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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