Art History Fall 2015 - Department of Art & Art History
Transcription
Art History Fall 2015 - Department of Art & Art History
Art History Fall 2015 Department of Art & Art History University of New Mexico Last updated April 22, 2015 “The main theme of Ship-jang-saeng: Ten Symbols of Longevity is immortality and happiness. The ten symbols of longevity: the crane, the tortoise, the deer, the pine tree, mountain, rock, cloud, water, sun and the mythical youngji mushroom believed to contain the happiness and immortality. I tried to express a beautiful harmony of the universe and desiring for spritual immortality in this artwork.” — YooJung Hong, first place in the UNM Department of Art and Art History Undergraduate Juried Show Exhibition. If you have difficulty registering for a course due to Banner error, such as not recognizing your prerequisites, or the course requires permission of instructor, please email the instructor. All Art History courses have a $52.50 fee. ARTH 101 Introduction to Art Sec 001 Sec 002 Sec 003 Sec 004 Bailey TBA Marks Meredith CRN 39254 CRN 39269 CRN 39270 CRN 41676* MWF 1:00-1:50 MWF 9:00-9:50 TR 5:30-6:45 pm ONLINE NTHP 122 CTRART 2018 CTRART 1020 ONLINE* A beginning course in the fundamental concepts of the visual arts; the language of form and the media of artistic expression. Readings and slide lectures supplemented by museum exhibition attendance. Meets New Mexico Lower Division General Education Common Core Curriculum Area V: Humanities and Fine Arts. *Online Course Fee: $100.00 + $52.50 fee. 1 ARTH 201 History of Art I Sec 001 Sec 002 Andrews Weinstock CRN 39273 CRN 39274 TR MW 9:30-10:45 5:30-6:45 pm CTRART 2018 CTRART 1020 This course is the first half of a survey of Art History. We will cover a vast amount of material beginning in the Ancient Near East, continuing through Egypt, Ancient Greece and Rome. The second half of the semester will explore the Art of the Middle Ages including the rise of the Byzantine and Islamic Empires. Although the course will follow a chronological framework, attention will be given to the specific themes of images of kingship/rulership; the devotional image; text and image; and architecture. Meets New Mexico Lower Division General Education Common Core Curriculum Area V: Humanities and Fine Arts. ARTH 250 Modern Art Sec 001 Emmer CRN 39275 MW 10:00-11:15 CTRART 2018 This is a survey of the visual arts and avant-garde movements in Europe, Latin America, and the United States from Neoclassicism and Romanticism through Surrealism, Mexican Muralism, and Magical Realism to Contemporary Art. ARTH 322 High Medieval Art, 1000-1200 C.E. Sec 001 Andrews CRN 52704 TR 2:00-3:15 CTRART 1020 Survey of the visual cultures (architecture, luxury objects, book illumination and illustration) of the Medieval World, including northern and Mediterranean Europe and the Islamic World, from 1000 to 1200 C.E. ARTH 323 World Architecture I: History of the Built Environment From Prehistory to 1400 CE Sec 001 Goldstein CRN 40723 TR 3:30-4:45 PEARL 101 Offered with ARTH 567.001, XL with ARCH 321/523. Lecture survey of the architectural and urban traditions of ancient and indigenous cultures from prehistory to the late middle ages. ARTH 351 Artistic Traditions of the Southwest Sec 001 Fry CRN 53718 MWF 10:00-10:50 CTRART 1020 Interrelationships of Native American, Hispanic and Anglo cultures from prehistoric times to the present, emphasizing the major forms of expression — pottery, textiles, jewelry, architecture, painting and photography. Slide lectures supplemented by museum exhibits. ARTH 402 Native American Art I Sec 001 Szabo CRN 39279 TR 11:00-12:15 CTRART 1020 Offered with ARTH 502.001. XL with ANTH 401/501. Prehistoric and historic art forms of the Plains, Southwest, and Western regions of North America. ARTH 407 Museum Practices Sec 001 Traxler CRN 40696 W 1:00-3:45 HIBB 105 Offered with ARTH 507.001, XL with MSST 407/507. History, philosophy and purposes of museums. Techniques and problems of museum administration, education, collection, exhibition, conservation and public relations. ARTH 411 Sec 001 CRN 39280 Pre-Columbian Art: Mesoamerica Jackson MW 12:30-1:45 CTRART 1019 Offered with ARTH 511.001. This course is an introduction to the major artistic traditions of ancient Mesoamerica and the issues that surround their discovery and interpretation. Students will learn to recognize specific artworks produced by Aztec, Maya, Olmec and others. No pre-requisites required. ARTH 413 Sec 001 CRN 54413 Pre-Columbian Art of Central America, Northern South America and the Caribbean Jackson MW 10:00-11:15 CTRART 1019 Offered with ARTH 513.001. Ancient middle American cultures are renowned for a dazzling array of goldwork, ceramics and stone sculpture, yet the meanings of the artworks are often unclear. Geographically occupying a critical juncture between major continents, middle American cultures developed visual traditions uniquely divergent from their more well-known neighbors to the north and south. As a general survey, the course introduces selected artistic traditions, including Nicoya, Diquis, Tairona, Quimbaya, Muisca, Jama-Coaque and others. Students learn to recognize various artistic traditions, and critically assess issues related to the meaning of the iconography, evidence of multicultural interactions, long distance trade and the legend of El Dorado. No pre-requisites. ARTH 429 Sec 001 CRN 44367 Topics: Spanish Colonial Art of New Mexico Fry MW 2:00-3:15 CTRART 1020 Offered with ARTH 529.001. ARTH 429 Sec 002 CRN 44368 Topics: History of Design: From the Industrial Revolution to Post-WWII Anderson-Riedel TR 12:30-1:45 CTRART 1019 Offered with ARTH 529.002. The course introduces the history of modern design in Europe and the US from the mid-18th to the mid-20th century. We explore the relationship between design disciplines --furniture design, architecture, graphic design, textile design, interior design and fashion -- and the fine arts. We will look at design theory, particularly as expound by artists and designers themselves, and view those principles and ideas in their sociopolitical and historical context. 2 ARTH 429 Topics: Contemporary Art, 1960-1990 Sec 003 Lumpkin CRN 50051 MW 2:00-3:15 CTRART 1019 Offered with ARTH 529.003. This course surveys the significant art movements and artists that emerged between 1960 and 1990. The profusion of inventive and influential styles, forms, agendas and philosophical positions developed during these three decades tested the limits of the definition of art and remain fundamental currents in art produced today. The course begins with the “Neo-Dada” or “Proto-Pop” artworks created by Jasper Johns and Robert Rauschenberg, which first appear in the late 1950s. It follows with a thorough examination of the Pop Art movement, with particular emphasis on the works of Andy Warhol, Roy Lichtenstein, Richard Hamilton, and Edward Ruscha. The discussion of Minimalism, a movement that developed simultaneously with Pop Art, focuses on East Coast-based artists, including Frank Stella, Donald Judd, and Carl Andre, and their West Coast counterparts known as Light and Space artists, including Robert Irwin, Larry Bell, and James Turrell. Among the other movements initiated in the 1960s to be presented are Op Art, Post-Minimalism, Arte Povera, and Conceptualism. The course continues into the 1970s with the Land Art developed by Michael Heizer, Walter de Maria, and Robert Smithson, with particular emphasis on iconic works located in the Western region of the United States, including New Mexico. The 1970s also sees the flourishing of Performance Art, Feminist Art, Video Art, and new developments in photography. The decade of the1980s begins with the controversial Neo-Expressionist movement, and culminates with highly theoretical styles of art generally referred to as “Postmodern Art.” The focus of discussions of this period is on artists who manifest concern with the politics of representations through “deconstructivist” or “appropriationist” strategies. These artists include Richard Prince, Cindy Sherman, Sherrie Levine, Barbara Kruger, and others. All movements and artworks are presented in light of broader political and cultural events. Students are asked to identify artworks and demonstrate familiarity with the critical discourse that surrounds them on a mid-term and final exam, and to produce a term paper on an artist who achieved recognition between 1960 and 1990. Readings include a textbook on the period and original documents provided to students on UNM’s E-Reserves website. Attendance is required. ARTH 429 Topics: Contemporary Theories of Sculpture Sec 004 Lumpkin CRN 39286 M 6:00-8:45 pm CTRART 1019 Offered with ARTH 529.004. This seminar addresses the theoretical aspects of contemporary artworks formed in three-dimensions, with particular reference to ideas regarding aesthetic status. The focus is on the anti-phenomenological sculptural styles that emerged the 1980s and 1990s to counter the tenets of Minimalist sculpture, and on younger artists who presently are formulating new perceptual codes by reaching back to traditions associated with antiquity and the Modern period. Sculptors discussed include Allan McCollum, Charles Ray, Katharina Fritsch, Franz West, Ugo Rondinone, Gary Hume, Jim Isermann, Tom Sachs, Urs Fischer, Josiah McElheny, Zhan Wang, Nathan Mabry, Rebecca Warren, Lisa Lapinski, Don Brown, Jeff Ono, Venske & Spanle, J. B. Blunk, Frances Upritchard, and others. Readings for the class include statements by artists and essays by art theorists of various historical periods that illuminate the changes in sculptural practices taking place today. Students are expected to demonstrate mastery of the readings, participate in classroom discussions, and produce either a paper on a contemporary sculpture topic or create a sculpture project with an accompanying written description of intentions. Students should come into the class with a solid foundation in Modern art history. Familiarity with late 20th-century and 21st-century art is recommended. Attendance is required. ARTH 429 Topics: Decoloniality, Indigeneity, and Art in Latin American Sec 005 Cornejo CRN 52709 TR 12:30-1:45 CTRART 1020 Offered with ARTH 529.005. From early 19th century to contemporary times, images constructed around indigeneity in Latin America have shaped a problematic discourse that perpetuates stereotypes of racial inferiority. In such cases, indigenous peoples become exotic bodies to be seen, often under a western and imperialist gaze. However, centuries of resistance have also shown that through art and visual culture, indigenous peoples in Latin America continuously preserve ways of knowing and being that counter hegemonic representations created by non-indigenous people. Such art and visual culture counters the images of being seen by presenting critical ways of seeing as knowing. This class will analyze such representations as well as the art and images created by indigenous peoples from Mexico, Guatemala, Colombia, Ecuador, Bolivia, Brazil and Peru. Students will learn what these visual perspectives reveal about current struggles for indigenous communities in Latin America, such as genocide, indigenous rights, the theft of sacred lands and resources, and resistance to modified foods. The class will conclude with contemporary Maya Kachikel, Tz’utujil, and Q’ekchi artists from Guatemala as guest speakers to engage in dialogue with the students via media technologies. ARTH 429 Topics: Arts of West and Central Africa Sec 006 Hernández-Durán MW 12:30-1:45 CRN 50079 CTRART 1020 Offered with ARTH 529.006. This course will present a survey of art production among various ethnic/cultural groups in West and Central Africa. Focusing on specific populations, such as the Yoruba, Baule, Fon, Igbo, Mumuye, Lega, and Bamenda, among others, we will examine the historical and cultural context for each area and group, and the artistic traditions that developed in these locations. The material we will cover, which will include architecture, sculpture, textiles, metalwork, and body art, is intended to provide background for research projects anchored to the African art exhibition that will be on view at the University of New Mexico Art Museum in fall 2015. As such, students will be selecting from the works of art on display in the Adams Gallery as subjects for their research. Course exercises will include class discussion based on regular lectures and assigned readings, class visits to the museum gallery to view the works, attendance at related public lectures on African art, a formal analysis, and two research papers. There will be no exams. Registration is open to any undergraduate and graduate students interested in African art and museum practice. ARTH 429 Topics: Photography, Materiality, and Practice Sec 007 Zuromskis CRN 50804 R 9:00-1:00 + arr ART 141 Offered with ARTH 529.007 and ARTS 429/529.001. Photography is a dramatically visual medium. Because the camera has the power to essentially reproduce a mirror image of the world, scholars and artists alike have often focused exclusively on the content of the image, treating the photograph as what Roland Barthes evocatively described as “a weightless transparent envelope.” But a photograph is also a thing—an object with physical, material qualities. And it is a practice: a way of seeing, making, and working, as well as a mode of communication and exchange. This class seeks to address these material and practical aspects of the photographic medium, to give weight and opacity to Barthes envelope of visual information, through the perspectives of the artist, the art historian, and the curator. Team taught by photographer Meggan Gould and art historian Catherine Zuromskis, this class will fuse art practice with histories and theories of photography. Students may register for either the art history or the art studio section, but all students will be expected to explore both arenas. Through a combination of practical assignments, reading and discussion, and individual research projects, we will attempt to think more broadly about photography’s physical presence and its aesthetic and social functions. The class will also work collaboratively to help curate an exhibition for the UNM Art Museum from the museum’s excellent permanent collection of photographic objects. The class is offered for upper division undergraduates and graduate students only and registration is by permission of the instructors. 3 ARTH 429 Topics: Albuquerque Modernism Sec 008 Goldstein CRN 50914 T 10:00-12:30 PEARL 210 XL with ARCH 462/662 and CRP 470/570. This seminar will focus on the history of modern architecture, landscape architecture, and planning in Albuquerque in the post-World War II era. Albuquerque, fueled by the investment of the Nuclear Age and rapid population growth, claims a remarkable resource of modern architecture that often gets overlooked in its built environment. Downtown, in structures like the glass and steel Simms Building; at UNM, in familiar places like the Duck Pond; and in the suburbs, in structures like the First Unitarian Church and numerous private residences, modern architects have put their fingerprints on Albuquerque, affirming this as a city of the twentieth century. In this course, we will study this rich history, the men and women who designed it, and the story that it tells. We will ask questions including: How does this lens tell an alternative history of one of the preeminent Southwestern cities? What influence did the prominent regional styles of New Mexico have on modernism, often called an “international” style? Likewise, how did modernism push back on the dominant regional styles of its local contexts? To answer these questions, we will take a unique approach centered on the John Gaw Meem Archives of Southwestern Architecture in the Center for Southwest Studies. We will work with underused archives related to the designers who shaped many of the major buildings constructed in Albuquerque in this era. Students will research significant structures and produce content for a public history project on modernism in Albuquerque—a student-produced website that will serve as a resource for future students and scholars, teach a broader audience about Albuquerque’s built environment, and draw attention to the university’s rich archival collections. In learning the process and skills of archival research, students will have a unique opportunity to examine history in an applied way that goes beyond the classroom. ARTH 429 Seminar: Cities and Literature: Urban Change &Urban Narratives in Contemporary Europe Sec 009 Bastea CRN 48234 R 2:00-4:30 PEARL 210 Offered with ARTH 529.009, XL with ARCH 462/662 and CRP 470. This seminar will focus on literary reflections of the built environment in contemporary Europe. We define the built environment in a broad and inclusive way: rooms, houses and buildings, balconies and gardens, streets and cities, real and imagined, ancient and new. We define literature broadly, as well, to include film and new media. We will examine how well-known, literary descriptions of buildings and cities affect the way we experience them as visitors and residents. What is the impact of buildings on literature and what is the impact of literature on buildings? What happens when the built environment is drastically altered because of new urban projects or other outside forces, such as war, population changes, etc? How does memory mediate between what used to be there and what replaced it? We will examine some of the following cities, and consider additional ones to reflect students’ interests: London, Paris, Berlin, Venice, Istanbul, and Salonica. Requirements: 1. One 8-10 pp illustrated paper (or visual project of equivalent depth) focusing on the urban history and literature of a specific city; 2. Frequent short, written essays; and 3. An oral presentation of your project. Graduate students will write longer papers (12-15 pp). No prerequisites. ARTH 464 European Art: 1750-1830 Sec 001 Anderson-Riedel TR 9:30-10:45 CRN 52705 CTRART 1020 Offered with ARTH 564.001. Painting, sculpture and architecture in France, England, Spain and Germany from the twilight of Absolutism through the Industrial and French Revolutions. ARTH 472 American Art: 1675–1875 Sec 001 Buick CRN 52707 TR 11:00-12:15 CTRART 1019 Offered with ARTH 572.001. Visual culture from colonial times through the Civil War including works by West, Greenough, Duncanson and Homer. Topics include various genres, artistic training and the market and art’s relationship to ethnic, gender and national identity. ARTH 485 Seminar: Conservation Practices Sec 001 TBA CRN 53720 M 1:00-3:50 HIBB 103 Offered with ARTH 585.001, MSST 485/585, and ANTH 485/585. Restriction: Permission of Instructor. ARTH 486 Practicum: Museum Methods Sec 001 Traxler CRN 28831 ARRANGED ARR Offered with ARTH 586.001. XL with MSST 486/586 and ANTH 486/586. Practicum in museum methods and management. Prerequisite: ARTH 407 or ANTH 402. Restriction: Permission of Instructor. ARTH 486 Practicum: Museum Methods Sec 002 Phillips CRN 51049 ARRANGED ARR Offered with ARTH 586.002. XL with MSST 486/586 and ANTH 486/586. Practicum in museum methods and management. Prerequisite: ARTH 407 or ANTH 402. Restriction: Permission of Instructor. ARTH 486 Practicum: Museum Methods Sec 003 Edgar CRN 51813 ARRANGED ARR Offered with ARTH 586.003. XL with MSST 486/586 and ANTH 486/586. Practicum in museum methods and management. Prerequisite: ARTH 407 or ANTH 402. Restriction: Permission of Instructor. ARTH 486 Practicum: Museum Methods Sec 065 TBA CRN 42717 ARRANGED ARR Offered with ARTH 586.065. XL with MSST 486/586 and ANTH 486/586. Practicum in museum methods and management. Prerequisite: ARTH 407 or ANTH 402. Restriction: Permission of Instructor. ARTH 486 Practicum: Museum Methods Sec 082 Szabo CRN 40701 ARRANGED ARR Offered with ARTH 586.082. XL with MSST 486/586 and ANTH 486/586. Practicum in museum methods and management. Prerequisite: ARTH 407 or ANTH 402. Restriction: Permission of Instructor. 4 ARTH 487 Topics: Healing and the Arts in Transdisciplinary Health Care Setting Sec 001 Repar CRN 54013 M 5:15-8:00 pm CTRART 1106 Offered with ARTH 587.001. XL with MUS 487/587. This course is an extension of the 'Whole Person Care' course and furthers the study of how to effectively integrate creativity and the arts into health care settings such as hospitals, clinics, rehabilitation and long-term care facilities, seniors’ residences, etc. Opportunities are provided for participants to develop, practice, and assess creative encounters that seek to do the following: encourage reflection and behavioral change; provide opportunities for expression of painful and/or suppressed feelings; create new perspectives on and increased meaning in life; facilitate positive experiences and heightened self-esteem; stimulate spiritual expression; relieve pain, discomfort, restlessness, respiratory difficulty, insomnia, isolation, depression, withdrawal, grief, and loss. The course will also provide an introduction to the various roles of transdisciplinary team members found in healthcare settings including social workers, chaplains, physicians, nurses, patient care technicians, psychologists, allied health care professionals, and volunteers. Related topics include bioethics, professionalism, and holistic care for health care professionals. Teaching style will be based on principles of adult learning as espoused in holistic, experiential, project-based, self-directed and transformational learning theories. ARTH 500 Philosophy & Methods of Art History Sec 001 Zuromskis CRN 40756 T 10:00-12:45 CTRART 1018 A seminar for graduate students in art history stressing the history of the discipline and the methodology of research. Open to graduate students in art history. ARTH 502 Native American Art I Sec 001 Please see description of ARTH 402.001. CRN 10174 ARTH 507 Museum Practices Sec 001 Please see description of ARTH 407.001.. CRN 40697 ARTH 511 Sec 001 CRN 34225 ARTH 513 Sec 001 CRN 54414 ARTH 529 Sec 001 CRN 50082 ARTH 529 Sec 002 CRN 50085 Pre-Columbian Art: Mesoamerica Please see description of ARTH 411.001. Pre-Columbian Art of Central America, Northern South America and the Caribbean Please see description of ARTH 413.001. Topics: Spanish Colonial Art of New Mexico Please see description of ARTH 429.001. Topics: History of Design: From the Industrial Revolution to Post-WWII Please see description of ARTH 429.002. ARTH 529 Topics: Contemporary Art, 1960-1990 Sec 003 Please see description of ARTH 429.003. CRN 50086 ARTH 529 Topics: Contemporary Theories of Sculpture Sec 004 Please see description of ARTH 429.004. CRN 47566 ARTH 529 Topics: Decoloniality, Indigeneity, and Art in Latin American Sec 005 Please see description of ARTH 429.005. CRN 52710 ARTH 529 Topics: Arts of West and Central Africa Sec 006 Please see description of ARTH 429.006. CRN 52711 ARTH 529 Topics: Photography, Materiality, and Practice Sec 007 Please see description of ARTH 429.007. CRN 50805 ARTH 529 Seminar: Cities and Literature: Urban Change & Urban Narratives in Contemporary Europe Sec 009 Please see description of ARTH 429.009. CRN 48236 ARTH 564 European Art: 1750-1830 Sec 001 Please see description of ARTH 464.001. CRN 52706 ARTH 567 World Architecture I: History of the Built Environment From Prehistory to 1400 CE Sec 001 Please see description of ARTH 323.001. CRN 40724 5 ARTH 572 American Art: 1675–1875 Sec 001 Please see description of ARTH 472.001. CRN 52708 ARTH 582 Seminar: Victorian Nude: Representing Women, Men, Hermaphrodites, and Children Sec 001 Buick CRN 44371 R 2:00-4:45 CTRART 1018 The human body is a symbol of society. The aestheticization of that body in the form of the nude exists in dialogue with other and othered bodies in our culture. Art historian, Marcia Pointon, makes two important points about the nude in Western art: first, that it has no place of its own, neither in the genre system (history painting, portraits, landscape, etc.) nor in the systems of museum classification. Second, the notion that the nude encapsulates art is manifest in several ways: since the Renaissance it has been the measure of professional attainment; the nude functions not as a category with clear parameters but as a form of rhetoric; and the figure of the woman, and the nude in particular, functions as a sign of male creativity. With these ideas in mind (but not necessarily gospel), the purpose of this seminar is to examine the function and context of the nude primarily in Victorian England and America and its implications for embodiment through various layers of society: artistic, medical and scientific, and ultimately, social and cultural. Artistically, we will move from the over-theorized (female nude), to the under-theorized (male nude), to the nude that presumably existed wholly outside the realm of “Art” (the hermaphrodite), to the most problematic (for our eyes) the use of children. What becomes theoretically possible when moving from the over- to the undertheorized to the highly problematic? How will looking back, theoretically, inform or change our perception of the over-theorized female nude? Medically and scientifically, aestheticized bodies found their answer/compliment in freak shows and in the unflinching display of human beings as specimens. Theories about the criminal classes, the morally and intellectually inferior, as well as those bodies that blurred the boundaries of clear gendered separation reconfirmed the supposed superiority of an empire in decline (England) and an empire ascending (the United States). Socially and culturally, what impact did the aestheticization of the body have on the material circumstances of embodiment itself? Is the body a producer or a product of identity? Restriction: Permission of instructor. ARTH 585 Seminar: Conservation Practices Sec 001 Please see description of ARTH 485.001. CRN 53722 ARTH 586 Practicum: Museum Methods Sec 001 Please see description of ARTH 486.001. CRN 37421 ARTH 586 Practicum: Museum Methods Sec 002 Please see description of ARTH 486.002. CRN 51050 ARTH 586 Practicum: Museum Methods Sec 003 Please see description of ARTH 486.003. CRN 51816 ARTH 586 Practicum: Museum Methods Sec 065 Please see description of ARTH 486.065. CRN 42718 ARTH 586 Practicum: Museum Methods Sec 082 Please see description of ARTH 486.082. CRN 39443 ARTH 587 Topics: Healing and the Arts in Transdisciplinary Health Care Setting Sec 001 Please see description of ARTH 487.001. CRN 54015 ART HISTORY Instructors for Fall 2015 semester: Anderson-Riedel, Susanne, Assoc Prof Andrews, Justine, Associate Professor Bailey, Susan, Adjunct Lecturer III *Bastea, Eleni (Regents Professor, ARCH) Buick, Kirsten, Associate Professor Cornejo, Kency, Assistant Professor *Edgar, Heather (Asst Professor, ANTH) Emmer, Regina, Teaching Assistant Fry, Aaron, Instructor *Goldstein, Brian (Asst Professor, ARCH) Hernández Durán, Ray, Assoc Professor Jackson, Margaret, Assistant Professor * Instructors from other UNM departments 6 Lumpkin, Libby, Professor Marks, Maxine, Teaching Assistant Meredith, Ruth, Adjunct Lecturer III *Otto-Diniz, Sara, Adjunct Lecturer III *Penhall, Michele, Adjunct Lecturer III *Phillips, David (Curator, Maxwell) *Repar, Patricia (Director, Arts-in-Medicine) Szabo, Joyce, Regents Professor *Traxler, Loa (Asst Prof ANTH/MSST) Weinstock, Rebecca, Teaching Assistant Zuromskis, Catherine, Associate Professor Art History Instructor section numbers for Undergraduate Tutorial (ARTH 496), Problems in Art History (ARTH 551/552), Masters Thesis (ARTH 599), Dissertation (ARTH 699): .006 .007 .017 .022 .029 .037 .039 .049 .082 .096 Anderson-Riedel Andrews Buick Cornejo Fry Hernández-Durán Jackson Lumpkin Szabo Zuromskis “Awaken Under the Ocean,” Wilhelmina Rutkowski, second place in UNM Department of Art and Art History Undergraduate Juried Show Exhibition. Abbreviations AFST – Africana Studies ARCH – Architecture & Planning ARR, arr – Arranged ART – Art Building ARTE – Art Education ARTH – Art History ARTS – Art Studio BA – Bachelor of Arts BFA – Bachelor of Fine Arts CERIA — Center for Environmental Research, Informatics & Arts CRN – Call Number CRP – Community & Regional Planning CS – Computer Science CTRART – Center for the Arts ECE – Electrical and Computer Engineering EECE – Electrical & Computer Engineering/Centennial Library F – Friday HART – Robert Hartung Hall HIBB – Hibben Center for Archaeology Research IFDM – Interdisciplinary Film & Digital Media LA – Landscape Architecture M – Monday MA – Cinematic Arts MASLEY – Masley Hall MATTOX – Mattox Sculpture Center Maxwell – Maxwell Museum of Anthropology MSST – Museum Studies MUS - Music NTHP – Northrop Hall PEARL – George Pearl Hall R – Thursday S – Saturday Sec – Section SUST – Sustainability Studies T – Tuesday THEA – Theatre UHON – UNM Honors Program W – Wednesday XL – Approved Crosslist 7 “Deliquescent,” melted crayon on oak board — Aarya Engineer, third place in the UNM Department of Art and Art History Undergraduate Juried Show Exhibition. Department of Art & Art History art.unm.edu Department of Art and Art History MSC 04 2560 1 University of New Mexico Albuquerque NM 87131- 0001 505- 277- 5861 505- 277- 5955 fax Administrative Offices Art Building, Room 204 220 Yale Blvd NE for deliveries (west of Center for the Arts/ Popejoy Hall, north of Yale Blvd and Central Avenue) 8 Mary Tsiongas, Chair Patrick Manning, Associate Chair Kirsten Buick, Graduate Director Kat Heatherington, Graduate Advisor Kyle Beenhouwer, Undergraduate Advisor Nancy Treviso, Department Administrator Amanda Armstrong, Accountant Ellen Peabody, Administrative Coordinator Marjorie Crow, Administrative Assistant Art Studio Lab Managers: Oscar Caraveo, Ceramics Lab Kyle Webb, Electronic Arts Lab Noah McLaurine, Photography Lab Brooke Steiger, Printmaking Lab Daniel Collett, Sculpture Lab Justin Nighbert, Mattox Sculpture Center and Art Annex