling overwhelmed; or feeling sad or anxious without knowing why. These mental health concerns or stressful events may diminish your academic performance and/or reduce your ability to participate in daily activities. You can learn more about the resources available through Chapman University’s Student Psychological Counseling Services here: www.chapman.edu/students/health-and-safety/psychological-counseling/.

If you are in need of immediate help or support you can contact:
CU Student Psychological Counseling: (714) 997-6778
Suicide Prevention Hotline: (800) 273-8255
Drug and Alcohol Abuse Hotline: (800) 662-HELP
National AIDS/STD Info Hotline: (800) 458-5231



Important Dates
Late Registration
The last day to add this courses is Friday, January 10.
Drop Deadline

Students wishing to drop the course without record must do so by Friday, January 10. The last day to change grading to P/NP is Tuesday, January 14. The last day to withdraw from a course is Thursday, January 23.

Grades will be submitted by Wednesday, February 5.



Kerry James Marshall, Untitled, 2008.