GRADUATE AND UNDERGRADUATE PROGRAM REVIEW
Department of Art and Art History
College of Fine Arts
University of New Mexico
David Craven, Chair and Editor
September 1, 2010
This Report was based on contributions by virtually all of the Faculty and the Staff in the Department, but a small group contributed the most information and time toward the completion of this study: Nancy Treviso, Joyce Szabo, Justine Andrews, Holly Barnet-Sanchez, Ray Hernández-Durán, Patrick Manning, Angelina Skonieczka, Marjorie Crow, and Kat Heatherington.
1 Table of Contents 1. General Program Characteristics: Past & Present A. Introduction 4 B. The Mission, the Goals, and the Organization of the Department 5 C. The History of the Department: Its National & International Standing 9 D. Current Successes of Our Graduates and Two New Hires 32
2. The Degree Programs, Graduate Faculty, and Curricula A. Various Degrees and Certificates Offered (See Appendix One) 42 B. Enrollment Patterns 66 C. Student Profiles, SCH Generation (See Appendix Two) 67 D. Fellowship Programs for Graduate Students 71
3. The Assessment of Student Development and Accomplishments A. A History of Outcomes Assessment at UNM 73 B. Outcomes Assessments of Classes: Case Studies 75 Programmatic Outcomes Assessment: The BA in Art History and the BFA in Studio Art (See Appendix Five) C. The Long Term Success of Graduates in Art History a. Permanent Positions in Museums and Galleries 83 b. Tenure Track Positions at Colleges and Universities 84 D. The Long Term Success of Graduates in Studio Art a. Major Exhibitions and Monographs 86 b. Tenure Track Positions in Colleges and Museums 86 c. The Current Profile of UNM Graduate Students 88
4. Institutional Contributions at UNM A. The Department’s Contribution to Core Courses in General Education 91 B. Interdisciplinary Collaborations with Other UNM Academic Departments & Programs 92 a. The Latin American & Iberian Institute 92 b. The Center for Medieval Studies 96 c. The Department of Foreign Languages & Literatures 99 d. The Sciences 101 C. Common & Cross-Listed Courses for Other Graduate Programs 105
5. National and International Standing of Faculty A. Size of the Graduate Faculty 109 B. Profile of Graduate Faculty by Gender & Ethnicity 111 C. Resumés of Permanent Faculty (See Appendix Three) D. Adjunct Faculty in the Department 112 E. Staff in Department a. Staff List 113 b. Advances in Staff Grades and Numbers 113 c. Staff by Sex and Ethnicity 114
2 6. Institutional Resources and Infrastructure of Department A. The Library Collections at UNM in FAL and Zimmerman 115 B. The Bainbridge Bunting Visual Resources Center 121 C. The Tamarind Institute MFA Program 128 D. The University Art Museum and Art in Public Places 131 E. New Technology for Electronic Arts 133 F. The Necessity of a New Art Building 133
7. Department’s National Standing for the MFA and the Ph.D. A. MFA According to the U.S. News and World Report Rankings Since 1995 136 (See Appendix Four) B. Graduate Programs According to the Association for Latin American Art 138
8. The Department’s Strategic Direction in the Future A. Current Strengths: The Year in Review and Future Prospects 143 B. The Department in 2010 vs. the Report in 2000 147 C. Future Re-Configurations 152 D. Concluding Section: Visions of the Future for Various Areas 154
Appendices—
Appendix One—The Classes Taught in Art and Art History
Appendix Two—Charts & Empirical Data about Students Applications & Graduations in the Graduate Programs: A Report Prepared by Kat Heatherington (2010)
Appendix Three—Resumés of the Permanent Faculty
Appendix Four—The Rankings in US News & World Report (1995-2010)
Appendix Five—Programmatic Outcomes Assessments for the Programs
3 A. An Introduction
Visual literacy in the broadest and most nuanced sense is a special charge of the Department of Art and Art History. The teaching of visual literacy at all levels is in turn related to how creating art and analyzing visual images each presupposes a profoundly interdisciplinary approach to knowledge, cognitively as well as perceptually. Moreover, it is often forgotten how images frequently emerge prior to words in our lives and that to analyze images is to do so as much by means of others images, as by using written texts. As such, the act of looking or seeing has a great deal to do not only with how we situate ourselves in the present, but also with how we understand the cross-cultural history of humanity though the complex visual images that the past has left us and that current artists continue to give us. We explain the world with words, but this can never cancel out how words are frequently at a loss to illuminate the images made by various cultures in history and even in prehistoric times. Visual literacy starts with the assumption that there is always a tension between what we know and what we see, that the tense relation between the two calls out for ever more astute visual analysis in conjunction with critical thinking and cultural sensitivity—all of which are central to our educational mission. In preparing students for careers as artists and/or as scholars of the visual arts, our department also gives them a solid grounding in the traditional Liberal Arts—the trivium (language arts) and the quadrivium (mathematical arts), which are crucial to the making of art and to the documentation of it. Yet, we also understand the Liberal Arts in a contemporary sense to cover more than just the traditional “language arts.” This new view includes a semiological notion that there is no art in any culture without ‘visual languages’ or ‘visual discourses’ or ‘visual codes’ –and also that none of them are simply illustrative of written texts or daily affairs. Here is the peculiar domain of practicing artists and scholars on which we focus our analysis of the visual environment. In yet another way, our department is unusual if not unique even among all those departments that concentrate both on making visual art and on analyzing it. We are resolutely Trans-Atlantic (and increasingly Trans-Pacific) in how we approach the visual arts. To an uncommon degree, we insist on seeing the art of the Americas in dynamic relation to the art of Europe, not as a mere derivation from it. We recognize that without the one, the other would have been notably different from 1492 forward. Thus, we believe that a probing analysis of art from one side of the Atlantic cannot be done without recourse to the knowledge of art and culture from the other side of the Atlantic, however much the traditional view in Art History and in Studio Art has treated them as separate domains. In this sense, our department is cosmopolitan to an uncommon degree and the work that we do strikingly manifests this position.1
-- The Editor
1 For more on all these issues, see: John Berger, Ways of Seeing (London: Penguin, 1972); Rudolf Arnheim, Art & Visual Perception (Berkeley: UC Press, 1974); and David L. Wagner, The Seven Liberal Arts in the Middle Ages (Bloomington: Indiana University Press, 1983).
4 B. The 2008 Mission Statement of the Department
The Organizational Structure of the Department
Goals and Aims of the Department
By providing an atmosphere where creativity and intellectual discourse can grow, the Department of Art and Art History demonstrates its strong commitment to its existence as a union of Studio Artists and Art Historians. The Department recognizes the benefits that are gained through the integration of the making of art with its interpretation and history. Creative and intellectual energy from this combination benefits undergraduate and graduate students, faculty, and staff. People within the Department itself, in the College of Fine Arts, and throughout the University of New Mexico as a whole all benefit from this integration. The importance of the arts as communication in the past, the present, and the future is pivotal. This understanding is the keystone of our programs, and it is the foundation for our primary goals. Among those goals is to expose students to the multi‐dimensional richness of art through the practices and techniques of making art. We also seek to develop an awareness and practice of critical thought in our classes. Students develop the practices and methods for understanding the history of art. The Department firmly believes in the importance of interdisciplinary studies rather than the isolation of areas of learning and thus encourages the exploration of cross‐disciplinary courses both within and outside the Department of Art and Art History and the College of Fine Arts. In keeping with these goals, the Department’s faculty review and revise curriculum on a constant basis, as they both remain knowledgeable concerning the developments in their fields and adjust with the changing abilities and expertise of the faculty. Individual courses consistently articulate new methods and new content. The Department is dedicated to providing the best education possible no matter what degree a student might be pursuing, whether a major in the Department of Art and Art History or not. While the University of New Mexico is the Department’s most obvious audience, we are also dedicated to city, state, national, and international venues. In order to achieve these aims, the Department is committed to maintaining a faculty that is actively engaged in creative art, criticism, and art history.
Vision The Department of Art and Art History will maintain its position as an excellent center of creativity and scholarly pursuits by pursuing new technologies and methodologies in the arts and questioning previously accepted answers. We hold a particularly pivotal position within the university, city and state communities in educating about the visual arts and celebrating the freedom that is essential to a vital program of both Studio art and Art History. It is our goal to not only promote the arts but to increase understanding of their great diversity and importance in the world, and, by this, to make students as well as the wider public see the visual arts as integral to daily life and vibrant communities.
5 Values The faculty members Department of Art and Art History value creativity and freedom of expression in the making and in the study of the visual arts. Freedom of expression, whether it be verbal, visual or written, is necessary to support the kinds of creativity central to our mission. Such values extend to the classroom and beyond to include all the venues—local, state, national, and international—that we affect. Respect for the views of others, recognition of cultural diversity, integrity in practice, and encouragement of independent thinking and invention are the foundation for our teaching, research and service. Faculty, staff and students provide the basis of the Department’s achievements and work together to maintain the high standards we cherish. We in the Department of Art and Art History are committed to diversity. We understand and acknowledge that diversity is not simply a “role call” of difference. Instead, diversity demands the recognition that difference is relational and that differences must be respected in order to insure harmonious coexistence. We also recognize that diversity arises not only from our respective backgrounds—regional, economic, gender, sexual orientation—but is also reflected in the diversity of media and our multiple areas of concentration.
Public Responsibility In the Department of Art and Art History, an integral part of our mission is to act, react, and instill in our students a sense of responsibility to the larger and ever expanding communities of our world. We believe in the power of art to act as a positive force. We are mindful that art engages, reflects, and articulates the complexity and entirety of human nature and human history. With this in mind, we teach process and methods, practice and context for a wide range of artistic media and cultural expression. As faculty, we serve the university and the citizens of our state through service to our students and to the larger community. Through mentorship, service on student committees, and teaching, we encourage our students to understand that art has a vital component of service. We serve the larger community through exhibitions in galleries and publications in local, national, and international venues. We participate in and sponsor lectures and lecture series like the Gale Memorial. Art is a process and is contextually based; it finds its impetus and echoes in contemporary cultures. We strive to mediate responsively and responsibly to current events. We recognize that our students, majors and non‐majors, are diverse and reach us already formed but also ready to change and to grow. Art can facilitate change and growth, while the classroom itself does not leave the faculty untouched. Through contact with our students, faculty members are changed as well. Finally, we seek to instill in our students a sense of ethics, from proper recognition and citation of sources, whether artistic or scholarly, to helping them understand their place as artists and scholars in the field of Art and Art History. To understand place is to understand where one is relative to others, not for purposes of displacement; it signifies sensitivity to environment and to history and to one’s place within them.
Governance
6 Faculty, staff, graduate and undergraduate students all contribute to the processes of departmental governance. The Department has a Chair, an Associate Chair, and a Director of Graduate Studies as well as an Advisory Committee that focuses on philosophical issues pertaining to the focus of the Department as a teaching and research entity of the College of Fine Arts and the University as a whole. In addition, the Department Administration, Scholarship and Curriculum (DASC) Committee examines matters of a more practical, day‐to‐day nature.
Academic Climate The Department of Art and Art History offers BFA and BAFA degrees in Studio Art and a BAFA in Art History. MFA degrees are offered on the graduate level in Studio Art and both the MA and PhD graduate degrees are offered in Art History. Curricula in the Department of Art and Art History reflect both necessary bases of knowledge in separate disciplines or areas of expertise and also encourage and, indeed, require cross‐disciplinary study. We recognize that it is our responsibility to help students to develop analytical and synthetic critical thinking about the arts and their histories, and to learn how to effectively articulate their ideas verbally, through writing, and in the studio. We are dedicated to the investigation of canonical “western” works of art, as well as the rigorous study of creative expressions from historical‐cultural contexts typically marginalized within the discipline of art history. Given our location in the southwestern region of the United States, we are one of the few institutions ideally situated to address such areas as Native American, Spanish Colonial, Latin American, and Art and Ecology/Land Arts. This is a defining feature in our academic profile that makes the Department of Art and Art History’s undergraduate and graduate programs unique and indispensable.
Goals The Department of Art and Art History provides the best education possible for both undergraduate and graduate students in an atmosphere where creativity and intellectual discourse can grow. In order to maintain this level, the Department must continually reexamine its needs. While recognizing the many strengths of the Department and that specific goals change over time, we currently see the following vital needs: We aim to increase scholarship funding for graduate students; We aim to find additional funding for faculty research and travel to support excellence in their specific disciplines; We aim to increase salaries for all employees of the department—fulltime faculty, adjunct faculty, graduate assistants and teaching assistants, and staff—to a level consistent with that of peer institutions; We aim to increase undergraduate majors; We aim to revamp the curriculum to help decrease the use of adjunct faculty; We aim to find additional exhibition space to satisfy the degree requirements of honors and graduate student exhibitions; We aim to increase the strength of various Studio areas through additional faculty and to fill in gaps, as well, in Art History;
7 We aim to complete renovation of the Mattox Building and to find more space for graduate studios; We aim to secure a new building with sufficient instructional and office space for the Department.
Areas of Marked Distinction Few departments at UNM over the last two decades have been ranked so consistently in the top 25 nationally as has the Department of Art and Art History. The Master of Fine Arts Program in Studio Art, which granted its first degree in 1964, continues to be one of the more highly regarded terminal degree programs nationally. The MFA program in Photography has consistently been ranked among the top programs in the country by US News and World Reports. Studio Arts is comprised of the areas of Photography, Painting and Drawing, Printmaking, Sculpture, Ceramics, and Electronic Arts. In recent years, Art and Ecology and Land Arts have emerged, building upon the long history of the D. H. Lawrence Ranch summer program conducted by Department faculty in Taos and the Department’s interest in the unique qualities of artistic practice in the landscape of New Mexico. The Ph.D. program in Art History, like the highly regarded B.A.F.A. and M.A. degrees in Art History offered by the Department, enjoys a prestigious place internationally, as well as nationally. Among the oldest in the western part of the United States, the Art History program began at UNM in 1949 with the first Ph.D. awarded in 1970. From the beginning of its graduate program, the Department chose to focus on areas it could do well given our southwestern location. We offer advanced degrees in Pre‐Columbian, Native American, Spanish Colonial, Modern Latin American and American Art under the Arts of the Americas subdivision and History of Photography, Modern Art of the United States and Europe, History of Architecture, and History of Graphic Arts under the Arts of the Modern Age. The department also has strong undergraduate programs in both Studio Art and Art History. In addition to its varied undergraduate degrees, the Department is held in high regard for the success of its own departmental undergraduate honors program, as well as for its work with McNair Fellows at UNM.
8 C. The History of the Department of Art and Art History: Its National and International Standing
The Department of Art and Art History is mentioned prominently whenever national rankings or prestigious profiles are published about the University of New Mexico, as for example in the U.S. News and World Report, the Princeton Review, or How to Get an Ivy League
Education at a State University.2 Perhaps only the Medical School and the Law School at UNM, along with the Latin American and Iberian Institute (to which Art & Art History contributes substantially) are ranked as high as often, as is the Department of Art and Art History— especially its programs in Photography, Printmaking, Latin American Art History and Native
American Art History.
The Department of Art & Art History at UNM certainly occupies a unique place nationally because of an unusual fact: our department at UNM is one of the few Carnegie
Research Universities (RU/VH) that has two terminal degrees, rather than just one, in the same department: the Masters of Fine Arts (MFA) in Studio Art, the equivalent of a doctorate in
Studio Art, and the Doctor of Philosophy in Art History (along with a Masters Degree leading up
2 The 2000 Edition of “Americas Best Graduate Schools” of the US News and World Report ranked our department’s MFA as #19 nationally (out of 350 programs in all)—in a tie with UCLA and the University of Wisconsin, Madison—and the Photography Area was ranked as #3 overall. The most recent 2010 Edition of the US News and World Report, which includes a number of new studio areas not taught at UNM, has ranked our department #50—along with Cornell, Syracuse, and the University of Minnesota (p. 65), with Photography being #5 overall. Similarly, when in 2010 the Princeton Review chose The Best 371 Colleges (out of over 1,500 in the US), UNM was included because of “national recognition” in disciplines ranging “from primary care and clinical law to engineering, photography, Latin American history, and intercultural communications” (p. 657). In How to Get an Ivy League Education at a State University (NY: Avon Books, 1988), the author, Dr. Martin Nemko, wrote that UNM’s programs were “among the nation’s best in Latin American Studies, Photography, [and] Printmaking” (p. 626).
9 to it). Nationally it is as rare as it is impressive to have both advanced degrees, the MFA and the
PhD, in the same department. Only a small number of several of the most prestigious public universities in the US—the University of North Carolina at Chapel Hill, the University of Texas at Austin, and Stony Brook University within the State University of New York system—can match UNM on this score. Almost all other departments within a national research university have only one or the other. Or, when they have both the MFA and the PhD on campus, they house them in entirely different departments and even different colleges (as at UCLA or UC-
Berkeley).3 This uncommon combination of the MFA and the PhD remains one of the singular strengths of UNM, as evidenced by the our recent success in recruiting the MacArthur Fellow
Dave Hickey, a celebrated art critic and author, along with scholar Libby Lumpkin. They are both art critics and art historians who are as keen on working with artists as with scholars.4
To the uniqueness of this programmatic combination, one must also add the relative antiquity of each program—both of which are among the oldest accredited graduate degrees in their respective areas west of the Mississippi River. Very few advanced studio programs in the western part of the US are older than that of UNM, whose first graduate in 1951 with an MA in
Studio Art (renamed an MFA in 1964) was Richard Diebenkorn (1922—1993). He subsequently became one of the most famous painters of the late 20th century.5 Some of the other renowned artists who have studied painting in the graduate studio program at UNM are the legendary artist
3 On this, see: Graduate Programs in the Visual Arts: The College of Art Association Directory (New York: CAA, 2008), which lists 350 MFA Programs, and Graduate Programs in Art History: The College of Art Association Directory (New York: CAA, 2008), which lists around 250 MA and PhD Programs in Art History. 4 Alexandra Berzoni, “Drivers of Las Vegas Art Scene Cash Out: Prominent Couple’s Exit Marks Latest Blow for Once-High Flying City Laid Low by Recession,” The Wall Street Journal (July 9, 2010): A3. {See the Appendix for a Reprint of this article.] 5 See the catalogue for the exhibition: Richard Diebenkorn in New Mexico (Taos: The Harwood Museum of Art, 2007).
10 Agnes Martin (1912—2004) and the internationally recognized painter/printmaker Jaune Quick- to-See-Smith. The latter earned an MA in 1980 at UNM and she was awarded an Honorary
Doctorate by UNM in 2008. As for the current graduate faculty in the Area of Painting &
Drawing (P & D), it includes an unusually accomplished group of highly regarded painters:
Professor Michael Cook, Associate Professor Kathleen Jesse, Associate Professor Baochi Zhang,
Assistant Professor Robin Ward, and Assistant Professor Scott Anderson. (See the list below of faculty exhibitions both here and abroad.) Yet with the recent retirement in the Spring of 2010 of former Regents Professor of Painting Elen Feinberg (who, following in the footsteps of Frederick
Hammersley and Raymond Johnson, has been one of the more noteworthy professors of painting in the department), a significant void has opened up in P&D and it is one that must be filled by hiring a replacement as soon as possible.
Here we can recall an observation from the New York School during its heyday by the critic and painter Elaine de Kooning, who was a Visiting Professor at UNM from 1957 to 1962.
What she noted then about painting in the state remains true now. In a 1961 essay entitled “New
Mexico,” Elaine de Kooning wrote:
Here is strongly introspective art, stubbornly original and personal, yet eccentric. Revealing an awareness of East- and West-Coast painting, the work of New Mexican artists reflects neither….[T]he New Mexican artists have enough in common with each other and enough difference from artists in other areas to be called a school…. With few exceptions—Georgia
O’Keeffe, Elliot and Aline Porter in Santa Fe, Agnes Martin, Beatrice Mandelman, and Louis
Ribak in Taos—the serious artists in New Mexico live and work in Albuquerque…. Albuquerque is a college town…. The art department [at UNM] is first-rate and brings instructors from all
11 over the country…. Another special feature of the Albuquerque scene is the high percentage of women artists—about one third—which situation does not seem to occur in any other city in the country except New York.6
There is also a little known chapter in the departmental narrative that says significant things about the origin of the undergraduate BA in Art that was offered in the early 20th prior to the program for the BFA or MFA. A couple of decades before there were graduate programs in the visual arts or art history, UNM produced a successful artist for the federal art program
(WPA) named Oliver LaGrone—who was also the first African-American to earn a BA in Art
(and Sociology) at UNM, which he did in 1930. During the 1930s and 40s, Oliver LaGrone
(1906—1995) gained recognition as a sculptor in bronze and he was commissioned by the US government to do a piece that still stands on view in the Carrie Tingley Hospital of Albuquerque.
Given the subsequent significance of sculpture to the department through current faculty like
Professor Steve Barry, Assistant Professor Ellen Babcock, and Professor Constance DeJong— who recently won two major commissions from the Chinese Government to create monumental public sculptures in this Asian country—the surprisingly early success of Oliver LaGrone at
UNM is all the more noteworthy as an antecedent for the achievements of our department in the present.
The PhD Program in Art History
6 Elaine de Kooning, The Spirit of Abstract Expressionism: Selected Writings (New York: George Braziller, 1994): 185-186.
12 The first recipient of a PhD from the doctoral program in Art History at UNM in 1970 was none other than J.J. Brody. Indeed, among colleges and universities in the western part of the country, only two—the University of California at Berkeley (1950) and UCLA (1963)— granted an accredited PhD in Art History earlier than UNM. This means that priority in granting a doctorate belongs to UNM even over such institutions as Stanford (1972), UT-Austin (1977), and Southern Cal (1980) in the western US. (There are many elite Carnegie Research
Universities on the eastern seaboard who have a PhD in Art History, but have never been accredited for an MFA in Studio Art.)
The graduate program in Art History began at UNM in 1949 with the appointment of architectural historian Bainbridge Bunting (1913—1981), who took his PhD from Harvard in 1952. The graduate program has gained increasing recognition ever since 1970, when J.J.
Brody finished his dissertation under Mary Elizabeth Smith, Indian Painters and White
Patrons. This study was the basis and the title for his first book, which has remained a seminal text in the field ever since. He not only received his doctorate but also joined the faculty at UNM while he was Director of the UNM Maxwell Museum of Anthropology from
1972‐1984. Brody then wrote an acclaimed series of books about Native American art, such as, Pueblo Indian Painting (1997). Moreover, his contribution to the study of Native
American Art History and visual culture has been consolidated through a set of publications by one of Brody’s protégés at UNM, Joyce Szabo, the current Regents Professor of Art History at UNM, as for example in her well‐known book Howling Wolf and the History of Ledger Art (1994). In 2001, Szabo edited a Festschrift for Brody, Painters, Patrons, and
Identity: Essays in Native American Art in Honor of J.J. Brody, for which another faculty
13 member, Instructor Aaron Fry (ABD) also wrote an important essay.7 This combination of
Szabo and Fry on the faculty in our department gives it the largest concentration nationally in full time faculty of any PhD program in Native American Art History. Obviously, this faculty concentration is one not only to be preserved, but also expanded with more lines in the future.
Art History has long been strong in the areas of Pre-Columbian, Spanish Colonial, and
Modern Latin American Art, as well as Latino Art. The department’s national reputation in Pre-
Columbian Art and post-contact cultures was first established through a series of significant books published by two faculty members starting in the early 1970s, both of whom did their doctoral work under George Kubler at Yale: Mary Elizabeth Smith (1932-2004) and Flora
Clancy, who is now Professor Emerita at UNM. Mary Elizabeth Smith is still known for her classic study of Mixtec manuscripts, Picture Writing from Ancient Southern Mexico (1973), as well as several other books, such as the Codex López Ruíz (1998). Notable books by Flora
Clancy include Pyramids (1994), Sculpture in the Ancient Maya Plaza (1999), and most recently,
The Monuments of Piedras Negras, an Ancient Maya City (2009).
Along these lines was an instructive survey by the Association of Latin American Art
(ALAA), whose current President, Dr. Margaret Jackson, an award-winning author, was recently hired by our department beginning in the fall of 2010 as an expert in Pre-Columbian Art. As the
ALAA showed, of the only 20 graduate programs in Latin American Art History—out of around
250 graduate programs overall in Art History in the US—the Department of Art and Art History
7 Aaron Fry, “Social Power and Men’s Traditional Powwow Clothing Style,” in Painters and Identity: Essays in Native American Art to Honor J.J. Brody, ed. Joyce Szabo (Albuquerque: University of New Mexico Press, 2001): 71‐94
14 at UNM has the second highest concentration of permanent lines in the field with four full time faculty. This is surpassed only by the University of Texas-Austin, which has five.
Additionally, the faculty in this area at UNM have actually produced a larger number of recognized publications in the field of Latin American Art History than have the faculty at virtually any other university in the US. Indeed, it was in acknowledgment of the international reputation earned by his numerous publications in the field that in 2007 David Craven was made the first Distinguished Professor in the Department of Art and Art History at UNM. He is known for a series of publications including the following: two monographs on Nicaraguan art during the Sandinista Revolution (1983 & 1989), a book on Diego Rivera, and Art and Revolution in
Latin America, 1910-1990, which has been one of the best selling and most critically acclaimed books published by Yale University Press over the last decade. Craven’s writings—10 major monographs and 125 articles and essays-- have been translated into 15 different languages and published in the major journals or newspapers of more than 25 different nations worldwide.
Significantly his scholarship has earned praise from the Ministers of Culture of no less than four different countries—those of France, Mexico, Nicaragua, and Spain.8
Associate Professor Holly Barnet-Sanchez and Assistant Professor Ray Hernández-Durán have also produced essays either on Chicano Art or on the early modern art of Colonial Spain.
Barnet-Sanchez is known, for example, for a monograph that she co-edited with Eva Cockcroft,
Signs from the Heart: California Chicano Murals (1990). Hernandez-Duran recently published a chapter in a book entitled Religion as Art: Guadalupe, Orishas, and Sufi (2009). Each of these scholars also has a number of book projects underway at present.
8 For a comprehensive listing of his publications, see the monograph: Prof. Dr. David Craven, Bibliographie (1977—2007)—(Berlin: Humboldt University, 2007).
15 All the art historians of Latin America, like their graduate students in this field have unquestionably benefited from the fact that UNM has one of the three finest research libraries in the USA for the study of Latin America. The latter collection is comprised of holdings in
Zimmerman (The Center for Southwest Research) and in the Fine Arts Library, which is housed in the acclaimed new architectural complex at UNM by Antoine Predock. Only the Bancroft
Library at the University of California-Berkeley and the Benson at the University of Texas-
Austin, have collections that compare in number and in quality to the Latin American holdings in art, culture, and history contained by Zimmerman and the Fine Arts Library at UNM.9
In addition, the collections in both the CSWR and the University Art Museum of prints by the Taller de Gráfica Popular of Mexico (it is one of the three largest holdings in the US) and the immense Samuel L. Slick Collection of Political Posters from Latin America (which numbers over 12,000 in all) in Zimmerman are unsurpassed resources housed in the archives at UNM.
Yet, aside from simply using the Latin American Collections at UNM, the faculty members in
Art History have actually done much to augment these holdings, especially in the region of
Central America. The Papers of David Craven in Zimmerman, based on various research trips to
Nicaragua during the 1980s and early 1990s, contain many rare books and publications from
Central America and Cuba that are unavailable virtually anywhere else in the US. In a research trip to Nicaragua in 2002, Craven worked with Dr. Russ Davidson, former Head of Latin
American Acquisitions in Zimmerman, to amass a collection of rare publications on art and culture of this region. He has also worked in a similar way with Dr. Suzanne Schadl, Curator of
Latin American Studies at Zimmerman, along with the Associate Dean at Zimmerman, Johannes van Reenen, to acquire the richest repository from Panama of rare art books and art catalogues,
9 See: Russ Davidson, Latin American Holdings in the University of New Mexico Library (Albuquerque: West Edge Press, 2004).
16 namely the Collection of Monica Kupfer. (For more on all this, see Section 7A on Library
Holdings at UNM.)10
In keeping with the fact that the first art historian with a PhD at UNM, Bainbridge
Bunting, was actually an architectural historian, UNM has long had a commanding scholar in that field: Christopher Mead. A prolific publisher and award-winning teacher, Mead was elected
President of the Society of Architectural Historians in the US in the late 1990s and he was chosen in 2010 to be the Regents Professor of Architectural History at UNM. His numerous books include one of the definitive studies of a French landmark, Charles Garnier’s Paris Opera
(MIT, 1991), a book on Robert Venturi, and a couple of successful monographs through W. W.
Norton Press on the acclaimed local architect Bart Prince. In addition, nationally recognized scholarship by yet other current faculty members in the department have yielded a series of important monographs: Associate Professor Justine Andrews’ study of the medieval architecture of Nicosia, Cyprus (and mention should be made here of the Exhibition of Medieval Manuscripts at the Getty Museum, Byzantium and the West, which she curated in 2004), Associate Professor
Susanne Anderson-Riedel’s book about the situation of engravers in the French Academy during the 19th century, and, finally, the noteworthy new book through Duke University Press in 2010 by Associate Professor Kirsten Buick, Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject.
The History of Photography and Printmaking at UNM
10 For an exhibition catalogue based on this collection, see: Russ Davidson, ed., Latin American Posters: Public Aesthetics and Mass Politics (Santa Fe: The University Museum of New Mexico, 2006). The show took place at the National Hispanic Cultural Center in Albuquerque.
17 The key publications that first made the Department of Art & Art History widely known around the world were produced beginning in the 1960s not only by art historians, but also by accomplished artists at UNM with scholarly commitments. Of particular importance for the international standing enjoyed by UNM in Printmaking are former Professors of Studio Art and also nationally known artists, Garo Antresian and Clinton Adams (1918-2002), the latter of whom authored over a half dozen other books on prints. The Tamarind Book of Lithography
(1971) by Adams and Antresian is still considered the most comprehensive treatment anywhere of techniques for this medium. In 2008, this lengthy study was revised, updated, and republished by Tamarind Institute Director Marjorie Devon, also an Adjunct Professor in our department. Of note here is that the Tamarind has just recently been reopened in a remarkable new facility on
Central Avenue in Albuquerque.11
This legendary place for making prints has long had ties to our department ever since
Clinton Adams was both Dean of the College of Fine Arts and Director of the Tamarind from
1970-1985. Adams was also a Professor of Art in the Department of Art and Art History during a period when the Printmaking Area was routinely ranked among the five best in the country—a ranking that lasted right up until 1995 when the area was #4 in the US News and World Report edition of “America’s Best Graduate Schools.” Though the ranking of printmaking at UNM declined between the mid-1990s and now, we are confident that this trend will be reversed dramatically beginning this fall with the hiring of a new Assistant Professor in Printmaking,
Shauyra Kumar, and a new lab manager in printmaking, Brooke Steiger (herself a Master Printer from the Tamarind), along with the retention of Associate Professor Yoshiko Shimano and the aforementioned opening of the new facility at the Tamarind Institute—to which our department
11 See: “In Albuquerque, “ Art in America (June/July 2010): 38.
18 is linked through a special MFA program that was put in place by former Chair Martin Facey
(now retired), a recognized painter and printmaker in southern California.
Another legendary book—A History of Photography (1964)—was written by former
UNM Professor Beaumont Newhall (1908—1993). It was the very first historical survey text ever devoted to photography and it remains among the most widely recognized books of this genre. Other former UNM professors of the history of photography have also authored important books in the field beginning with Van Deren Coke (1921—2004), who was the founding
Director in 1962 of the University Art Museum. Here one can single out such books as Deren
Coke’s Painter and the Photograph: From Delacroix to Warhol (1972) or Avant-garde
Photography in Germany, 1919-1939 (1982), Eugenia Janis’s The Art of the French Calotype
(1983), and Geoffrey Batchen’s Burning with Desire (1997). Significantly, the latter book by
Batchen marked a key shift in the direction of a Post-Structuralist approach to art history, or visual culture more broadly. Currently, our department has an emerging scholar of note as the
Assistant Professor for the History of Photography: Katherine Zuromskis.
Complimenting this distinguished line of art historical studies have been the landmark photographs of former and current UNM faculty members whose work is routinely featured in any serious historical survey of major US artists working in the medium of photography: Thomas
Barrow, Betty Hahn, Patrick Nagatani, Joyce Neimanas, Adrienne Salinger, and Jim Stone. This fall, the University Art Museum at UNM will feature a “Retrospective of the Photographs of
Patrick Nagatani” as one of its main exhibitions in the newly refurbished museum.
Similarly, several of the artists who have earned MFAs in Photography are quite well known both in the US and abroad, including, Joel Peter Witkin (who in 1990 received the title of
Chevalier des arts et des lettres from France’s Minister of Culture), along with Robert Parke-
19 Harrison (MFA in 1994) and Delilah Montoya (MFA in 1994). Likewise, the recipients of PhDs with a concentration in Photo History from UNM have gone on to win international, as well as national recognition. An obvious example to adduce here would be Dr. Sarah Greenough (MA in
1976, PhD in 1984), the current Curator of Photography at the National Gallery of Art in
Washington D.C., who has authored over a dozen major monographs and/or catalogues, including one, Alfried Stieglitz: Photographs and Writings, which won the National Book Award in 1983. In addition, Greenough’s other monographs have won many awards, such as, the
International Association of Art Critics Award and the International Center of Photography’s
Book of the Year Prize. (See the section 1C on publications by UNM graduates in the
Department of Art & Art History).
A current member of the UNM faculty, Jim Stone, Professor of Photography, is probably even more widely recognized as a major author than as a prize-winning photographer, though he is both. This is true because his comprehensive studies of photographic techniques are now the most often cited books in the history of this medium. As a nationally influential author, he has few peers at the University of New Mexico, owing to his uncommon success in writing or co- writing more than six major textbooks that are used in virtually every BFA or MFA program in the country—that is, in no less than 600 different universities and art schools. Stone’s books include Photography (Prentice Hall, 2011--10th Edition); A Short Course in Digital Photography
(Prentice Hall, 2010); Photography, the Essential Way (Prentice Hall, 2008); A Short Course in
Photography (Prentice Hall, 2008--7th Edition); A User’s Guide to the View Camera (Harper-
Collins, 1987), and Darkroom Dynamics: A Guide to Creative Photographic Techniques
(Boston: Focal Point Press, 1979). As one reviewer noted, Jim Stone’s textbooks “have guided a generation of students in the US.”
20 Not surprisingly, then, from 1990 to the present, the Photography Area in the Department of Art & Art History has never been ranked lower than #5 in the country, and it has been ranked as high as #2, by the U.S. News and World Report annual edition of the “Best Graduate Schools in the USA.” With a reputation like this, it is clear that gaining admission to study Photography within the MFA program at UNM is extremely competitive, as the acceptance rate is often less than 5%. Yet, Photo faces a very serious challenge at present. With the retirement in Spring 2010 of the esteemed photographer Joyce Neimanas, the Area of Photography is now down to only three graduate faculty members—Regents Professor Adrienne Salinger, Professor Jim Stone, and
Assistant Professor Patrick Manning—and an expert staff member who runs the Photo Lab,
Michelle Evans. For all the excellence of these three faculty members and the lab manager, they are now in a position of being overextended and it is imperative that a new tenure-track hire in photography take place as soon as possible before long term damage is done to this area’s outstanding national reputation among graduate programs.
The History of Ceramics and a New Vision of It at UNM
Among the most historic developments in the life of the department over the last academic year, 2009/2010, is one that involves the Area of Ceramics—an area of singular importance to the history of the Southwestern United States, as even the most superficial tourist visit makes abundantly clear. Nonetheless, since 2000, the Area of Ceramics has been one of the few troubled programs in the department. This is true for a whole host of reasons that have included both: A) a very high ratio of students to permanent faculty and B) an overly narrow
21 focus on mainstream stoneware in the ceramic classes. Thus, the Area of Ceramics at UNM has obviously failed to live up to its considerable potential.
The implementation during the last few months of a new vision of ceramics in the
Department of Art & Art History has, however, begun to revitalize the Area of Ceramics by doing something with few if any parallels in other BFA or MFA Programs in the country (and there are roughly 350 Masters Programs in Studio Art nationally). Realizing such a vision has entailed developing a novel triadic focus based on the three most historic types of ceramic production from around the world—stoneware (or what is sometimes called “contemporary ceramics” in the West), earthenware (or the oldest form of pottery known and it is still used for
Southwest Pueblo Pottery), and porcelain (which was invented in Asia and has long been a particular focus in the legendary Japanese Arita Program). Most BFA and MFA programs in the
US only allow students to major in the tradition of contemporary stoneware along Euro-
American lines, however rich and varied its set of permutations.
By accomplishing the introduction of Arita porcelain into our reconfigured core area within ceramics—so that Arita classes are no longer taken as mere electives, which was the case up until last year at UNM—the department’s leadership has transformed the entire curriculum in
Ceramics aimed at a BFA or MFA. Now studied in a graduated way as part of the core curriculum in our department, the Arita Method Porcelain gives us at present a sophisticated new area of concentration that is largely unique in the US among MFA ceramics programs. When it is consolidated, such an achievement will give our program an unrivalled technical range, an enduring cultural diversity, and a matching international scope, while also giving art students at
UNM notable opportunities for working in a more advanced way within all three of the great ceramic traditions (those of porcelain, stoneware, and earthenware)—even as our students will
22 understand these interrelationships in a deeper manner than they would were these traditions studied separately or in isolation from one another.
Signing Kathryne Cyman, a world-class expert in the Arita Method of Porcelain, to a tenure-track position as an Assistant Professorship beginning in the fall of 2010 has allowed us to double the number of permanent faculty in that area of our department. By making her a faculty member capable of chairing both BFA and MFA committees, particularly in porcelain, we have also insured that the classes she offers will help us accomplish our goal of expanding departmental core offerings beyond the mainstream focus on stoneware. The orientation of the
Arita classes at UNM will also shift accordingly, as they go from being short-term service classes to being rigorous ladder-like courses within a new sequence of classes on behalf of a long term concentration in porcelain production at the most advanced level possible.
These major changes in the substance of the Arita classes addressed the recent requests by Manji Inoue Sensei, a world famous artist and a ‘National Treasure in Japan,’ that his porcelain program be treated with more rigor at UNM, so as to foster better a long term or career commitment to working in Japanese porcelain. As such, this approach in our department will finally be one that is worthy of the lofty place this tradition enjoys in the history of world art. In this sense, our expansion of the Arita program is meant to be a renewal of UNM’s commitment to Manji Inoue Sensei’s own vision of how his program should be central to the visual sensibility in our university. By doing this we have finally rebuilt a cultural bridge to Japan that will allow our students many more opportunities to study porcelain production in Asia—and indeed there are already several plans underway to further international exchanges by UNM students with
Japan. Also crucial to this renovation of the area and reconfiguration of the space has been the relocation of lab manager Oscar Caraveo exclusively in the Area of Ceramics. Before, his duties
23 were split between managing the ceramics lab and managing the sculpture lab in Mattox. The
Chair has made him full-time in Ceramics, while hiring another lab manager, Justin Nighbert, beginning in the fall of 2010 exclusively for the Mattox, just as we have the very capable Chris
Reisz as the 3D lab manager for sculpture and small metals.
If looking eastward has diversified our offerings in the Area of Ceramics, then looking more intently at the great traditions of Pueblo Pottery in New Mexico has also allowed us to broaden our triadic approach to ceramics in a more consistently non-Eurocentric manner. At the same time, though, we are still maintaining through the ongoing but downsized enrollment in stoneware classes the best of the European and North American ceramic traditions. In 2010, the
Chair decided to expand notably our offerings in Pueblo Pottery, which is taught at UNM by the distinguished ceramicist Clarence Cruz of San Juan Pueblo (and he was recommended to the department by a famed potter from Acoma, Mary Lewis). Efforts have of course been made over the last decade by Professor Bill Gilbert (who formerly worked in the ceramics area) to start incorporating into the Area of Ceramics both Native American traditions and those of northern
Mexico at Mata Ortiz. In 1996, for example, Gilbert introduced a two-week summer class that traveled to Mata Ortiz, Mexico and in 1989 he had earlier helped to establish a two-week class in
Pueblo Pottery. It is these progressive overtures and others like them that have been embraced by the department and will be expanded beginning in 2010.
24 From Courses at the D.H. Lawrence Ranch in Land Arts
to the New Area of Art & Ecology
In 1981, Associate Professor of Painting John Wenger, who is now retired from UNM, started a visionary new summer program that has endured in various forms and in diverse ways up to the present, perhaps most notably with the momentous founding of the Area of Art &
Ecology in 2008/2009. What Wenger did—and he was soon aided in consolidating this by
Professor of Painting Michael Cook—was groundbreaking pedagogically. He decided to take his summer class “outside the classroom” for a fortnight in northern New Mexico, with the home base being the D.H. Lawrence Ranch near Taos (a complex formerly used by the British novelist that was given to the University of New Mexico in 1955 by the widow of Lawrence). To quote from the syllabus on “Southwest Geographic Arts” organized by Wenger, the program was conceived:
to help enhance original and creative approaches to teaching and making art directly related to our regional mountains and canyon environments…. Students working together in this unique situation benefit in ways that are unavailable [to them] in the traditional classroom format.
When artists and scholars exit their urban environments, nature based formats become crucial to forming deeper and more encompassing thresholds of awareness.12
12 This material and the other primary sources that will be cited in this section are found in the Files on the “D.H.Lawrence Ranch Classes” and on the “Origin of Land Arts at UNM,” The Archives of the Department of Art & Art History, UNM.
25 During the 1990s, the D.H. Lawrence Program of the Department of Art & Art History became so well known outside the region that some of the classes there, such as those of former
Associate Professor of Painting Margery Amdur (who now teaches at Rutgers University), were written about in prominent national publications. The July 26, 1996 Issue of The Chronicle of
Higher Education ran a feature-length essay on the topic. Students in Amdur’s classes noted that the program was aimed at “pushing you to do work in different ways—jarring you out of your habits.” As another student observed: “There are no phone calls, no people dropping by, no outside influences. It allows us to delve into issues.”13 Subsequently, the Editor of Art Journal in
New York contacted Amdur about writing a special article on the D.H. Lawrence class she taught, “Drawing Our Own Rules.” In this essay, she and her students made the case for the uniqueness of this program of study outside the standard classroom.14
These successes in the 1980s and 1990s, in addition to a related body of environmental art works produced by Professor Basia Irland (now retired), such as her 2007 book, Water
Library, through the UNM Press, gave a significant momentum to the whole issue of “Land
Arts.” What Irland contributed was a new sense of process-driven “placelessness” to any focus on place in the southwest. To quote famed art critic Lucy Lippard of Galisteo, a frequent collaborator with our department, Irland’s work is about the unfolding of time, of process, in a way that “acknowledges the significance of migration, of the ‘body in motion’.” Finally, it was
13 Zoe Ingalls, “In a New Mexico Forest, Art Students Learn to Push Their Limits,” The Chroncile of Higher Education (July 26, 1996): B4. 14 Margery Amdur, “Rituals That Rewrite One’s Rules,” Art Journal, Vol. 58, No. 1 (Spring 1999): 90-92.
26 in 1990 that John Wenger and Bill Gilbert first used the title “Land Arts of the American West” for a class underwritten by the Lannan Foundation through a $15,000.00 pilot grant.15
To these varied developments within the department, Professor Bill Gilbert added at least two novel and important things: A) a new type of land art he termed Physiocartography and B) a more programmatic vision of how “Lands Arts” could in turn be the basis for a whole new area of “Art and Ecology” within the Department. Fortunately, both have come to fruition over the last six years. Around 2004, with the impending retirement of Wenger, Gilbert was able to secure a huge grant that literally brought one million dollars into the department on behalf of “Land
Arts.” In a document from June 24, 2004, the Lannan Foundation, the University of New
Mexico, and the Senate of New Mexico all agreed to the following financial terms:
The Donor [The Lannan Foundation] contributes $400,000… The University of New Mexico will take $100,000 from the Mary Jane Linder Estate to create the endowed account [and] the state of New Mexico through Senate Bill 14 will provide matching funds of $500,000, which will be added to the endowment, bringing it to the $1,000,000 level…. With the full support of the
Lannan Foundation and the College of Fine Arts, Professor William T. Gilbert will be named the first holder of the chair [The Lannan Foundation Chair in Land Arts of the American West
Program].16
15 See: John Wenger and Bill Gilbert, Land Arts in the American West (Albuquerque: A Department of Art Booklet, 2000), 30 pages, in the Archive of the Department of Art & Art History, UNM. 16 Legal Contract with the Lannan Foundation of June 24, 2004, Archive of the Department of Art & Art History, UNM.
27 As Gilbert noted in a published interview: “The institutional connection of Patrick
Lannan and College of Fine Arts Dean Christopher Mead gave us our start. The collaboration with Chris Taylor at the University of Texas expanded our support and intensified the international dialogue.” A further consequence of these relationships was a book that was co- edited by Chris Taylor and Bill Gilbert, Land Arts of the American West, and published by the
Press at the University Texas in Austin. Consisting of interviews, numerous images by UNM students, and also an essay by art critic Lucy Lippard, as well as one by Ann Reynolds—an
Associate Professor of Art History at the University of Texas—this book encapsulates what is distinctive about the study of land arts and the new area called “Art and Ecology.”
Since its establishment in 2007/2008, this area has gone from one faculty line for Gilbert to encompassing three more tenure-track lines and a staff position: those of Associate Professor
Andrea Polli, Assistant Professor Catherine Harris, and Assistant Professor Szu-Han Ho (who will join our faculty in January 2011), along with Jeanette Hart-Mann. Of note here also is how
Art and Ecology compliments the Area of Sculpture within 3D, which includes Professor
Constance DeJong (whose art work was the subject of a major monograph in 2003), Professor
Steve Barry, and Assistant Professor Ellen Babcock.17 What is needed now, though, is the money to fund Graduate Assistantships so that each of the studio areas can grow at a secure, sustainable, and steady rate. Surmounting the dearth of long term graduate fellowships in all areas of the
Department of Art & Art History remains an acute challenge for the near future.
17 Arden Reed, Constance DeJong: Metal (Albuquerque: University of New Press, 2003).
28 The Area of Electronic Arts
The Area of Electronic Arts was discussed ten years ago in the 2000 Program Review
Book for the Department, when we had just added one line (taken over from the previous
Visiting Critic position in Studio Art) to hire Mary Tsiongas. She is now the head of an area that has two other recent tenure-track additions: Assistant Professor Claudia X. Valdes and Assistant
Professor Lee Montgomery, along with an able lab manager in Brian Kimura. Despite this tripling of faculty positions in less than a decade, however, and notwithstanding the high caliber of artwork produced, as well as instruction offered by the faculty in it, the Area of Electronic
Arts remains woefully underfunded by both the College of Fine Arts and the University of New
Mexico. Anyone who has visited the tiny room on the third floor of the Art Building used for the classes in Electronic Arts is at once made painfully aware of the grave short fall in both space and advanced technology that is confronted on a daily basis by an area whose fine accomplishments are all out of proportion to the grim situation it faces with regard to its infrastructure.
Seen in this light, the recent prize-winning films presented in Germany by two students of Claudia Valdés seem rather surprising. These prizes include one for Mitchell Martí, an MFA student, who received an Honorable Mention for the 2010 Creativity Award at the
“Fulldome Film Festival” in Jena, Germany and Barbara Ryckman (BA in 2010), who won the 2010 Creativity Award at the same “Fulldome Film Festival,” which was sponsored by the Zeiss Planetarium in Jena, Germany. Ryckmann created her winning piece, a film entitled Wander, in a class taught at UNM by Assistant Professor Claudia Valdés. BUT, these
29 international successes cannot blind us to the inadequacy of the facilities and equipment that are holding back Electronic Art.
For this reason, we are including a list of essential things badly needed by the Area of
Electronic Arts in order to make it competitive with comparable MFA programs nationally. (See
Section 6E)
Recent Successes that Point Toward a Fine Future
The successes experienced over the last year, 2009/2010, nevertheless outweigh the problems we face, so let us end this section by acknowledging a few of them. In March 2010,
Jennifer von Schwerin, an Assistant Research Professor in Art History in our department, was awarded a $50,000 grant by the National Endowment of the Humanities, in order to fund her research project to develop a 3D database for the cataloguing and analysis of 3D models of Maya sculpture and architecture, especially at Copán, Honduras where she has worked for several years. Beginning in the fall of 2010, the Department of Art & Art History will have a record number of professors who have earned endowed chairs, 2 in Art History—Christopher Mead,
Regents’ Professor of Architectural History (2010-2013), and Joyce Szabo, Regents’ Professor of Native American Art History (2010-2013)—and also two in Studio Art—Andrea Polli, The
Mesa del Sol Professor of Digital Imagery, and Bill Gilbert, the Lannan Professor of Land Arts.
Other awards and honors afforded our faculty and graduate students since 2007 include the following:
30 I. Recent International Awards & Honors—The Faculty
Professor David Craven— 1) 2007 Rudolf Arnheim Professor of Art History and Visual Culture at Humboldt University in Berlin, Germany 2) Visiting Fellow at Trinity College, University of Cambridge, England (March 2009)
Professor Constance DeJong 2008—Won commissions for monumental sculptures in mainland China and in Taiwan
Professor Elen Fineberg 2009—Invited by the Department of Astronomy, University of Padua in Italy to exhibit a painting and deliver an address on the 400th Anniversary of Galileo’s use of the telescope to draw the first scientific images of the moon
Associate Professor Baochi Zhang Visiting Professor at Xi’an Academy of Fine Arts, China (2007, 2008, 2009)
II. National Awards and Honors—The Faculty Professor David Craven 1) Distinguished Professor of Art History at the University of New Mexico (2007) 2) 2009 McLeod Riggins Lecture at the University of North Carolina‐Chapel Hill
Assistant Professor Margaret Jackson 2009 Book Award of the Association of Latin American Art Historians
Professor Adrienne Salinger Regents’ Professor of Art (2006‐2009) in the College of Fine Arts, UNM
Professor Jim Stone James D. Phelan Art Award in Photography in 2009
Professor Joyce Szabo 1) Regents’ Professor of Art (2009‐2012) in the CFA, UNM 2) 2010 Morton Distinguished Fellow, Dartmouth College
III. International Awards & Honors for Current Students
Gustavo Larach, Ph.D. student in Art History Chosen as a co‐curator of the 2010 National Biennial in Honduras
Josephine López, MA in Art History at UNM, Summer 2009
31 1. Won the prestigious Eugene Cota Robles Fellowship for Graduate Study to enter the doctoral program in Art History at the University of California, Berkeley (Beginning the fall of 2009) 2. Won a National Jacob Javits Fellowship for Graduate Study ($30,000 a year for at least three years to earn a Ph.D. beginning in 2009)
Mitchell Martí, a current MFA student Honorable Mention for the 2010 Creativity Award at the “Fulldome Film Festival” in Jena, Germany
Barbara Ryckman, BA in 2010 at UNM Won the 2010 Creativity Award at the “Fulldome Film Festival” sponsored by the Zeiss Planetarium in Jena, Germany
Tijen Tunali, Ph.D. student in Art History 1. Awarded a Distinguished Graduate Student Fellowship in the Summer of 2007 to study globalization in Hungary at the Central European University in Budapest 2. Awarded a Fellowship by the Deutscher Akademischer Austausch Dienst (DAAD) to study at the Goethe Institute in Berlin in the Summer of 2008 3. Awarded an International Travel Grant for the Second Globalization Studies Conference at Zayed University, Dubai, United Arab Emirates in the Summer of 2009 4. Awarded a Historical Studies Fellowship in 2010 to study in Copenhagen, Denmark at the Graduate Center of the University of Aarhus.
D. Current Successes of Our Graduates and Two New Hires
A striking way of gauging the caliber of work being produced by recent graduate students at UNM in Art History can be established simply by enumerating the large number of
PhD dissertations or subsequent research projects that have been published as books or have been a point of departure for yet other publications. Two of the most prolific and award-winning graduates from our department are Sarah Greenough (MA 1976, Ph.D. 1984) and Donna Pierce
(PhD in 1986). Greenough is Curator of Photography at the National Gallery of Art in
Washington D.C., where she has published over a half dozen books and catalogues. Among her
32 catalogue/ books are Alfred Stieglitz: Photographs & Writings (1983) – which won the National
Book Award – plus, Paul Strand (1990), Robert Frank: Moving Out (1994) – which won the
International Association of Art Critics Award – and Harry Callahan (1996), as well as André
Kertész (2005) and Walker Evans: Subways and Streets – which won the American Association of University Presses Award for Distinguished Content and Design.
Pierce has also published an impressive set of books in the area of Spanish Colonial Art, from Cambios: The Spirit of Transformation in Spanish Colonial Art (UNM, 1992), co-authored with Gabrielle Palmer, to her extensive two volume catalogue raisonné in 1996 of the Spanish
Colonial Arts Society in Santa Fe. Currently Pierce is the Senior Curator of Spanish Colonial Art at the Denver Art Museum. Another sixteen UNM graduates quickly come to mind for having written major books, and this does not includes the scores of articles, as well as reviews by our graduates:
1. Ellen T. Baird (PhD 1979), Drawings of Sahagun’s Primeros Memoriales (Chicago, 1993) 2. Sharyn Udall (PhD 1981), Carr, O’Keeffe, Kahlo: Places of Their Own (New Haven: Yale University Press, 2000) Sharyn Udall, Modernist Painting in New Mexico (Albuquerque: UNM Press, 1983)
3. Amy Conger (PhD 1982), Edward Weston in Mexico, 1923-1926 (Tucson: University of Arizona, 1983), plus at least four other books on photography
4. Gabrielle Palmer (PhD 1986), Cambios: The Spirit of Transformation in Spanish Colonial Art (Albuquerque: UNM Press, 1992), co-authored with Donna Pierce
5. Marsha Bol (PhD 1989), Stars Above, Earth Below (Santa Fe: Museum of Fine Arts, 1989)
6. Jasmine Alinder (MA 1994), Moving Pictures: Photography and the Japanese American Incarceration (Urbana: University of Illinois, 2009)
7. Kathleen Howe (PhD 1995), Excursions Along the Nile: the Photographic Discovery of Ancient Egypt (Albuquerque: UNM Press, 1994), plus other catalogues
33 8. James Crump (PhD 1996), F. Holland Day: Suffering the Ideal (Santa Fe: Twin Palms Press, 1995)
9. Michele Penhall (PhD 1997), Betty Hahn: Photography or Maybe Not (Santa Fe: Museum of Fine Arts, 1995)
10. Libby Lumpkin (PhD 1997), Deep Design (Los Angeles: Art Issues, 1999) Libby Lumpkin, ed. The Bellagio Gallery of Fine Art (Las Vegas: Bellagio, 1999)
11. Brian Winkenweder (MA 1997), Reading Wittgenstein: Robert Morris’s Art-as- Philosophy (Saarbrücken: Verlag Dr. Müller, 2008)
12. Antonella Pelizzari (PhD 1998), who edited and contributed to Traces of India: Photography, Architecture, and the Politics of Representation, 1850-1900 (2003)
13. Robert Nauman (PhD 1999), The Architecture of the Air Force Academy (Urbana: University of Illinois Press, 2000)
14. Kelly Donahue-Wallace (PhD 2000), Art and Architecture of Viceregal Latin America, 1521-1821 (Albuquerque: UNM Press, 2008).
15. Catherine DiCesare (PhD 2002) Sweeping the Way: Divine Transformation in the Aztez Festival of Ochpaniztli (Boulder: The University Press of Colorado, 2009).
16. Angel Julian García Zambrano (PhD 1980), Pasaje mítico y pasaje fundacional en las migraciones mesoamericanas (Morelos: Universidad Autónoma del Estado, 2006).
A List of Publications by Grad Students while in the Grad Program
This category is quite instructive for giving a real sense of ‘outcomes assessment’ because it speaks to the caliber of research done by our graduate students while they are actually in residence at UNM.
1. Books & Catalogues
James Crump, Guest Editor for History of Photography (Spring 1994) The Kinsey Institute
Jasmine Alinder, Virtual Pilgrimage: Patrick Nagatani’s American Concentration Camp Portfolio (Albuquerque Museum of Art & History, 1998)
Sara L. Marion, Stages of Influence: The Universal Theater of Hughie Lee-Smith (University of New Mexico Art Museum, Feb. 6 – June 3, 2001)
34 2. Latin American & Iberian Institute Monographs
Gina McDaniel Tarver, Issues of Otherness & Identity in the Works of Izquierdo, Kahlo, Artaud, and Breton (LAII: Research Papers Series, No. 27, April 1996)
Feliza Medrano, “Ni chicha ni limonada: Depictions of the Mulatta Woman in Cuban Tobacco Art (LAII: Research Papers Series, No. 34, May 1999)
Teresa Eckmann, Chicano Artists & Neo-Mexicanistas: (De)Constructions of National Identity (LAII: Research Papers Series, No. 36, 2000).
Theresa Avila, Emiliano Zapata: Figure, Image, Symbol (LAII, July 2007)
3. A List of Articles or Review Essays in Refereed Journals Based on Research Papers Done in Seminars at UNM During Grad School:
Lindsay Jones, “ArteFacto in Contemporary Nicaragua: Haunting the Borders of Acceptance,” Third Text, No. 48 (Autumn 1999): 17-28.
Christopher Jones, “Rethinking Orozco,” Third Text, Vol. 60 (Sept. 2002): 317-20.
Shanna Ketchum, “Native American Cosmopolitan Modernism(s): A Re-Articulation of Presence Through Time & Space,” Third Text, No. 75 (July 2005): 357-364.
Dylan A.T. Miner, “El renegade comunista: Diego Rivera and La Liga de Obreros y Campesinos & Mexican Repatriation in Detroit,” Third Text, No. 77 (November 2005): 647-60.
Tricia O’Keefe, “Strategy or Spectacle?: Postmodernism, Afro-American Artists and Art Scholarship, Third Text, No. 77 (Nov. 2005): 617-624.
Shanna Ketchum, “Representing Two Cultures,” in The Art of Wallowing Bull (Fargo, North Dakota: Plains Arts Museum, 2005).
Shanna Ketchum, “El espacio transcultural en la obra de Diego Romero,” Estrago: Revista de Arte (Managua), No. 3 (2006): 68-79.
Laura Smith, “Photography, Criticism & Native American Women’s Identity: Three Works by Jolene Rickard,” Third Text, No. 72 (January 2005): 53-66.
Theresa Avila, “Leopoldo Méndez & Post-Revolutionary Art of Mexico,” Third Text, No. (November 2008): 798-800.
35 Corey Dzenko, “Analog to Digital: The Indexical Function of Photographic Images,” Afterimage, Vol. 37, No. 2 (September/ October 2009): 19-23.
Tijen Tunali, “Kandinsky According to Kuspit,” in Dialectical Conversions: Donald Kuspit’s Art Criticism, ed. D. Craven & B. Winkenweder (Liverpool University Press, 2010).
Nor should we conclude this section on the history of our department up to the present without noting just how profoundly our department has been enhanced by the unexpected addition of two new senior faculty members: MacArthur Fellow and Distinguished Professor of
Criticism Dave Hickey and Professor of Art History & Criticism Libby Lumpkin. Adding them to our faculty beginning in the fall semester of 2010 will boost the international profile of both the MFA Program and the PhD Program like few other things we could have done. Simply listing their achievements to date would demonstrate why. Exhibit A here is the feature-length article that appeared about Hickey and Lumpkin in the Wall Street Journal (July 9, 2010).
MacArthur Fellow Dave Hickey
Dave Hickey, the celebrated art critic and author, has been made Distinguished
Professor of Criticism for the MFA Program in the Department of Art & Art History at the
University of New Mexico beginning in the Fall of 2010. A broad-ranging person of letters,
Hickey has written several books, such as, Invisible Dragon and Air Guitar, which have now assumed almost legendary status in the artworld. In March 2009, Newsweek Magazine listed
Hickey’s book Air Guitar as number 15 on its list of 50 essential books of our time. The College
36 Art Association presented Hickey with its prestigious Frank Jewett Mather Award for
Distinction in Art or Architectural Criticism in 1993 and in 2002 he won a MacArthur
Foundation Fellowship.
A writer of fiction and cultural criticism, Hickey has received a number of other honors and fellowships. Among them is the Peabody Award for Public Journalism, presented in recognition of his work on a biographical documentary of Andy Warhol for the American
Masters series, which aired on PBS in 2006.
He won an Award of Distinction in 2007 from the National Association of Schools of
Design and in 2003 he was given an honorary degree by The Rhode Island School of Design. In
1997 Hickey served as the Cullinan Chair of Architecture at Rice University and in 1992, he presented The Preston H. Thomas Memorial Lecture Series on architectural theory at Cornell
University.
Profiles of Hickey have appeared in Time Magazine, The New York Times, The Los
Angeles Times, The Los Angeles Times Magazine, Newsweek, The Wall Street Journal, U.S.
News and World Report, The Economist, and Flaunt, among other publications. Interviews with
Hickey have been published in The Los Angeles Times, Bomb, New Art Examiner, Public Events,
The Art Newspaper and other magazines. He has also been interviewed several times on topics like art and Las Vegas by the BBC, PBS, and National Public Radio.
Hickey has served as Executive Editor of Art in America, as well as Contributing Editor to The Village Voice, Art Issues, and Context. In addition he has been owner-director of A Clean
Well-Lighted Place Art Gallery in Austin, Texas, along with being director of the Reese Palley
Gallery in New York City. In the 1980s, Hickey worked as a songwriter in Nashville, Tennessee and as a correspondent for Rolling Stone Magazine.
37 He has written for most major cultural publications in the US and abroad. These include
Rolling Stone, Art News, Art in America, Artforum, Interview, Harpers Magazine, Vanity Fair,
The New York Times, and The Los Angeles Times. Hickey once regularly published Revisions, a monthly column for Art in America. He also continues to write for European publications like
The London Review of Books, Frieze International (London), Situation (Paris), and Parkett
(Zurich). Hickey’s books include:
Prior Convictions, a volume of short fiction (SMU Press, 1982).
The Invisible Dragon: Four Essays on Beauty (Art Issues Press,1993), which went into six printings. A new edition of this book was published by the University of Chicago Press in 2009 as The Invisible Dragon: Revised and Expanded.
Air Guitar: Essays on Art and Democracy (Art Issues Press, 1998), tenth printing, was named by Newsweek Magazine as one of the 50 essential books of our time.
Stardumb (Artspace Press, 1999) is a collection of stories with drawings by artist John DeFazio.
Hot Stuff: Essays on the Writing on Women Artists (University of Chicago Press, 2010).
Connoisseur of Waves: More Essays on Art and Democracy (University of Chicago Press, 2010).
Pagan America is forthcoming from Free Press in 2012.
Pirates and Farmers: Essays on Culture and the Marketplace is complete. It is scheduled to follow the publication of Pagan America.
Feint of Heart: Essays on Individual Artists in two volumes is in preparation at Chicago.
In addition, Hickey has written approximately 300 exhibition catalogues or monographs
on contemporary artists: Anthony Caro, Ellsworth Kelly, Ann Hamilton, Lari Pittman,
Richard Serra, Robert Gober, Edward Ruscha, Terry Allen, Andy Warhol, Gerhard Richter,
Sigmar Polke, Tom Wesselmann, Joan Mitchell, John Chamberlain, Vija Celmins, Vernon
Fisher, Luis Jimenez, Barbara Bloom, Sol Lewitt, Sharon Ellis, and Michelangelo Pisteletto.
38
Hickey has lectured extensively at universities and institutions both in the USA and abroad. These include Harvard, Princeton, Yale, Cornell, Brown, Penn, Stanford, Duke, the
Smithsonian Institution, the Rhode Island School of Design, Hunter College, the School of
Visual Arts, Bard College, the University of Texas at Austin, Art Center in Pasadena, Otis
Institute in Los Angeles, the Hirshhorn Museum and the National Gallery of Art in Washington
D.C., the Museum of Modern Art in New York City, the Whitney Museum, the Los Angeles
Museum of Contemporary Art, the Dia Center for the Arts, the Walker Art Center, the Dallas
Museum of Fine Arts, the Kimbell Museum in Fort Worth. He has lectured often in the United
Kingdom at the Tate Modern, The Frieze Art Fair, The Royal College of Art, and the Institute of
Contemporary Art in London.
Hickey has also served as a Visiting Professor at a number of institutions, including the
University of Texas at Austin, The University of California--Santa Barbara, the Otis Parsons
Institute in Los Angeles, The Graduate School of Design at Harvard University, Yale University, and Rice University.
Hickey has organized exhibitions for the Donna Beam Fine Art Gallery at the University of Nevada, Las Vegas, Texas Gallery in Houston, Diverse Works in Houston, Apex Art and the
Cue Foundation in New York, the Contemporary Art Museum at the University of South Florida,
Otis Art Institute in Los Angeles and the Museo Rufino Tamayo in Mexico City, along with the
Dallas Museum of Modern Art, and the Las Vegas Art Museum.
Beau Monde, the international biennial exhibition he curated for Site Santa Fe in Santa
Fe, New Mexico, received the Best Show Award in 2002/2002 from the Association of
International Critics of Art. He is presently engaged in preparation for the exhibition, Ed Ruscha:
39 Too Marvelous for Words, which will be exhibited in Switzerland and South Korea. He is also working with Frank Gehry on Coping With Paradise, a show for the Guggenheim Bilbao and various other European venues, in addition to serving as Project Adviser and Associate Producer for PBS’s American Masters Program on Michael Heizer.
Professor of Criticism and History Libby Lumpkin
Libby Lumpkin, Ph.D., has accepted a tenured position as Professor of Art History and
Criticism in the Department of Art & Art History at the University of New Mexico starting in the
Fall of 2010. The hiring of Lumpkin will notably enhance the already highly ranked MFA and
Ph.D Programs in Art & Art History at UNM.
A widely published critic of the visual arts, Lumpkin first gained fame as a curator of contemporary art and architecture when she was chosen by financial wizard Steve Wynn to be the key expert advising him on an art collection for public viewing at the Bellagio Hotel in Las
Vegas. This collection, which soon included modern masterworks by Picasso, Van Gogh,
Renoir, and Monet, became widely known almost over night and Lumpkin was the expert who deftly assembled it. In addition, she has organized many one-person exhibitions of artworks by major contemporary artists from the US. Most recently, she curated two acclaimed shows for the
Las Vegas Art Museum: Southern California Minimalism (which was praised in a January 2010 issue of The New Yorker) and Las Vegas Collects Contemporary, featuring works by Andy
Warhol, Donald Judd, and Anish Kapoor.
This record alone as a curator at the highest level is impressive, but it is only the beginning of a long list of accomplishments. Her record of publications is notable, covering as it
40 does a best-selling book, Deep Design: Nine Little Histories (1999) and no less than ten major catalogue/ monographs, such as, Frank Gehry Designs (2007), Jean-Michel Basquiat, War Paint
(2002), and Ingrid Calame (2000). In addition, she has published scores of articles and reviews in leading art publications of the US, Belgium, England, and Germany and has served as a regular contributor to Artforum. Further attesting to her international recognition is the fact that
Libby Lumpkin has been interviewed on the BBC and NPR, while being featured in publications like The Economist and Newsweek.
The large list of institutions at which Dr. Lumpkin has given public lectures over the last
15 years is no less noteworthy. These institutions range from Harvard, Yale, and Penn—where she was invited to give endowed lectures—to the University of Wisconsin-Madison, the
University of California-Santa Barbara, Pomona College and Cranbrook Art Academy. She has also given lectures at such major museums as the San Francisco Museum of Art, the Isabella
Steward Gardner Museum in Boston, and the Museum of Modern Art in Fort Worth. Moreover,
European institutions at which she has lectured include universities in Sweden and Switzerland.
41 2. The Degree Programs, Faculty, and Curricula
A. Faculty for Various Degrees and Certificates Offered
DEPARTMENT OF ART AND ART HISTORY David Craven, Chairperson
Department of Art and Art History MSC04 2560 1 University of New Mexico Albuquerque, NM 87131‐0001 (505) 277‐5861, FAX (505) 277‐5955
Associate Chairperson Kathleen Jesse, Associate Professor of Studio Art Director of Graduate Studies Justine Andrews, Ph.D., Associate Professor of Art History
Distinguished Professors David Craven, Ph.D., University of North Carolina, Chapel Hill Dave Hickey, Ph.D., University of Texas, Austin
Regents’ Professors Christopher Mead, Ph.D., University of Pennsylvania Joyce Szabo, Ph.D., University of New Mexico Adrienne Salinger, M.F.A., School of the Art Institute of Chicago
Lannan Professor of Land Arts William T. Gilbert, M.F.A., University of Montana Mesa del Sol Chair of Digital Media Andrea Polli, M.F.A., School of the Art Institute of Chicago
Professors Steve Barry, M.F.A., Hunter College Michael D. Cook, M.F.A., University of Oklahoma Constance DeJong, M.F.A., University of New Mexico Libby Lumpkin, Ph.D., University of New Mexico Jim Stone, M.F.A., Rhode School of Design
Associate Professors Susanne Anderson‐Riedel, Ph.D., University of California, Los Angeles Justine Andrews, Ph.D., University of California, Los Angeles Holly Barnet‐Sanchez, Ph.D., University of California, Los Angeles Gina Bobrowski, M.F.A., University of Georgia, Athens Kirsten Buick, Ph.D., University of Michigan, Ann Arbor
42 Kathleen Jesse, M.F.A., University of California, Berkeley Yoshiko Shimano, M.F.A., Mills College Mary Tsiongas, M.F.A., California College of Arts and Crafts, San Francisco Baochi Zhang, M.F.A., Florida State University
Assistant Professors Scott Anderson, M.F.A., University of Illinois, Urbana‐Champaign Ellen Babcock, M.F.A., California College of Arts and Crafts, San Francisco Ligia Bouton, M.F.A., Rutgers University Katherine Cyman, MFA Equivalent, Arita Porcelain, Japan Catherine P. Harris, M.F.A., Stanford University; M.L.A., University of California, Berkeley Shaurya Kumar, M.F.A., University of Tennessee, Knoxville Margaret Jackson, Ph.D., University of California, Los Angeles Ray Hernández‐Durán, Ph.D., The University of Chicago Patrick Manning, M.F.A., The University of New Mexico R. Lee Montgomery, M.F.A., San Francisco Art Institute Claudia X. Valdes, M.F.A., University of California, Berkeley Robin Ward, M.F.A., The San Francisco Art Institute Catherine Zuromskis, Ph.D., University of Rochester Instructor Aaron Fry, A.B.D., The University of New Mexico
Adjunct Professors Neal Ambrose‐Smith, M.F.A., University of New Mexico Clarence Cruz, M.F.A., University of New Mexico Marjorie Devon, B.A., University of California, Santa Barbara Suzanne Fricke, Ph.D., University of New Mexico Barbara Lynes, Ph.D., Indiana University Michele Penhall, Ph.D., University of New Mexico Professors Emeriti Nick Abdalla, M.A., University of New Mexico Jane Abrams, M.F.A., Indiana University Garo Antreasian, B.F.A., Herron School of Art Thomas F. Barrow, M.S., Institute of Design, Illinois Institute of Technology J.J. Brody, Ph.D., University of New Mexico Flora Clancy, Ph.D., Yale University Martin Facey, M.F.A., University of California, Los Angeles Elen Feinberg, M.F.A., Indiana University Betty Hahn, M.F.A., Indiana University Basia Irland, M.F.A., University of Massachusetts Wayne R. Lazorik, M.F.A., University of Minnesota Patrick Nagatani, M.F.A., University of California, Los Angeles Joyce Neimanas, M.F.A., Art Institute of Chicago Joseph Rothrock, Ph.D., Princeton University John H. Wenger, M.F.A., University of Arizona
43
Major Requirements for Undergraduate Degrees The majors in Art Studio and Art History offered by the College of Fine Arts are described below. The major in art offered by the College of Arts and Sciences is also described below.
Most of the requirements in these majors are set forth below. Note that in all programs you must also satisfy general college and University requirements for graduation.
Preprofessional Curriculum. The pre‐professional curriculum leading to the Bachelor of Fine Arts is designed for students who anticipate further study at the graduate level. If you enroll in this program, you should read carefully the paragraph on Scholastic Standards for the College of Fine Arts which permits the faculty to exclude from the program any student whose grade point average in his or her major field of study falls below 3.20. Studio courses and art history courses are both part of the major field of study.
If you wish to take studio courses without the concentration and commitment that is implicit in this curriculum, you are advised to follow a program of study leading to the degree of Bachelor of Arts in Fine Arts with a studio major (see below). Also, you may take a number of studio courses as part of the art education curriculum. The Department of Art and Art History advisor will help you select the program that best suits your needs.
Minimum requirements for the program leading to the B.F.A. degree are as follows. Note that one of the requirements is that at least 9 hours of instruction are at the 400 level. Students whose performance does not qualify them for the B.F.A. program may complete their work in the B.A.F.A. program or transfer to another degree program entirely.
The program leading to the B.F.A. is as follows: 1. Courses outside the major: Credits a. Thirty‐four hours selected from courses offered by departments of the College of Arts and Sciences including Core Curriculum requirements (see Fine Arts Graduation Requirements 6). Specific requirements include English 220; 34 –and– b. Six hours selected from other departments of the College of Fine Arts (dance, media arts, fine arts, music and theatre) or from the School of Architecture and Planning; 6 –and– c. Eight additional hours selected from courses outside the major offered by any college, including Fine Arts. 8
Subtotal 48 2. Major in art: a. Eighteen hours in art history including 201, 202 and 250, to be taken in the freshman and sophomore years; 3 hours of upper‐division; and a 400 level of late modern; 18 –and–
44 b. Fifty‐two hours in studio courses. Required courses are art studio 106, 125 and 126. Also required are three courses chosen from 130, 157, 168, 187, and 213; and one course chosen from 205, 207, or 274; plus 9 additional hours at the 400 level. Many areas of special study require specific sequences of courses and corequisites which you must observe. The department advisor can inform you of these. 52 3. Additional courses in any field, including art. 10 Total 128
General (Liberal Arts) Curriculum A major in art history is offered under the general curriculum. It is also possible within this curriculum to pursue a major in art studio that is less specialized than the pre‐ professional (B.F.A.) curriculum. These two programs, both of which lead to the Bachelor of Arts in Fine Arts, are as follows:
Art History Major 1. Courses outside the major: Credits a. Forty hours selected from courses offered by departments of the College of Arts and Sciences including core curriculum requirements (see Fine Arts Graduation Requirements 6). Specific requirements include English 220 and as many semesters of one foreign language as are necessary for completion of the fourth semester course in that language. These will partially satisfy the college requirements for courses outside the major; 40 –and– b. Six hours selected from other departments of the College of Fine Arts (dance, cinematic arts, fine arts, music and theatre) or from the School of Architecture and Planning; 6 –and– c. Fourteen additional hours selected from courses outside the major offered by any college, including Fine Arts. 14 Subtotal 60 2. Major in art history: a. Thirty‐nine hours in art history courses including 201, 202 and 250; also required are three courses chosen from 315, 321, 322, 330, 340, 352, 431, and either 261 or 262; and one course chosen from 251, 303, 343, 402, 406, 411, 412, 415, and 432. A minimum of 18 hours must be taken in courses numbered 300 or above in art history; 39 –and– b. Nine hours in studio courses, including Art Studio 106; a course taken from art studio 125 or 126; and 3 additional hours of studio. 9 3. Additional courses in any field, including art. 20 Total 128
45
Art Studio Major 1. Courses outside the major: Credits a. Forty hours selected from courses offered by departments of the College of Arts and Sciences including core curriculum requirements (see Fine Arts Graduation Requirements 6). Specific requirements include English 220. 40 –and– b. Six hours selected from other departments of the College of Fine Arts (dance, media arts, fine arts, music and theatre) or from the School of Architecture and Planning; 6 –and– c. Fourteen additional hours selected from courses outside the major offered by any college, including Fine Arts. 14 Subtotal 60
2. Major in art: a. Fifteen hours in art history courses, including 201, 202 and 250 and 3 hours upper‐division. 15 –and– b. Thirty‐three hours in studio courses, including Art Studio 106, 125 and 126; also required are two courses with one chosen from 130, 187, 205, 207, or 274 and the other chosen from 157, 168 or 213 and 9 hours upper‐division. 33 3. Additional courses in any field, including art. 20 Total 128
Curricula in Teacher Education. If you are planning to become a teacher of art in the public schools, it is essential that you consult with the advisor in Art Education as soon as possible. Note also that all students entering teacher preparation programs are required to meet the screening requirements for admission to such programs, as described in the College of Education section of this catalog.
Art Major in Arts and Sciences (Bachelor of Arts) For the student enrolled in the College of Arts and Sciences, a 33‐hour major may be taken with a concentration either in art studio or art history. Of these hours, at least 12 must be in courses numbered above 300.
The major with a concentration in art studio is as follows: Nine hours of art history: ARTH 201, 202 and 250. Twenty‐four hours in art studio including ARTS 106, 125 and 126. The major with a concentration in art history is as follows:
46 Writing and speaking and second language must be selected as two of the seven group requirements in Arts and Sciences. Twenty‐seven hours in art history courses, including: ARTH 201, 202 and 250. Also, one selected from 261, 262, 315, 321, 322, 330 or 340. Also, one selected from 251, 343, 401, 402, 406, 411 or 412. Twelve of the 27 hours must be upper‐division art history. Six hours in art studio fundamentals: ARTS 106. Also, one selected from 125 or 126.
Minor Study Requirements The minor in art, consists of 24 semester hours. Studentsmust complete all 9 hours from one of the two groups below:
Choose from: ARTS 106, 125, 126 –or– ARTH 201, 202, 250 Plus 15 hours of either Art Studio or Art History electives, out of which 6 hours must be upper‐division.
Additional Information
Materials and Student Work Students enrolling in art courses furnish their own materials except for certain studio equipment provided by the University. All work when completed is under the control of the Department until after the exhibitions of student work. Each student may be requested to leave one or more pieces of original work with the Department.
Students are reminded that charges for classroom supplies and services in certain art studio courses must be paid to the University of New Mexico Cashier during the first three weeks of Fall and Spring semesters and the first week of Summer Session. In specific instances fee reductions may be granted upon approval of the appropriate representatives and if the deadline is met. See instructor for deadline. The Department of Art and Art History accepts up to 6 hours of upper‐division film history toward art history and art studio major and minor requirements. The Department accepts 3 hours of MA 390 as studio credit.
47 Graduate Programs
Director of Graduate Studies Justine Andrews, Associate Professor of Art History
Application Deadlines Fall Admission: January 15 *Spring Admission: November 15 * Spring admissions are only allowed for the University of New Mexico Art History M.A. students who complete their M.A. program in the fall and are accepted into the Ph.D. program.
Degrees Offered M.A. in Art History M.F.A. in Art Studio Ph.D. in Art History
The Department offers degrees in two fields: art studio and art history. In art studio the degree is the Master of Fine Arts. Students can focus on painting and drawing, photography, printmaking, art and ecology, electronic arts, or 3D; in art history the degrees are the Master of Arts and the Doctor of Philosophy with a concentration in either the Arts of the Americas or the Arts of the Modern World. All students admitted to the graduate studio program are given studio space on campus. Admission is selective and limited by the number of studio spaces available. All photography graduate students are given both darkroom and individual studio spaces.
NOTE: The art studio printmaking program and the art history programs in Arts of the Modern World and Arts of the Americas (both M.A. and Ph.D.) are recognized by the Western Interstate Commission on Higher Education (WICHE) for inclusion in their Out‐of‐ State Programs at In‐State Tuition. Qualified residents of the 15 participating states in the Commission may enroll at reduced tuition rates in these three programs.
The general requirements of the University for the M.A. and Ph.D. degrees are given in earlier pages of this catalog. The requirements for the M.F.A. are given within this departmental text.
Financial Assistance The Department has a limited number of graduate and teaching assistantships to offer graduate students. These are generally available after the first year in the graduate program. Assistantships are dependent upon departmental need. The appointments are usually .25 FTE and made on a semester to semester basis. Students must be enrolled for at least 6 semester graduate credit hours during this appointment.
48 Graduate Minor in Museum Studies The Graduate Minor in Museum Studies is intended to be an interdisciplinary program that emphasizes mentoring and collaborative opportunities through a combination of structured work experiences, academic instruction, supervised internships, and short‐term professional workshops and training courses. Additional emphasis will be placed on collection care, management, and preservation.
The Graduate Minor in Museum Studies requires 9 hours of course work and 6 hours of internship for a total of 15 hours.
Internship opportunities will be created at a number of museums on the University of New Mexico campus and around the state. Each internship will have a specific relation to the needs of the institution and its collections. Students will be able to apply for internships at specific museums. The application process will be competitive and based on selection criteria established by the specific internship’s requirements.
The minor is available to any student enrolled in a graduate degree program. Once completed the minor designation will appear on a student’s transcript.
The minor is distributed as follows:
6 hours of required Core Courses MSST 507, Museum Practices (3) MSST 585, Seminar in Museum Methods (3) 3 hours of Museum Studies Topics courses MSST 529, Topics in Art History (3) 6 Hours of Internship MSST 586, Practicum: Museum Methods (3)
Art Studio Degree, M.F.A. The M.F.A. is the terminal degree in art studio. It is designed to afford the student an opportunity to amplify his or her abilities as a professional artist. As such it provides the opportunity for the individual to focus on the creative aspects of their work. The M.F.A. usually requires at least three years of intensive study and research beyond the bachelor’s degree. Although the formal requirements for the M.F.A. are in some respects comparable to doctoral degrees in other fields, the scope and objectives of the M.F.A. degree are uniquely different. As such, the M.F.A. degree represents strong creative achievement in studio art, an assured grasp of an area of focus, a sound knowledge of critical and historical artistic thought about art, and demonstrated expertise in conceiving and executing a significant body of creative work. Thus, as with the doctoral degree, its achievement is no mere matter of meeting requirements.
It requires a dedication to the creative aspects of the studio work culminating in a dissertation that entails planning, installing, and documenting a solo exhibition of the student’s own creative work, producing a catalog, and giving an oral public presentation.
49
Course Work Requirements The M.F.A. degree requires a minimum of 48 hours of course work. Thirty‐six of these hours must be completed at the University of New Mexico, of which at least 18, exclusive of dissertation hours, must be taken after admission to the M.F.A. program.
Transfer/Application of Credit With the approval of the graduate unit, up to 12 hours of the course work requirements for an M.F.A. may consist of a combination of the following: graduate‐level credit taken at another accredited institution, application of credit in graduate‐level courses earned while the student was in non‐degree or undergraduate status or graduate‐level University of New Mexico extension courses. These credits may be applied or transferred provided that:
1. the course work has not been counted toward a previous degree; 2. grades of B or better were earned; 3. the student has already completed at least 12 hours of graduate work in the M.F.A. program at the University; 4. the application/transfer of these credits is approved by the Committee on Studies and the Department Director of Graduate Studies in the student’s Application for Candidacy; 5. the application/transfer of these credits is approved by the Dean of Graduate Studies.
Admission to the Studio Program
NOTE: Studio areas of focus are: painting and drawing, photography, printmaking, art and ecology, electronic arts, and 3D.
A prospective student in the graduate studio program must have completed an undergraduate degree including 42 hours in studio courses and 18 hours in art history. Any deficiencies in the required preparation must be removed during the first year of course work for the degree. As part of the application for admission to graduate study, the student must submit materials as follows: 1. Application for Admission, Registration Information and application fee. 2. Two sets of official transcripts from all institutions previously attended, send directly to the Department. 3. Three letters of recommendation. 4. Statement of Intent. A clearly written statement of intent describing in detail reasons for wishing admission. This statement, no more than three pages in length (typewritten), should include the following: a. information about the major and the proposed focus (painting and drawing, photography, printmaking, 3D); b. a self‐evaluation of current work;
50 c. an account of any special experiences which might indicate a background in art more extensive than most students with a B.A. or a B.F.A. degree; d. a statement of goals while attending and after completing graduate study; e. reasons for choosing the University of New Mexico as a place for graduate study. In evaluating this written statement, both its form and content will be carefully considered. 5. Portfolio. Applicants should submit work in a form that represents them best. This can include, but is not limited to, slides, original prints, CD‐ROMs (specify Macintosh or PC), DVDs, and VHS. We take reasonable care but cannot be responsible for loss or damage. A combination of prints, slides (no more than 20), or other media is acceptable based on the uniqueness, size, or nature of your work. You may provide your work in any form that may be viewed directly on standard equipment (CD, DVD, VCR) but we take no responsibility for incompatibility or media failure. It is your responsibility to represent yourself well in this context; avoid complex presentations and excessive packaging. Also expected are: a. an identifying list with information on the date, medium, and dimensions of each work. b. a check or money order (no stamps) to provide sufficient funds for the return of the portfolio via U.S. Postal Service.
NOTE: For slide portfolios, fifteen to twenty 2" x 2" color slides must be sent in a standard 80‐slide carousel tray. In addition to the information requested above, each slide must be labeled with the applicant’s name.
All items mentioned above should be sent to the Graduate Office, Department of Art and Art History, MSC04 2560, 1 University of New Mexico, Albuquerque, NM 87131‐0001. Phone: (505) 277‐6672.
M.F.A. Degree Requirements ARTS 502 Interdisciplinary Seminar 3 ARTS credits (in addition to 502) 21 ARTH credits 6 Electives Six hours outside studio 18 Six hours outside the department Six hours any area ARTS 699 Dissertation (solo exhibition and catalog) 12 Total 60
Transfer Credits A maximum of 12 hours of graduate work at another institution or from non‐degree status at the University of New Mexico are transferable to the M.F.A. program. Courses taken as extension credit at other universities are not accepted for graduate credit at the University of New Mexico.
51 NOTE: Transfer of credits is not automatic with admission. The student’s Committee on Studies will determine the number, if any, allowable for transfer. Transfer credit is limited to 12 hours. Aside from this limitation, all other conditions of transfer noted in the doctoral description in the Graduate Program section of this catalog apply equally to the M.F.A.
Course Work In their first fall semester of work, all students entering the M.F.A. program must enroll in Art Studio 502, Interdisciplinary Seminar.
Creative work is undertaken through graduate courses, topics courses, and one‐on‐one tutorial instruction.
Elective course work will be determined by the student’s particular needs and shall be undertaken only with the advice and approval of the Department Director of Graduate Studies and the student’s Committee on Studies. At least 18 hours exclusive of dissertation must be taken in courses numbered 500 or above completed at the University of New Mexico and no more than 24 hours exclusive of dissertation may be taken with a single professor.
Additional Requirements 1. All students will be required to attend orientation and safety meetings before the start of the semester. Students are required to enroll in the Graduate Shop Foundations course offered every Fall semester. 2. Graduate Reviews. In each of the first two semesters, students will participate in a review of their current and ongoing work. The review is open to faculty and students, and the public. These reviews will be conducted by a four‐member faculty committee. 3. Committee on Studies. Each student will be assisted by the Department of Art and Art History Graduate Office in planning a program of studies until such time as they form their Committee on Studies. The formation of the Committee on Studies should take place before the end of the second semester of study.
Duties of a Committee on Studies: a. to conduct the M.F.A. Qualifying Review, which takes place at the beginning of the third semester. b. to advise and assist the student in planning their program through the completion of degree requirements. This includes determining any transfer credit acceptable, the nature of elective courses and the approval of a specific dissertation program. c. to conduct the Advancement to Candidacy/Comprehensive Examination during the fifth semester of study. d. to evaluate the exhibition work and dissertation or catalog/public presentation and submit M.F.A. Final Examination Reports.
52 Formation of Committee on Studies The formation of the Committee on Studies is done in consultation with the Department Director of Graduate Studies and the approval of the Department Chairperson. The process begins with the student finding a qualified faculty member (all full‐time, regular faculty are qualified), normally in the student’s area of focus, who is willing to serve as Committee Chairperson. Together they select three additional willing members, one of whom must be from outside the studio area. This faculty member may be from Art History or another department. A Committee on Studies Approval Form is submitted to the Department Director of Graduate Studies for approval by the Department Chairperson and for forwarding to the Office of Graduate Studies. Changes in the membership of the committee are also made in consultation with the Department Director of Graduate Studies and with the approval of the Department Chairperson.
Once the Committee on Studies has been established, it assumes the responsibility for guiding the student in academic and procedural matters. This in no way relieves the graduate student of his or her responsibility for complying with all regulations of the Department, College, and University, as stated elsewhere in this catalog.
Any grievance or conflict between students, faculty, staff, or administrators regarding graduate student matters shall be taken to the following, in this order, in an attempt to resolve the issue: 1. Chairperson of the student’s Committee on Studies 2. Department Director of Graduate Studies 3. Department Graduate Committee 4. Chairperson of the Department 5. College Graduate Committee 6. Dean of the College 7. Dean of the Office of Graduate Studies 8. Faculty Senate Graduate Committee
M.F.A. Qualifying Review 1. The four‐member Committee on Studies will comprise the Qualifying Examination Committee. 2. The exam will be given during the 12th week of the regular semester immediately after the student completes 18 graduate credits and has had two successful graduate reviews. 3. This examination consists of three parts: a. a review of a comprehensive selection of the student’s work. b. presentation of a formal typed essay of 7–12 pages 2,400–4,200 words) on the work to be reviewed (to be distributed to each committee member and the Department Graduate Office at least three days prior to the review). c. an oral defense of the work by the candidate. 4. The candidate will be informed at the conclusion of the exam of the results, which must be one of the following: a. Pass, granted by the exam committee.
53 b. Fail with option granted by the review committee for a single retake. The second exam will be given following completion of at least a 3‐credit tutorial with the Chairperson of the Committee on Studies. A second failure will result in being dropped from the program for unsatisfactory progress toward the degree. c. Fail with no retest. The student will be dropped from the program for unsatisfactory progress toward the degree.
Residence Requirement The M.F.A. degree shall require at least 36 hours of course work completed at the University of New Mexico, of which at least 18 hours must be taken after admission to the M.F.A. program (exclusive of dissertation hours).
Advancement to Candidacy and Comprehensive Examination Between the Qualifying Review and Advancement to Candidacy, the student should meet on a regular basis (at least once a semester) with their Committee on Studies to plan and monitor the program of studies and to review their creative work.
Admission to graduate study and a successful Qualifying Review do not imply Advancement to Candidacy for a degree. The M.F.A. student must formally apply for and be admitted to candidacy for the degree. The Application for Candidacy is the vehicle that formally establishes the student’s program of studies.
In order to be advanced to candidacy, the student must file an Application for Candidacy and have a formal Advancement to Candidacy and Comprehensive Examination meeting. The Application for Candidacy is filed when the student has completed the majority of their course work (40–45 hours) and can, with some confidence, project the remaining courses in their program of studies. The Announcement of the Comprehensive Examination is filed with the Application for Candidacy and Appointment of Dissertation Committee form. In any event, the examination must be held no later than the semester before the student registers for dissertation hours.
The purpose of the Comprehensive Examination meeting is for the Committee on Studies to: 1. Certify that the Residency Requirement has been met. 2. Review the work and give an oral Comprehensive Examination in order to establish the following: a. that an outline of the student’s dissertation, exhibition, catalog, and public talk is sufficient to allow the student to undertake his research. b. that the student’s general knowledge of critical and historical issues in art is at a level expected of an M.F.A. candidate.
If problems arise with any of the above, the Committee may choose to meet again after the student has had sufficient time to remedy any shortcomings. In this case, a written
54 summary of what is expected in the way of additional course work or preparation needed for advancement must be furnished to the student (with a copy to the Department Director of Graduate Studies).
Approval of candidacy will be granted by the Dean of Graduate Studies only after the residency requirement is met and the program of studies has been approved by the Committee on Studies and the Department Director of Graduate Studies, providing the student has passed their comprehensive exam.
Approval of Candidacy in no way implies successful completion of the M.F.A. degree.
Dissertation Hours Enrollment in Dissertation (699) may not begin prior to the semester in which the student is Advanced to Candidacy and passed the comprehensive exam.
Once the student has enrolled for Art Studio/Art History dissertation (699), he or she must maintain continuous enrollment (exclusive of summer session) until the dissertation/final project is accepted by the Committee on Studies and the Dean of the Office of Graduate Studies. In extraordinary circumstances, the Dean of the Office of Graduate Studies may waive the requirement for continuous enrollment upon presentation of a written request from the committee chairperson and the graduate unit.
M.F.A. candidates must be enrolled during the semester in which they graduate, including the summer session.
Creative work done for the dissertation is substantially new work executed specifically for the final exhibition. The exhibition is in no way to be thought of as a retrospective of work done through class or tutorial instruction.
The dissertation/final project will consist of: 1. a solo exhibition of studio work organized and installed by the student; 2. an exhibition catalog assembled by the student, which includes a written essay about or related to the issues represented in the creative work (10–15 pp. in length); and 3. a public presentation, a talk, or event that informs the audience about the nature of the creative process involved in the creation of the work.
Time Limit to Complete Requirements A candidate for the M.F.A. will have five years for completion of all degree requirements from the date the student is formally advanced to candidacy by the Dean of the Office of Graduate Studies. Under extenuating circumstances, a student may request an extension of this time limit in writing but it must be done prior to the end of the time limit. The request must be supported by his or her Committee on Studies, the Department Graduate Director, the Department Chairperson and approved by the Dean of the Office of Graduate Studies.
55 Notification of Intent to Graduate The semester before the student intends to graduate, the student should inform the Department Graduate Office and, through it, the Office of Graduate Studies, of the intention to complete all degree requirements during the semester. Degrees are awarded three times during the year; commencement exercises are held in May and December.
The Final Examination The M.F.A. Final Oral Examination will be given in conjunction with the exhibition of creative work. The Committee on Studies and other such persons as the Dean of the Office of Graduate Studies may require to be present will conduct the examination.
The examination will cover the exhibition (the studio work and its installation), final copy of the exhibition catalog, and the public presentation. In order for the student to graduate in a given semester, the examination must be held no later than the published dates in November, April, and July.
The student must notify the Office of Graduate Studies at least two weeks before the date of the examination on the forms available. Results of the examination are recorded on the reverse side of the final examination announcement form. The student is responsible for initiating the procedure and making sure that the original notice is sent to the Office of Graduate Studies.
At the conclusion of the examination, the voting members shall confer in camera and vote their recommendations. The Committee may 1) recommend that the exhibition, catalog, and public talk be approved without change; 2) recommend that the exhibition, catalog, and public talk be approved subject only to minor corrections, editorial or otherwise; or 3) require the catalog be revised before approval. In the case of 1) or 2), no further meeting of the Committee will be required. The Chairperson of the Committee will be responsible for seeing that the corrections are made. In the case of 3), the full Committee must determine if their recommendations have been fulfilled.
Two original copies of the catalog, six slides and six or more digital files such as jpgs, shall be deposited with the Department Graduate Office, as a permanent record of the visual work.
The Department of Art and Art History’s Responsibility The Department of Art and Art History’s responsibility includes the evaluation of the creative work exhibited for the solo exhibition, catalog, and public presentation. The Department’s Director of Graduate Studies will verify to the Dean of the Office of Graduate Studies on designated forms the departmental approval.
56 Art History The Art History graduate program leading to a Masters and/or a Doctorate is organized into two areas of concentration, Art of the Americas and Art of the Modern World, each of which integrates several fields of emphasis:
I. Arts of the Americas brings together the arts of pre and post‐conquest cultures. Along with the study of the acknowledged discontinuities in form and series brought about by European conquest, this concentration promotes the equally important study of continuities in the long histories of American art and architecture. The goal is to promote a clearer understanding of the Art of the Americas within the larger unity now perceived for American art traditions. Arts of the Americas covers the cultures of the North, Middle, Central, and South Americas. A concentration in this area is usually achieved within one of the integral fields of emphasis: Pre‐Columbian Art History, Native American Art History, and Spanish Colonial Art History.
II. Arts of the Modern World encompasses the history of painting, sculpture, architecture, decorative art, drawing, graphic art, photography, and film in Europe and the Americas from 1750 to the present. It explores the democratization and consequent growth of intellectual and stylistic pluralism in the arts during a time of rapid technological, social, political, and aesthetic change. Current critical developments in the discipline of art history emphasize the need to reexamine works of art within their cultural contexts and to provide a theoretical framework for them while continuing the more traditional studies of the works in terms of characteristics of style, iconography, and medium. A concentration in this area is usually achieved within one of the integral fields of emphasis: History of Architecture, History of Photography, History of Graphic Arts, and 19th and 20th Century Western Art History.
Students may pursue an emphasis within either of the preceding areas of concentration. While focusing on a specialized field in preparation for their M.A. thesis or Ph.D. dissertations, students must also familiarize themselves with the other fields in their general area of concentration. Students are also encouraged to select courses in other graduate units within the University.
Admission to the Art History Programs Applicants for admission to the M.A. program should preferably have an undergraduate major in the history of art with a minimum of 24 semester hours (or the equivalent as approved by the admitting faculty) as well as advanced courses in history, literature, and philosophy. Any deficiencies in this required preparation must be removed during the first year of course work for the degree. Graduate credit will not be given for courses taken to remove a deficiency, but graduate courses may be taken concurrently. Prospective students should note that candidates for the M.A. degree will be required to demonstrate a general knowledge of the history of art.
57 In preparing an application for admission to the doctoral program, the potential candidate is urged to state aims clearly and to specify the field of art history to be investigated. A candidate will not be accepted unless these aims fall within the scope of the University’s program and unless the Department believes these aims can be realized. Fieldwork and travel will inevitably be necessary in support of research at the doctoral level.
Applicants for admission to the Ph.D. program should have an M.A. in art history or, in exceptional circumstances as approved by the admitting faculty, in such cognate disciplines as history, anthropology, archaeology, or American Studies. Those admitted to the Ph.D. program without an M.A. in art history may be required to take additional graduate courses beyond the minimum Ph.D. requirement of 48 hours of course work; in all cases they must take and pass the M.A. comprehensive examination.
As part of the application for admission to graduate study, the student must submit materials as follows: 1. Application for Admission, Registration Information and application fee. 2. Two sets of official transcripts from all institutions previously attended. 3. Three Letters of Recommendation. 4. Statement of Intent. A clearly written statement of intent describing in detail reasons for wishing admission. This statement, no more than three pages in length (typewritten), should include the following: a. the proposed field of concentration; b. a self‐evaluation of current work; c. an account of any special experiences which might indicate a background in art more extensive than most students with a B.A. degree; d. a statement of goals while attending and after completing graduate study; e. reasons for choosing the University of New Mexico as a place for graduate study. In evaluating this written statement, both its form and content will be carefully considered. 5. Writing Sample. A recent example of creative scholarship in the form of an academic paper or article must be submitted for evaluation. This material will not be returned unless accompanied by a stamped, self addressed envelope.
All items mentioned above should be mailed directly to the Graduate Office, Department of Art and Art History, MSC04 2560, 1 University of New Mexico, Albuquerque, NM 87131‐ 0001.
58 M.A. Degree Requirements (Also see the Master’s Degree general requirements described in this catalog, Plan I.)
Course Work ARTH 500 Philosophy and Methods of Art History 3 ARTH graduate courses in primary concentration 9 ARTH graduate courses in secondary concentration 9 ARTH graduate courses in another emphasis within the primary concentration 3 Minimum coursework listed above 24 ARTH 599 Master’s Thesis 6 Total 30
All work offered toward degree requirements must fall within a fiveyear period. Transfer credits must fall within the OGSmandated sevenyear period.
The M.A. degree in Art History is only offered under Plan I (requiring thesis). Plan I requirements are: 1. A minimum of 24 hours of coursework, with a minimum of 15 hours in the major field 2. A minimum of 6 hours of 500‐level coursework 3. A maximum of 6 hours of problems courses. 4. Six hours of Thesis (599) credit 5. Completion of a master's thesis.
M.A. Art History Course Requirements Each student must first select a primary and secondary Concentration in either: I. Arts of the Americas ‐OR II. Arts of the Modern World
Within their primary concentration, students must select an Emphasis from the following options: I. Arts of the Americas Emphases: Native American Art History Ancient American Art History Spanish Colonial Art History
II. Arts of the Modern World Emphases: History of Architecture History of the Graphic Arts History of Photography Modern American and European Art History Modern Latin American Art History
59 There is, of course, some overlap between many of these areas. For example, all four sub‐ headings in Area A., Arts of the Modern World, are concerned with issues of modernism, modernity, modernization, and post‐modernism. In each case, the nature of these concerns will vary owing to the predominant body of monuments being analyzed and the specific media whereby these artworks are produced Part of the Native American Art, while placed in category B, is then also considered Arts of the Modern World. Courses that cover more than one field can potentially be used flexibly in the Program of Studies. If you have taken seminars that cover more than one area of focus, you should discuss this use with your committee chair.
Course work: M.A. students are required to complete 24 hours of course work, plus 6 hours of Art History 599 (Thesis), for a total of 30 hours.
All M.A. students must take Art History 500 (Philosophy and Methods of Art History), normally during their first semester.
The remaining 21 required hours are to be distributed according to the following: 9 hours of course work in the chosen Emphasis; ‐AND‐ 3 hours of course work in another Emphasis within the primary Concentration; ‐AND‐ 9 hours of coursework in the secondary Concentration.
For example, if a student selects an Emphasis in Pre‐Columbian Art History, he or she must take: 9 hours of course work in Pre‐Columbian Art History; ‐AND‐ 3 hours of course work chosen from either Native American Art History, or Spanish Colonial Art History; ‐AND‐ 9 hours of course work in Arts of the Modern World.
While Art History 550 and 551 (Graduate Tutorials) are available, M.A. students will be limited to one 3hour Graduate Tutorial, as approved by her or his Committee on Studies. A student may also petition his or her Committee on Studies to approve a substitute course from another Department, if it is closely related to the student’s specific Concentration or Emphasis.
Graduate courses available in each Concentration & Emphasis are as follows (courses marked with an asterisk are available for graduate credit):
I. Arts of the Americas: A. Native American Art History** 502 Native American Art I 506 Native American Art II
60 515 Modern Native American Art 516 Southwestern Native Ceramics 517 Native American Tourist Arts 529 Topics in Native American Art 559 Seminar in Native American Art B. Art & Architecture of Ancient America *343 Ancient American Architecture 511 Ancient American Art (Mesoamerica) 512 Ancient American Art (South America) 529 Topics in Ancient American Art 560 Seminar in Ancient American Art C. Spanish Colonial Art *330 Renaissance Art & Architecture *352 Renaissance Art in Northern Europe 529 Topics in Spanish Colonial Art 431 Byzantine Art and Architecture 432 Islamic Art and Architecture 549 Art of Spain 550 Spanish Colonial Art 580 Seminar in Spanish Colonial Art
II. Arts of the Modern World A. History of Architecture 522 Contemporary Architecture 523 Frank Lloyd Wright and American Architecture 529 Topics Courses in History of Architecture 567 World Architecture I 568 World Architecture II 581 Seminar in Early Modern Art 1750‐1900 (as it relates to the History of Architecture) 582 Seminar in Twentieth Century Art (as it relates to the History of Architecture) B. History of Graphic Arts 520 History of Graphic Arts I 521 History of Graphic Arts II 529 Topics Courses in History of Graphic Arts 581 Seminar in Early Modern Art 1750‐1900 (as it relates to the History of Graphic Arts) 582 Seminar in Twentieth Century Art (as it relates to the History of Graphic Arts) C. History of Photography 525 19th‐Century Photography 526 20th‐Century Photography 527 Contemporary Photography 529 Topics in History of Photography 581 Seminar in Early Modern Art 1750‐1900 (History of Photography) 582 Seminar in Twentieth Century Art (History of Photography)
61 D. Modern American and European Art History 529 Topics in Modern Art of America and/or Europe 553 African‐American Art 563 Modern Architecture 564 European Art 1750‐1848 579 American Art 1876‐1940 581 Seminar in Early Modern Art 1750‐1900 582 Seminar in 20th‐Century Art 590 Muralism in the Americas 1920‐1995 591 Late 20th‐Century Art 595 European Art 1948‐1900 E. Modern LatinAmerican Art 529 Topics in Modern Latin‐American Art 588 The Arts of Mexico 1810‐1945 (will become 19th‐c. Arts of Mexico) 590 Muralism in the Americas 1920‐1995 593 The Art of Latin America 1820‐1945 594 The Art of Latin America 1945‐1990
Graduate courses that are not necessarily specific to either concentration or emphasis but that can count toward both of them: ARTH 504 Seminar in Minor Arts ARTH 533 Italian Mannerism ARTH 549 Art of Spain ARTH 571 Seminar in Renaissance and Baroque Art ARTH 581 Seminar in Early Modern Art 1750‐1900
Committee on Studies A student forms a Committee on Studies during the semester in which 12 semester graduate course hours are completed. This three‐member committee is formed in consultation with the proposed chairperson of the Committee and the Department Director of Graduate Studies and with the approval of the Department Chairperson. Changes in membership are also made in this manner.
Filing Program of Studies Students must file the Program of Studies form soon after completing 12 graduate hours. Before a student may file their Program of Studies and commencement of the thesis, a student must: 1. Successfully complete ARTH 500 (Philosophy and Methods of Art History) during the first year of residence. 2. Successfully participate in the Spring Symposium. The student presents a satisfactory 20‐minute formal paper or research work in progress to peers and faculty during the 12th week of the second semester (Spring semester) in the program. 3. Provide evidence of proficiency in at least one foreign language appropriate to the student’s area of concentration (see Department Graduate Advisor for methods of fulfilling this requirement).
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Approval of the Program of Studies will be granted by the Dean of Graduate Studies only after the residency requirement is met and the Program of Studies has been approved by the Committee on Studies and the Department Director of Graduate Studies.
Approval of the Program of Studies in no way implies successful completion of the M.A. degree. The Program of Studies must be submitted to the Dean of Graduate Studies for approval by October 1st of the semester before the student intends to graduate.
Comprehensive Examination in Art History Students must pass a written comprehensive examination covering the major areas of the history of art. The M.A. candidate should take this Comprehensive Examination, scheduled early in every Fall and Spring semester, in the semester after which 12 hours of course work has been completed.
M.A. Thesis and Defense The thesis is an extended research paper that demonstrates a candidate’s ability to perform research and analysis at the graduate level. The student defends the thesis in an oral examination administered by the Committee on Studies. The student must notify the Office of Graduate Studies at least two weeks before the date of the thesis defense on the forms available. Results of the defense are recorded on the reverse side of the final examination announcement form. The student is responsible for initiating the procedure and making sure that the original notice is sent to the Office of Graduate Studies.
Time Limit to Complete Requirements All work offered towards the M.A. degree must be accomplished within a five‐year period from the time of admission, including transfer work from another institution.
Ph.D. Degree Requirements Also see the Ph.D. Degree general requirements described in the catalog. Those admitted to the Ph.D. program without an M.A. in art history may be required to take additional graduate courses beyond the minimum Ph.D. requirement of 48 hours of course work; in all cases they must take and pass the M.A. Comprehensive Examination.
Course Work A. A minimum of 48 hours of course work beyond the bachelor’s degree, exclusive of dissertation. • A maximum of 30 hours from the M.A. degree, if approved, may be counted toward the 48‐hour requirement. 30 • ARTH graduate courses in the concentration and graduate courses in supporting fields 18 Minimum course work 48 ARTH Dissertation 18 Total 66
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B. Within the context of courses listed above: • A minimum of 18 hours of 500‐level courses or above completed at the University of New Mexico. • At least 18 hours completed in residence at the University.
Because of the specialized nature of the Doctoral degree in Art History, emphases at the Master’s level are concentrations at this level.
Ph.D. Concentrations: Ancient American Art History Native American Art History Spanish Colonial Art History Art of Colonial America – Art of the United States Modern Latin America / Latino Art History History of Architecture History of Photography History of Graphic Arts 19th and 20th Century Western Art History
The 18 credit hours in Art History graduate courses in the concentration and graduate course in supporting fields can be taken from the course listing under the Master’s section.
Time Limit to Complete Requirement A doctoral candidate will have five years for completion of all degree requirements from the date the student is formally Advanced to Candidacy by the Dean of the Office of Graduate Studies.
Students seeking the Ph.D. degree must demonstrate, beyond a general mastery of the discipline, comprehensive knowledge of their fields of study and the ability to conduct original research. Required course work outside the Department of Art and Art History will be determined by the student’s particular needs and shall be undertaken only with the advice and approval of his/her Committee on Studies.
Committee on Studies The doctoral program is governed by a system of mentorship. Students seeking the Ph.D. must form a Committee on Studies, in consultation with the proposed Chairperson of the Committee and the Department Director of Graduate Studies, and with the approval of the Department Chairperson, during their first semester in residency. Changes in membership are also made in this manner. Dissertation committees will consist of at least four members approved for graduate instruction (normally regular, full‐time University of New Mexico faculty appointments). The external committee member, must hold a regular, full‐time faculty appointment outside the student’s unit/department at the University of New
64 Mexico or another accredited institution. The fourth committee member may be a regular University of New Mexico faculty member or non‐faculty expert in the student’s major research areas. The chairperson must be a regular University of New Mexico faculty member from the department, and the dissertation committee must be approved by the Department.
Advancement to Candidacy Students admitted to the doctoral program with an M.A. from another institution must meet the following general requirements before advancing to candidacy: ARTH 500, and Spring Symposium (Spring semester) (see M.A. Degree Requirements). Doctoral students admitted with an M.A. in a field other than Art History must also pass the Department M.A. Comprehensive Examination. Advancement to Candidacy usually takes place during the semester in which the student completes the minimum of 18 hours of course work (500‐ level and above) beyond the M.A. In addition to those listed in the Graduate Program section of this catalog, the requirements for advancement to candidacy for the Ph.D. are: 1. Evidence of proficiency in at least two foreign languages appropriate to the student’s area of concentration (see Department Graduate Advisor for methods of fulfilling this requirement). 2. Successful completion of the Doctoral Comprehensive Examination, administered by the student’s Committee on Studies; this written examination tests the student’s comprehensive knowledge of the field of specialization. 3. Fulfillment of residency requirements. 4. Acceptance of dissertation proposal. A preliminary outline of the proposed dissertation subject and research must be approved by the student’s Committee on Studies prior to beginning enrollment in Dissertation.
Dissertation and Defense The dissertation demonstrates the student’s ability to undertake original research and to write a readable, scholarly argument of book length. The student is expected to have complete knowledge of the historical, critical, theoretical, and methodological issues raised by the subject. The student defends the dissertation in an oral examination administered by the Committee on Studies.
The student must notify the Office of Graduate Studies at least two weeks before the date of the dissertation defense on the forms available. Results of the defense are recorded on the reverse side of the final examination announcement form. The student is responsible for initiating the procedure and making sure that the original notice is sent to the Office of Graduate Studies.
65 B. Student Enrollment Patterns, Graduation Rates, Student Credit Hours, Applications & Admissions to Graduate Programs
In response to an issue then being debated, Mark Twain replied: “Do you want the truth or the statistics?” Fortunately for our department, there is often a nice fit between truthfulness and the statistics concerning our measured growth and greater diversity over the last ten years. Generally speaking, our department has grown at a steady rate, though we now must face the fact that we have outgrown our building and our funding for graduate students, so that any further emphasis on growth would be ill advised.
Significantly, this growth has happened while we have also become more diverse and it has occurred without lowering our graduation rates (at around 70% in the CFA, it is currently much higher than the 42% rate of the university as a whole.)
As Table #1 in Appendix One indicates, our undergraduate majors in Art History in both categories (those who declare a major and those who are admitted) increased from 35 in 2000 to 49 in 2009. (The Tables actually go up only to 2009, but we have the statistics for 2010 for graduate students in our own departmental graduate office.) Graduate students in Art History have gone from 37 in 2000 to 41 in 2010—though we must be clear here that this really exceeds the number of grad students whom we can fund properly.
More emphasis needs to be placed on better serving financially the students we already have. Much the same is true of our undergraduates and graduates in studio art. As Table #2 also makes clear, in 2000 there were 229 majors admitted to studio degrees, while in 2009, there were 267 undergraduate majors. Similarly, in 2000 there were 47 MFA students, while the most recent figures in our department files show that there are 52 in 2010.
66 The extensive statistical data in Table #3 about the gender and ethnicity is equally encouraging for Art History. In 2000 9.1% of the undergraduates admitted into the degree program were females from ethnic minorities, but by 2009 that number had climbed to
21.7 %. Even more impressive has been the dramatic climb of males from minority groups admitted into the undergraduate program: from 0% in 2000 to 33.3% in 2009, with the combined total of both females and males in this category going from 6.9% to 25% between 2000 and 2009. The percentage of minority graduate students in the MA or PhD programs has been even more substantial by comparison. In 2000 20.7% of the female graduate students in Art History were from minorities, and in 2009 that number had reached 28%. As for males from minority ethnic groups in Art History graduate programs, the percentage rose from 37.5% in 2009 to 57.1%, with the groups combined comprising
34.4% that same year. Something similar, if less dramatic, can be noted about the growing diversity of our studio programs, both undergraduate and graduate. As Table #4 shows, the rate of both males and females from minority groups admitted to undergraduate degree programs has risen from 25.3% in 2000 to 36.3% in 2009, just as the rate of increase among MFA students from minority groups, both males and females, went from 14.9% in
2000 to 15.9% in 2009.
The record concerning Student Credit Hours (or SCH) in our department once again makes clear that, at least for the last ten years, we have reached the maximum number that we can reasonably accommodate with our current building and existing number of faculty lines. In 2000, the Total SCH in Art History was 24,754 and in 2009, it was 27,158. (See
Table #6.) Beyond this we should not attempt to go until we are given a new building and more permanent faculty positions. Exactly the same must be said about the SCH for the
67 undergraduate and graduate programs in Studio Art. As the third section of Table #6 shows, in 2000 there were 33,348 total student credit hours generated by the studio areas and in 2009 there were 33,537—a level beyond which current facilities will not allow us to progress.
The profile of students who have earned degrees, whether in terms of absolute numbers or relative diversity, is one that has made notable strides over the last decade.
(See Tables #16 through #21.) The total number of degree recipients in Art History—
BA(FA), MA, PhD—went from 14 in 2000 to 20 in 2009, while the total number of degree recipients in Art Studio Programs—BA, BA(FA), BFA, MFA—remained constant over the decade, beginning with 93 in 2000 and ending with 93 in 2009. The case of degree recipients by ethnicity and gender in Art History over the last decade is telling. In 2000, the grading class with a BA(FA) in Art History included 6 students from minority groups and in
2009 that number was 13. As for students earning advanced degrees in graduate programs of Art History that number went from 8 in 2000/2001 to 10 in 2009—including the
Summer of 2009 [which was unfortunately left out of the statistics supplied by C. Bernhard from UNM Institutional Research].
But, this set of statistics hardly comes close to indicating the heightened diversity now marking off the graduate program in Art History. How so? Our departmental numbers from the graduate office, which the faculty can personally corroborate, disclose something of major significance here about the Arts of the Americas Program, both MA and PhD, within
Art History (see below: The Current Profile of Graduate Students in Art History and Studio
Art.):
68 Of 25 graduate students currently in the program,
13 are Latino/Latin American (Brazil, Honduras, Mexico),
5 are Native American,
4 are Anglos,
1 is Asian American, 1 is from Turkey, and 1 is from Germany.
Thus, it is safe to say that we are now a national leader in diversity when it comes to Art
History’s main doctoral track, Arts of the Americas. It is also true that a major goal of our
Area in Art History and a shared vision that we have of the department’s future trajectory is about deepening the diversity of our students along national and international lines.
As for the degree recipients from minority groups in Studio Art over the last decade, the percentage has been fairly constant at the BA/BFA level, with a modest rise at the MFA level. As Table #19 demonstrates, there were 77 minority graduates with a BAFA or BFA in
2001, and in 2009, there were 75 graduates with a BFA. Similarly, the MFA recipients from minority groups went from 16 in 2001 to 20 in 2008 and 18 in 2009. This is more than respectable, though room for some progress is also in evidence as well. Table # 20 about
Applications and Admissions to the Art History Graduate Programs is inaccurate in one basic way. The number of applicants is limited to those who are judged “Bone Fide
Candidates” for a Masters or PhD in Art History and this means that normally the number who have applied is rather larger than the final list of bona fide candidates indicates. For example, the Table says that 44 applied to the Art History graduate programs, when if fact the number was closer to 60, with several not having a high enough GPA or the requisite
69 number of undergraduate classes in Art History, etc., even to make the statistics being used.
Traditionally, Art History accepts around 30% of all those who apply, bona fide or not.
As for the MFA Program at UNM, it is simply one of the most difficult ones to which a student can gain admission in the entire US. As Table #21 indicates, out of 171 only 27 were admitted. It is important to underscore, though, that if we broke the applications down by Areas, then Photography would be the main reason that UNM is so exceedingly exclusive went it comes to acceptance rates. Traditionally, Photo receives more than one hundred applicants and accepts less than 5%. It is in fact one of the most selective programs at any level in the whole national university system.
70 C. Fellowship Programs for Graduate Students SCHOLARSHIPS/FELLOWSHIPS
The ability to recruit the very best students who apply to our graduate programs remains hampered at times by the paucity of Fellowships (at $20K a year for 3 to 5 years), such as those offered by our main competitors at UCLA or the University of Texas-Austin, not to mention UC- Berkeley and the Ivy League schools. Sure, there are times when, as happened recently, a top- rate applicant (Tijen Tunali) will select UNM over a school like Cornell, with its superior funding program, for the simple reason that the student much preferred the graduate faculty in Art History at UNM. But, for every success like this one, there are probably two others where the opposite thing happens: the offer of a very well funded fellowship takes priority over the distinction of the faculty members at UNM. Nonetheless, in the past five years, the Department of Art and Art History has tried to address this serious problem with a fresh approach. It has done so by increasing not only the total amount awarded each year, but also the size of the award to each applicant. For the past four years, every qualified applicant has received a scholarship award. In 2006-2007, we awarded $10,000 with an average award of $250 per semester. In 2007-2008, we awarded $20,600 and in 2008-2009, we awarded $39,300, with an average award for both years of $250 - $650 per semester. In 2008-2009, we awarded $57,800 with an average award of $500 - $1,250 per semester. In 2009-2010, we awarded $77,800 with an average award of $500 - $1,000 per semester. In the coming year, the department plans to establish two large fellowships – The Phyllis Muth Endowed Fellowship in Art History and The Ada Wester Endowed Fellowship in Studio Art. Both of these endowments currently provide an annual projected distribution of $18,000 each, which affords the establishment of such a fellowship. An incoming graduate student would thus be awarded a fellowship of $15,000, distributed at $5,000 per year over a three-year period.
A List of Current Scholarships and Fellowships and Names the Most Recent Recipients
Department of Art & Art History Scholarships & Awards 2010-2011
Arturo Araujo, Phyllis Muth Scholarship for Fine Arts Minea Armijo, Phyllis Muth Scholarship for Fine Arts Mary Avila, Wallace Endowed Scholarship in Latin American Art History Leslie Ayers, Harry Nadler Memorial Fellowship Award Rachel Baker, Ada Wester Fine Art Endowed Scholarship Gabriel Ballantine, Ada Wester Fine Art Endowed Scholarship Angela Beaman, Ada Wester Fine Art Endowed Scholarship Monique Belitz, John L. Knight Memorial Scholarship Julia Blitch, Lucile Lattanner Reid Brock Art Endowed Scholarship Abby, Boling, Art and Art History General Scholarship Roger Boulay, Clyde A. and Elizabeth R. Hill Endowed Scholarship Victoria Bryers, Ada Wester Fine Art Endowed Scholarship Micaela Buckingham, Jane Sorenson Redd Art Studio Scholarship Erika Burleigh, Arnold W. Brown Endowed Scholarship Teresa Buscemi, Clyde A. and Elizabeth R. Hill Endowed Scholarship Jeness Chavez, Ada Wester Fine Art Endowed Scholarship Xuan Chen, Clyde A. and Elizabeth R. Hill Endowed Scholarship
71 Sabine Core, Ada Wester Fine Art Endowed Scholarship Sabine Core, Cheryl Conniff-Carroll Memorial Scholarship Karsten Creightney, Clyde A. and Elizabeth R. Hill Endowed Scholarship Bethany Delahunt, Phyllis Muth Scholarship for Fine Arts Corey Dzenko, Luce Foundaton American Art Dissertation Research Award Hilary Ellenshaw, Art and Art History Alumni Scholarship Jorie Emory, Phyllis Muth Scholarship for Fine Arts Ryan Garcia, Art and Art History General Scholarship Tami Giordano, Clyde A. and Elizabeth R. Hill Endowed Scholarship Victoria Gonzales, Art and Art History General Scholarship Jane Gordon, Phyllis Muth Scholarship for Fine Arts Daniel Gottwald, Ada Wester Fine Art Endowed Scholarship Sara Hagerty, Phyllis Muth Scholarship for Fine Arts Lyric Hammonds, Ada Wester Fine Art Endowed Scholarship Lyric Hammonds, Helen S. Pearce Memorial Art Award Kathleen Hawkes, Coke/Newhall Fellowship Award in Photography Kathleen Hawkes, Phyllis Muth Scholarship for Fine Arts Maria Johnson, David and Sylvia Gale Memorial Scholarship Brianna Kerwin, Ada Wester Fine Art Endowed Scholarship Laura Kreski, Ada Wester Fine Art Endowed Scholarship Peishan Kuei, Clyde A. and Elizabeth R. Hill Endowed Scholarship Gustavo Larach, Phyllis Muth Scholarship for Fine Arts Niya Lee, Clyde A. and Elizabeth R. Hill Endowed Scholarship Cristina Lopez, Phyllis Muth Scholarship for Fine Arts Maxine Marks, Douglas R. George Memorial Scholarship Maxine Marks, Luce Foundaton American Art Dissertation Research Award Carolyn Marsden, Phyllis Muth Scholarship for Fine Arts Renee McKitterick, Clyde A. and Elizabeth R. Hill Endowed Scholarship Ana Medina, Clyde A. and Elizabeth R. Hill Endowed Scholarship Amanda Mitchell, Nathaniel Moore Memorial Scholarship Freja Mitchell, Clyde A. and Elizabeth R. Hill Endowed Scholarship Emmanuel Ortega, Phyllis Muth Scholarship for Fine Arts Norma Ortega, Clyde A. and Elizabeth R. Hill Endowed Scholarship Maria Otero, Bainbridge Bunting Fellowship Mike Pare, Hilmer G. Olson Memorial Scholarship Parker Schuyler, Ada Wester Fine Art Endowed Scholarship Luanne Redeye, Phyllis Muth Scholarship for Fine Arts Daniel Richmond, Phyllis Muth Scholarship for Fine Arts Rosa Robinson, Art and Art History General Scholarship Michael Sanchez, Jane Sorenson Redd Art Studio Scholarship Sanda Sandoval, Art and Art History General Scholarship Codie Schumann-Moerschel, Ada Wester Fine Art Endowed Scholarship Bonnie Stipe, Clyde A. and Elizabeth R. Hill Endowed Scholarship Daniel Stromberg, Ada Wester Fine Art Endowed Scholarship Daniel Stromberg, Cheryl Conniff-Carroll Memorial Scholarship Tina Tahir, Nathaniel Moore Memorial Scholarship Danielle Tobin, Ada Wester Fine Art Endowed Scholarship Rachel Trapp, Cochiti Lake Arts Guild Scholarship Tijen Tunali, Phyllis Muth Scholarship for Fine Arts Max Underwood, Ada Wester Fine Art Endowed Scholarship Tomas Watson, Charles and Dorothy Mattox Prize Stephan Webb, Art and Art History General Scholarship Fredrick White, Barbara Harper Memorial Endowed Scholarship Johanna Wild, Bainbridge Bunting Fellowship Scott Williams, Ada Wester Fine Art Endowed Scholarship Chloe Winegar, Art and Art History General Scholarship Cedra Wood, Wortham W. Akin Memorial Scholarship Tamara Zibners, Clyde A. and Elizabeth R. Hill Endowed Scholarship
72 3. The Assessment of Student Development and Accomplishments
A. History of Outcomes Assessment at UNM in the College of Fine Arts & the
Department of Art and Art History—
Prepared by Holly Barnet-Sanchez, Associate Dean, Student Affairs and Technology (with material supplied by Associate Professor Justine Andrews, and Assistant Professor of
Photography Patrick Manning—August 2010)
[B. See Appendix Five for the Templates of the Programmatic Reviews for the
BA(FA), PhD in Art History and the BFA, MFA in Studio Art]
The process of outcomes assessment began at UNM in the fall of 2006, organized through the newly established Assessment Office in the Office of the Provost. Please see http://www.unm.edu/~assess/ for an overview of the reporting timelines, documents, and resources. The university charged each college with OA oversight and established College
Assessment Review Committees (CARC), whose members were chosen by each department with the Schools and Colleges. This committee and the overall OA process within the
College of Fine Arts (CFA) has been managed by the office of the Associate Dean for Student
Affairs since its inception, with one representative to the CARC from each department.
That representative functions as the OA coordinator for his or her department.
There are two OA categories: 1) Courses in the General Education Core (100 and
200 level courses that count towards the University Core Curriculum, and that are measured by Competencies established for disciplinary categories determined by the New
73 Mexico Higher Education Department in consultation with New Mexico colleges and universities, particularly UNM. Eventually the university will require that all courses become part of outcomes assessment – the timeline for those additions has not yet been established; 2) Degree granting programs. The Department of Art and Art History has 3 art history and 18 art studio courses in the Gen Ed Core, with several sections of each of these courses to be assessed on a semester‐to‐semester basis. A&AH has 6 undergraduate and graduate degree programs which are assessed: BAFA, Art Studio, BFA, Art Studio, MFA, Art
Studio, BAFA, Art History, MA, Art History, PhD, Art History. Currently this is an annual process, but the UNM Assessment Office is reviewing whether a longer time is needed for programmatic review, with a three‐ year rotation as the most likely evaluation term.
During the first year (2006‐2007), each department was asked to pilot two courses to develop plans for course Goals and Student Learning Outcomes (in concert with
HED/UNM Competencies), and to implement those plans. In subsequent years, additional courses have been added until all 21 Gen Ed Core Courses are in various stages of implementing the OA process. The same scenario held for programmatic review. Currently we have drafts of our program assessments for the BAFA in Art History and Art Studio (the
BAFA category is going to be abolished to be replaced by a BA), the BFA in Art Studio, the
MA in Art History, the MFA in Art Studio and the PhD in Art History. Once they are finalized by the program faculty, those plans will be reviewed by the expanded College Assessment
Review Committee for suggestions and approval prior to submission to the University
Assessment Office. Part of this process includes the determination of both an appropriate timeline and mechanisms for implementing the programmatic assessments.
74 All four CFA departments (Art and Art History, Cinematic Arts, Music, Theatre &
Dance) have had both successes and challenges in developing course and programmatic assessment plans and in administering their implementation. By and large A&AH has been effective with its assessments and the faculty is dedicated to making them effective tools for improved teaching and learning. The biggest challenge for the individual departments and for the college is to meet the reporting obligations to the Assessment Office, a situation that is not unique at UNM. The Assessment Office and the Schools and Colleges are working together to create a reporting mechanism that is more effective and allows for more variations within the disciplines.
B. Outcomes Assessment of Classes: Some Case Studies
Perhaps the best way to demonstrate how we use the mandated outcomes assessment procedures for specific classes at UNM is simply to record a general statement of policy about
ARTH 101 and then to give some Case Studies ARTH 101, ARTH 201, and ARTS 157 and
ARTS 187/188:
------
This is a General Statement About Class Assessment by the Art History Faculty from 2008--
Art History 101: Introduction to Art
Art History 101 is a general introduction to art designed to enable students to gain an understanding of art in its many forms and uses. The formal language of art and how artists use line, shape, volume, mass, color, texture, space, time and motion are addressed. Students will learn how to do a formal analysis of individual works of art using appropriate vocabulary. Principles of design, style and content will be covered. Basic techniques and mediums will be examined. The reasons for art’s creation, its multiple uses and roles in societies, how aesthetics differ cross culturally, how art historians study art, and how audiences respond to and value art will be explored. Classroom lectures and discussion will be supplemented by museum visits, written assignments, and exams.
75 Goal 1: Students will learn to use the formal language of art.
Student Learning Outcome 1 A: Students will define and apply terms such as line, shape, volume, mass, color, texture, space, time and motion as they are used in works of art. Measured via in-class discussion, exams, and written assignments. Student Learning Outcome 1 B: Students will analyze works of art using appropriate vocabulary of form. Measured via in-class discussion, exams, and written assignments.
Goal 2: Students will gain an understanding of the basic techniques and mediums of art.
Student Learning Outcome 2 A: Students will recognize basic techniques such as the lost- wax process of casting and be able to describe the technique. Measured via exams and class discussions with visual images or examples. Student Learning Outcome 2 B: Students will be able to describe the benefits of painting with watercolor, oils, acrylics, as pastels. Measured via class discussions, exams and essays. Student Learning Outcome 2 C: When visiting the museum on class assignments, students will be able to differentiate between various techniques used by artists whose works are on exhibit.
Goal 3: Students will gain an understanding of some of the many reasons that art it created and what roles it plays in societies.
Student Learning Outcome 3 A: Students will be able to write essays about roles that art plays in different societies at different times. Student Learning Outcome 3 B: Students will identify how art differs cross culturally. Measured via exams and written assignments as well as class discussion. Student Learning Outcome 3 C: Students will gain an understanding of aesthetics and how aesthetics differ cross culturally. Measured via class discussion, exams and written assignments.
Goal 4: Students will gain an understanding of how art historians study art.
Student Learning Outcome 4 A: Students will learn the importance of contextualizing art for a greater understanding of how that art came into being. Measured via in-class discussion, written assignments, and exams. Student Learning Outcome 4 B: Students will be able to describe several different methodologies used by art historians to study art. Measured via in-class discussions and exams. Student Learning Outcome 4 C: Students will be able to employ at least one art historical methodology in their examination of a specific work of art. Measured via written assignments. Goal 5: Students will begin to gain an understanding of how audiences respond to art.
Student Learning Outcome 5 A: Students will provide their own reactions to works of art they have been assigned to examine on campus and engage in class discussion about those works.
76 OUTCOMES ASSESSMENT FOR ART HISORY 101.002 (Fall 2009) Instructor, Suzanne Newman Fricke
Art History 101: This class is designed to be a freshman-level introduction to art and architecture. Students will learn about art in terms of how it looks, how it is used, and what information can be learned by studying it. Principles of design, style, and content are covered, as are techniques, media, and audience reception. Classroom lectures are supplemented by museum visits, papers, other written assignments, and exams.
Rubrics for 101 (tested on in class writing assignments): Learning to use the formal language of art. Students in this class will learn how to discuss the formal qualities of works of art including the use of line, color, texture, and scale. Students will also consider the composition of the piece and whether it is dynamic or static, optical or conceptual, open or closed. Learning about the different media employed by artists. Students will learn about different types of materials employed by artists and why they would choose to use it in a specific piece. Learning about the various ways in which art functions in society, such as how art becomes part of religious practices, political propaganda, record of historical events). Learning about how aesthetics differ over time and over places. Students will learn how the way art is made and the goals artist's work to attain changes over time and according to cultural norms. Learning about how art historians approach art. Students will learn about different methodologies employed by art historians, why art history helps us to understand both our history and our world, and how to analyze the visual world around us.
In the spring of 2009, the Art History 101 class had an enrollment of 132 students. In order to calculate outcomes assessment for this class, I gave the students a short multiple-choice test in the first week of class. The same test was given to the students a second time in the last week of class. This allowed me to quantify what the students had learned in this class.
Scores for the Pre-Test: out of a total of 112 tests taken
Total scored questions: 15
# correct for questions on rubric #1: 156, or approx. 46%
# correct for questions on rubric #2: 127, or approx. 53%
# correct for questions on rubric #3: 179, or approx. 64%
# correct for questions on rubric #4: 214, or approx. 66%
# correct for questions on rubric #5: 228, or approx 69%
77 Scores for the Post-Test: out of a total of 103 tests taken
Total scored questions: 15
# correct for questions on rubric #1: 221, or approx. 71%
# correct for questions on rubric #2: 257, or approx. 83%
# correct for questions on rubric #3: 266, or approx. 86%
# correct for questions on rubric #4: 272, or approx. 88%
# correct for questions on rubric #5: 288, or approx. 93%
The outcomes for this class demonstrate that the students left the class knowing more about art and how to discuss it. Students showed a marked improvement in their ability to use the vocabulary related to art and about the different media employed.
78 The Assessment of Art History 201: History of Art I Dr. Justine Andrews (2007)
1. Course Goal #1: Understanding of chronology of art history from Ancient Near East, Ancient Egypt, Classical Greece and Rome, through the Western Middle Ages. a. Student Learning Outcome #1: i. Identify the title, date and original location of production for a given slide set. 1. data collection – exams, quizzes b. Student Learning Outcome #2 i. Recognize the different media of a set of images 1. data collection – exams, quizzes c. Student Learning Outcome #3 i. Identify or explain the rulership of a particular culture 1. data collection – exams, quizzes
2. Course Goal #2: Ability to write coherently about a work of art in an essay format a. Student Learning Outcome #1: i. Define art historical and architectural terms 1. data collection – exams, quizzes b. Student Learning Outcome #2 i. Write a formal analysis (style and iconography) of a work of art 1. data collection – in-class writing assignments, exams c. Student Learning Outcome #3 i. Explain the function of a work of art 1. data collection - exams
3. Course Goal #3: Ability to analyze the historical context and significance of a work of art a. Student Learning Outcome #1: i. Synthesize formal elements with the historical background in an essay format 1. data collection – exams and essay assignment b. Student Learning Outcome #2 i. Cite art historical sources appropriately 1. data collection – exams and essay assignment c. Student Learning Outcome #3 i. Identify the viewpoint of secondary source authors 1. data collection – take-home writing assignment, quizzes, exams
Fall 2007
Assessment will include evidence from Quiz 2 (October 18) and 3 (November 29), and Exam 2 (November 1).
Assessment will include evidence from 20 students (from a section of 130 students).
Assessment for Fall 2007 will include SLO 1a, 2a, and 3c (from above outline). Future assessment (Fall ??) will include SLO 1b, 2b, 3a Future assessment (Fall ??) will include SLO 1c, 2c, 3b
Graduate assistants and Professor will administer and collect the student products (exams etc.) Graduate Assistants and Professor will assess/review the fulfillment of the outcomes.
79 Art History 201.001 Fall 2007 Student Learning Outcomes
Sample 20 (of 130)
SLO 1a: identify title, date, and location of production for given slide set (Exam #2 – November 1, 2007)
5 of students from 20 – 100 % correct 1 of students from 20 – 96 % correct 5 of students from 20 – 80 % correct 2 of students from 20 – 78 % correct 1 of students from 20 – 74 % correct 3 of students from 20 – 70 % correct 1 of students from 20 – 66 % correct 1 of students from 20 – 33 % correct 1 of students from 20 – 25 % correct
85% achieved this goal: 15% did not achieve this goal:
SLO 2a: define art historical and architectural terms (Quiz #2 – October 18, 2007)
16 of students from 20 -100 % correct 1 of students from 20 - 90% correct 1 of students from 20 - 80% correct 1 of students from 20 - 50% correct 1 of students from 20 - 30% correct
90% achieved this goal: 10% did not achieve this goal:
SLO 3c: identify viewpoint of secondary source authors (Take Home Quiz #3, November 29, 2007)
10 of students from 20 – 100 % correct 8 of students from 20 – 50 % correct 2 of students from 20 – 0 % correct
90% achieved this goal: 10% did not achieve this goal:
80 Assessment Report in Photography by Patrick Manning (Fall 2010)
ARTS 187/188
Learning Objectives Assessed (Please list the SLO’s you have assessed and the methodology used in the Assessment.)
Goal 1- SLO2: The student will demonstrate an ability to make a fine print using Lightroom
Goal 2- SLO3: The student will write clearly and effectively about a photo
Goal 3-SLO1: The student will demonstrate an ability to produce creative images
Methodology: All students from all sections were included in the assessment. Each instructor used identical rules to assess each student’s level of learning.
Summary Results (for each SLO list, the summary results were: 1e-14 exceptional; 33 satisfactory; and 7 unsatisfactory.)
Conclusions/Planned Changes (How well are students doing with each objective? and How will you change the course to increase the student’s learning level?) There was little change/improvement in creating a fine print from ARTS 187 to 188, yet at the same time the student’s ability to think creatively did improve. This indicates a plateauing of technical skills, as they relate to printing. In ARTS 188, we are going to dedicate a number of days and assignments in the lab to helping students learn to evaluate their prints critically. These efforts will focus on looking for true blacks and whites, on being able to see better blocking, banding, and pixilation, as well as the overall color balance. We are also looking into ways to improve lighting in our labs in order to assist in making the color images more advanced.
Creativity significantly improved from 187 to 188, thus indicating that the focus in 188 on creative problem solving is working well. To improve the SLO in 187 a couple of the assignments that work best in 188 will be introduced into 187.
Future Assessment Plans The same SLOs will be assessed in the spring semester to determine the effectiveness of the changes.
81 Small Metals 157 Outcomes Assessment- Darrell Collins: FALL 2009
Class Goals Achieve high degree of Achieve high degree of Achieve high degree of Cultivate and refine skill in executing soldering skill in executing geometric skill in executing artistic voice ,instill a techniques. and organic forming finishing techniques. discriminating sense of techniques. craftsmanship and Student proficiency ability to effectively Students proficiency will Students proficiency will be will be measured by: plan a project with pre- be measured by: measured by: crispness of absences of production thought strength of bond, lines, uniformity, contiguity unintentional marks or through keeping a absence of gaps, of form, and fit of events, overall luster or journal. visibility of solder, assembled pieces. cohesiveness, the grasp of process. appropriate choice of finishing technique. Level 3 Skilled Skilled Skilled Skilled Solid bond, Able to form metal with Achieve total surface Keeps copious detailed consistent joint with no consistent and uniform coverage with high notes from lectures, gaps, surfaces, mirror polish. written material and zero visibility of solder. no cracks or undulations, Removal of all tips from peers, Able to predict behavior of fitting joints with zero gaps. firescale lists of project ideas solder, metal and heat. No hammer marks, selects zero blemishes, pits or and creative impetus, Assembly of a clean, tight appropriate tool for job. scratches clean detailed sketches, fitting and free-swinging Explores cold connection Explores and lists of chronological hinge. riveting or tap and die. implements other steps needed to achieve Assembly of a tight, well surface treatments accurate production. fitting, clean bezel that has executed with no gaps. appropriate design sense and density Level 2 Sufficient Sufficient Sufficient Sufficient Bonds will not pull apart, Able to form metal with Able to execute a high Keeps notes on very limited or no gaps, uniform surfaces minimal mirror polish over lectures, mild visibility of solder gaps in joints most of work no sketches ideas before understands chronological no cracks and some mild removable pits or starting fabrication, steps and conditions undulations. scratches, show some critical required to solder, Assembly of a bezel with removals of firescale. thinking. Catalogs assembly of a clean no gaps and sufficiently application of other interests and concepts. functioning hinge. holds object. surface treatments though with limited quality density or haphazard application. Level 1 Inadequate Inadequate Inadequate Inadequate Unable to implement Inconsistent surfaces and Spots of polish or only Few or no notes taken, soldering steps, over stressing, sanding, no sketches or fail to bond metal, gaps in joints, cracks inappropriate drawings included over flow of solder, sever undulations, progression of sanding post-production, joints with gaps, Cracked, loose or semi- , visible firescale over no or limited planning melted or warped metal, attached bezel that fails to 10% of surface, lack of and forethought. failure to assemble a securely hold object or observable intended functioning hinge. captures object loosely. finish. pits and scratches no or sloppy application of alternate surface treatment.
82 C. Long Term Outcomes Success of Graduates in Art History a. Permanent Positions of Graduates in Museums and Galleries
Along with the many publications noted above (see Section 1B), the key indicator of success for any graduate program in Art History is simply the number of major museums and colleges or universities at which alumni are currently working. Here again, the area of Art
History has registered an impressive list of appointments. At present, graduates of UNM with a
Ph.D. and/or an M.A. in Art History are Directors of the following: The Art Museum of the
National Hispanic Cultural (Tey Rebolledo Nunn, PhD, 2000), the Pomona College Art Gallery
(Kathleen Howe, PhD, 1997), the University of Arizona Art Museum (Peter Briggs, PhD, 1986), the Jonson Museum of Art at the University Art Museum (Robert Ware, PhD, 1997), and The
Museum of Fine Arts in Santa Fe (Marsha Bol, 1989).
Other graduates are Curators at the National Gallery of Art in Washington D.C. (Sara
Greenough), the Denver Art Museum (Donna Pierce), the Museum of Photographic Arts in San
Diego (Carol McCusker, PhD, 2001); the Museum of Fine Arts in Houston (Monica Garza, MA,
2000), the National Academy of Design in New York (Flora Mae Cates, MA, 1997), the
Museum of Fine Arts in Santa Fe (Joseph Traugeot, PhD, 1992, and Laura Addison, MA, 1998), the Canadien Centre de Architecture (Marie Antonella Pelizzari, PhD, 1998)—(she has recently become a Professor at Hunter College in New York), and the University Art Museum at UNM
(Michele Penhall, PhD, 1997, Chip Ware, PhD, 1997, and Sheri Sorenson, MA, 2010). Yet other former graduate students work for private galleries in Santa Fe (Vanessa Hernández, MA, 2007, and Megan Fitzpatrick, MA Candidate). Before accepting a position as Professor of Imaging
Arts at the Rochester Institute of Technology, Therese Mulligan (PhD, 2002) was Associate
Curator at the George Eastman House in Rochester.
83 b. Tenured or Tenure-Track Positions of Graduates at Universities
The list of graduates in Art History from UNM who have gained tenured and/or tenure track positions, as well as long term adjunct positions, is also impressive and it includes some who now teach at ‘National Research Universities’— Tulane University (Associate Professor
Florencia Bazzano, PhD, 2000), Colorado State University (Associate Professor Catherine
DiCesare, PhD, 2002), Michigan State University (Assistant Professor Dylan Miner, PhD, 2007), the University of Oklahoma (Lecturer Shanna K. Heap of Birds, MA, 2007), the University of
Wisconsin at Milwaukee (Associate Professor Jasmine Alinder, MA, 1994), the University of
Arizona (Professor Amy Conger, PhD, 1982), the University of Illinois at Chicago (Professor
Ellen Baird, PhD, 1979), the University of Denver (Associate Professor Augusta Holland, PhD,
2002), the University of North Texas (Associate Professor Kelly Donahue-Wallace, PhD, 2000, and Assistant Professor Paul Niell, PhD, 2008), Northern Arizona University (Assistant
Professor Greta Murphy, PhD, 2004), and the University of Colorado-Boulder (Instructor Robert
Nauman, PhD, 1999). In addition, Asta Kuusinen (MFA, 1999) is an Adjunct Instructor at the
University of Helsinki in Finland.
Several UNM graduates teach at either major art institutes—the Ontario College of Art
& Design (Assistant Professor Ananda Chakrabarty, MA, 1999), the Savannah College of Art &
Design (Hilary Scothorn, MA, 1996)—or at ‘National Liberal Arts Colleges’ like Linfield
College in Oregon (Associate Professor Brian Winkenweder, MA, 1997, and Lecturer Adrianne
Santina, PhD, 2001) and Evergreen State College (Lara Evans, PhD, 2006) in the state of
Washington. Others teach at regional universities like Alfred University in New York (Associate
Professor Diane Block, MA, 1995), Cal State-Northridge (Professor Betty Ann Brown, PhD,
1977), the University of Texas at San Antonio (Assistant Professor Teresa Eckmann, PhD,
84 2004), and Pittsburg State in Kansas (Associate Professor André Flageolle, PhD, 2003). Some teach at community colleges like Tallahassee Community College in Florida (Permanent
Instructor Jen Robinson, ABD, 2005) and Central New Mexico Community College in
Albuquerque (Instructor Diane Reid, MA, 2002).
Yet other graduates with a BA or an MA in Art History from UNM have gone on to do graduate work in Art History, or they have recently completed an MA or PhD in the field. These include Rebecca Fittle (MA, 2009) and Wiliam Gassway (MA, 2010) who are now at Columbia
University or Emily Breault (BA, 1997), who recently completed a PhD in Spanish Colonial Art at Columbia. Kristina Perea (BA, 1996) earned an MA from the University of Virginia, while
Gina Tarver-Daniels (MA, 1997) has now completed a doctorate at the University of Texas, where Elaine Ritchel (BA, 2009) is currently an MA student. In the 1990s Rosemary Tripp went from a BA (1996) at UNM to a PhD at Johns Hopkins University, just as such former MA students at UNM as Ananda Chakrabarty (MA, 1999) took a PhD at Northwestern and Jasmine
Alinder (MA, 1994) did the same at the University of Michigan-Ann Arbor. Julie Shean went from an MA here in 1996 to a PhD at the Institute of Fine Arts in New York and Hilary Scothorn
(MA, 1996) did likewise at Florida State University, as did Kimberly Cleveland (MA, 2002) at the University of Iowa. At present, both Bill Kelly (MA, 2001) and Leah Cluff (MA, 2003) are working on doctorates at the University of California-San Diego. Yet other students with BAs from UNM, like Neerja Vasishta (BA, 2004), have pursued a PhD in a different field, such as
Regional Planning at Cornell University. The list here could go on much longer but need not do so because the point is clear. Moreover, at least half a dozen graduates in Art History at UNM over the last fifteen years have gone on to earn law degrees at major universities like the
University of Arizona (Lindsay Jones, MA, 1999) and at UNM (Valerie Reighard, BA, 1998).
85 D. The Long Term Success of Graduate Students in Studio Art
Major Exhibitions and Monographs
Scores of catalogues have been written about the most well known students from our graduate programs in studio art, such as Richard Diebenkorn (who Represented the US at the
1978 Venice Biennial), Agnes Martin (who not only represented the US at the 1997 Venice
Biennial, but also won the Golden Lion Prize as the Outstanding Artist), Delilah Montoya
(whose photos and prints are nationally recognized), Robert Parke-Harrison, whose book The
Architect’s Brother was voted one of the 10 Best Photography Books of the Year in 2000 by The
New York Times, and Joel Peter Witkin, whose photographs are found in many of the major museums in the world, such as the Museum of Modern Art and the Guggenheim Museum in
New York. In short, to visit any major museum in the West is to see a collection that includes artworks by UNM Alumni like Diebenkorn, Agnes Martin, Jaune Quick-to-See-Smith, and
Emmi Whitehorse (MA, 1982).
b. MFA Graduates with Tenure or Tenure-Track Positions
The roll call here of MFA graduates from our department who are now in tenured or tenure track positions in leading studio programs is a striking one. These highly accomplished graduates include the following. Julie Anand (MFA, 2006) is an Associate Professor at Arizona
State University, Delilah Montoya (MFA, 1994) is Professor of Art at the University of Houston,
Jim Gogswell (MFA, 1980) is Professor of Art at the University of Michigan-Ann Arbor, Joseph
Scheer is Professor of Art at Alfred University in New York, Patrick Luber is Professor at the
University of North Dakota, Kimowan McLain (MFA, 1998) is Associate Professor of Art at the
86 University of North Carolina-Chapel Hill, Carol Fitzgerald Flueckiger is Associate Professor of
Art at Texas Tech, Colin Blakely (MFA, 2001) is Associate Professor at Eastern Michigan
University, Erika Osborne (MFA, 2007) is an Assistant Professor at the University of West
Virginia, Alison Carey (MFA, 2005) and Myra Greene (MFA, 2002) are both Assistant
Professors at Columbia College in Chicago, Christine Chin (MFA, 2008) is Assistant Professor at Hobart and William Smith Colleges in New York, Valerie Frank (MFA, 1998) is an Instructor at the University of Minnesota, Erika Leppman is an Associate Professor at Purdue University,
Thomas Loeb is on the faculty of the University of California-Santa Cruz, Janet Maher (MFA,
1996) teaches at Loyola College in Baltimore, Gina Dominique (MFA, 1998) is on the faculty of the University of Western Michigan, as is Carol Fitzgerald at the University of Texas at El Paso.
Pipo Nguyen-Duy (MFA, 1994) teaches at Oberlin College, as did Will Wilson formerly (he is now an independent artist), while Robert Fry (MFA, 1999) works at the Exploratorium San
Francisco, Andre Ruesh (MFA, 1992) is in a permanent position at Santa Fe Community
College, Sabra Sowell (MFA, 1998) is a Chair at UNM-Taos, and Michael Ceschiat (MFA,
1995, teaches at UNM-Valencia.
87 c. The Current Profile of Graduate Students in Art History and Studio
There are now 93 total students in the MA/PhD Programs [41] and MFA Program [52].
Several of the current graduate students come from different countries: Brazil, Germany Honduras, Mexico, and Turkey. In the past, we have had graduate students from such nations as Argentina, Canada, England, Finland, Guatemala, New Zealand, Spain, and South Africa.
Concerning the ethnicity of the art history graduate students in Arts of the Americas, 13 of 24 are either Latino or Latin American (from Honduras, Mexico, and Nicaragua), 5 are Native American, 1 is Asian American, and I is from Turkey, while 4 are Anglo-Americans.
PhD & MA Art History Students in Arts of the Americas (25 in all): Aaron Fry, ADB, Native American Ashlee Aragon, MA, Modern Latin America Margaret Archuleta, PhD, Native American Minea Armijo King, PhD, Spanish Colonial (Mexico & USA) Teresa Avila, PhD, Modern Latin American Kathleen DeBlasie, MA, Native American Hilary Ellenshaw, MA, Modern Latin American César Estrada, PhD, Modern Latin American (Mexico & USA) Alfonso Gaspar, PhD, Modern Latin American Elaine Higgins, PhD, Spanish Colonial James Ivey, PhD, Spanish Colonial Gustavo Larach, PhD, Modern Latin American (Honduras) Rebecca Laumann, MA, Modern Latin American (Nicaragua & USA) Mia Lopez, MA, Modern Latin American Maxine Marks, PhD, Modern Latin American Suzanne McLeod, PhD, Native American Jennifer Moreland, MA, Native American Denise Neil-Binion, MA, Native American Emmanuel Ortega, PhD, Spanish Colonial (Mexico & USA) Maria Otero, MA, Modern Latin American Carina Pérez, MA, Modern Latin American Elysia Poon, MA, Native American Marina Silva, MA, Modern Latin American (Brazil) Tijen Tunali, PhD, Modern Latin American (Turkey) Johanna Wild, PhD, Modern Art from the Americas & Europe (Germany)
PhD & MA Art History Students in Arts of the Modern World (16): Karen Allen, MA, Modern European Brett Beatty, PhD, Modern US Lisa Dehring, PhD, Modern US Corey Dzenko, PhD, Modern US & European Gay Falk, MA, History of Photography Megan Fitzpatrick, MA, Modern US
88 Willow Grace, MA, Modern US Sara Hagerty, MA, History of Photography Shana Klein, PhD, Modern US Heather Kline, MA, Modern US Lillian Makeda, PhD, Modern Architecture Vida Mazulis, PhD, Modern US & European Stephanie Morimoto, MA, Modern US Mia Peterson, MA, Modern US Megan Schultz, MA, Modern US Sheri Sorenson-Clem, MA, Modern US
MFA Students in Studio Art -- 52 in Seven Areas Photo (15) Roger Boulay Stephanie Brunia Theresa Buscemi Daniel Coburn Rachel Cox Tamy Giordano Lauren Greenwald Kathleen Hawkes Jamie Kovach Peishen Lauren Kuei Carolyn Marsden Freja Mitchell Colby Sempek Jeffrey Willis Tamara Zibners
Painting & Drawing (14) Leslie Ayers Monique Belitz Elizabeth Blau Ivan Boyd Lauren Carter Xuan Chen Karsten Creightney Lindsey Fromm Celeste Neuhaus Michael Pare Lusanne Redeye Sarah Rose Bonnie Stipe Cedra Wood
89 3D—Sculpture (7) Julia Blitch Paula Castillo Bethany Delahunt Elizabeth Gilligan Mitchell Marti Daniel Richmond Myriam Tapp
3D—Ceramics (5) Jane Gordon Niya Lee Samuel Martin Renee McKitterick Lauren Miller
Printmaking (5) Arturo Araujo Frol Boundin Elena Lopez Krittika Ramanjuan Peter Yahnke
Art & Ecology (4) Nina Dubois Chris Galanis Ryan Henel Laurencia Strauss
Electronic Arts (2) Molly Bradbury Conor Peterson
90 4. Institutional Contributions at UNM
A. The Department’s Contribution to Core Courses in General Education
As is well known, all UNM students are required to complete the Core Curriculum as part of their baccalaureate (Bachelor’s) degree program. There are seven different areas that include Area
1-Writing and Speaking (9 credit hours), Area 2-Mathematics (3 credit hours), Area 3-Physical and
Natural Sciences (7 credit hours), Area 4-Social and Behavorial Sciences (6 credit hours), Area 5-
Humanities (6 credit hours), Area 6-Foreign Languages (3 credit hours), and Area 7-Fine Arts (3 credit hours).
It is to the last category that the Department of Art & Art History provides three of the nine courses that count toward meeting the minimum requirement in that cluster of classes. The three classes are ArtH 101: Introduction to Art History; ArtH 201: History of Art 1; and ArtH 202-Art 2.
To its considerable credit, the Department of Art and Art History often has graduate faculty in Art
History teaching a least one of the larger sections of each of these three classes.
91 B. Interdisciplinary Collaborations with Other Areas & Departments
By definition, Art History is among the most interdisciplinary of disciplines. To study the art of a culture or nation state is to face a plethora of research issues that range across all of the
Liberal Arts and the Humanities to embrace many of the Social Sciences and Natural Sciences. Not surprisingly, then research in Art History entails the study of these other disciplines, such as Political
Economy or Sociology, along with the command of various foreign languages in which to do the requisite archival research. Nor is it surprising that several members of the Art History Faculty have lectured publicly in languages other than in English (Spanish, German, French) both here and abroad. As the abbreviated list of collaborations noted below will indicate, the scope and depth of multi-disciplinary work done by our faculty and graduate students is extensive. Recently, Yoshiko
Shimano, Associate Professor of Printmaking, created images in response to poems by Eleuterio
Santiago-Diaz, Professor Spanish at UNM, for a book published by UNM Press this year.
1. The Latin American and Iberian Institute
Few faculties at UNM have contributed more over the last twenty years to the Latin
American and Iberian Institute than have various members of the Department of Art & Art
History. The faculty in Latin American Art History certainly contributed to the successful
application by the LAII to win a Title IV Grant for over $4 million from the federal government
in July 2010, which will support programs in Latin American Studies, along with fellowship
money for graduate students like ours. Currently, David Craven is the President of the Executive
Committee (2009-2011) at the LAII under Director Susan Tiano.
92 Craven and Holly Barnet-Sanchez have served not only on the Executive Committee over the last 18 years, but also on virtually every other committee of significance at the LAII, such as the Fellowship Committee and the Editorial Board for LAII publications. In addition, Craven and
Barnet-Sanchez have worked to sponsor with the LAII a extensive series of public lectures at
UNM by many of the major critics and artists from throughout Latin America and the USA.
These speakers include the following: from Nicaragua—Novelist and Ex-Vice President Sergio
Ramirez (1995), art critic Raúl Quintanilla (1996), installation artist Patricia Belli (2008), and magical realist painter Winston Miranda (2009); from Mexico—art historians Alicia Azuela
(1995), Clara Bargellini (2007) and Patricia Díaz (2008), along with art critic Cuauhtémoc
Medina; from Guatemala—art critic Rosina Cazali (2008); from Honduras—historian Darío
Euraque (2010); from Cuba—Gerardo Mosquera (1994) and Erena Hernández (1994); and, finally, from California—Latino/a artists Judy Baca (1994), Felipe Ehrenburg (1996), Guillermo
Gómez-Peña (2007), and Rupert García (2006). In the Fall of 2010, to mark the 100th
Anniversary of the Mexican Revolution, the Area of Art History will sponsor a series of public talks by some of the world’s leading experts in the field, such as, Professor Erica Segre of
Cambridge University in the UK.
Since his arrival at UNM in 2003, no one has been more active in working with the LAII than has Assistant Professor Ray Hernández-Durán. The following list makes that obvious.
Ray Hernández-Durán: Service related to the Latin American and Iberian Institute.
LAII Committees and Committee-related Service:
Fall 2009–present: LAII Operations Committee, Latin American and Iberian Institute, University of New Mexico
Spring 2008: Faculty Reviewer, Latin American and Iberian Institute Research Paper Series, LAII Operations Committee, University of New Mexico
93
2004–2007: Committee Member, Latin American and Iberian Institute Fellowships and Grants Committee, University of New Mexico
Spring 2010–present: Thesis Committee: Kelly Hutton, M.A. student in Latin American Studies, Research Interest: LGBTQ rights movements in Mexico City
2005–2007: Thesis Committee: Jennifer Jax, M.A. student in Latin American Studies, Research Interest: Indigenous Textiles in Oaxaca, graduated spring 2007
LAII Conferences:
Colloquium Coordinator: Interdisciplinary Methods in Colonial Studies: Theme to be decided, Colonial Studies Working Group and Latin American and Iberian Institute, University of New Mexico in Albuquerque, Spring 2011 [in planning]
Colloquium Coordinator: Interdisciplinary Methods in Colonial Studies: Nature and Society in the Americas, Colonial Studies Working Group and Latin American and Iberian Institute, University of New Mexico in Albuquerque, March 7–8, 2008
Session Chair: "Landscape as Representation," Interdisciplinary Methods in Colonial Studies: Nature and Society in the Americas Colloquium, Colonial Studies Working Group and Latin American and Iberian Institute, University of New Mexico in Albuquerque, March 7, 2008
Presenter: "Art Exhibitions and Community Education: Curating Colonial Works of Art at the University of New Mexico"; Session: Pedagogical Applications for Educators, Interdisciplinary Methods in Colonial Studies: Exchanges over Space and Time, Colonial Studies Working Group and Latin American and Iberian Institute, University of New Mexico in Albuquerque, March 24, 2007.
Colloquium Coordinator: Interdisciplinary Methods in Colonial Studies: Approaches to the Study of Text, Image, and Space, Colonial Studies Working Group and Latin American and Iberian Institute, University of New Mexico in Albuquerque, March 24–25, 2006
Session Chair: "Text and Visual Culture," Interdisciplinary Methods in Colonial Studies: Approaches to the Study of Text, Image, and Space” Colloquium, Colonial Studies Working Group and Latin American and Iberian Institute, University of New Mexico in Albuquerque, March 24, 2006
94
Cross-listed LAS Courses through LAII: Lecture Classes--
ARTH 450.001: Introduction to Ibero-American Colonial Arts and Architecture
ARTH 429.001: Arts and Architecture of Haspburg New Spain, 1521–1700
ARTH 429.003: Arts and Architecture of Bourbon New Spain, 1700–1821
ARTH 429.001: Non-Religious Colonial Arts and Architecture
ARTH 429.001: Painters and Painting in and around Mexico City, 1560–1821
ARTH 429.001: Aztec Arts and Architecture, Prehispanic through the Colonial Period and Beyond
Graduate Seminars-- ARTH 580.001: Colonial Art Historiography [scheduled for fall 2010]
ARTH 580.001: Changing Concepts of Space, Land, and Landscape in the Early Modern Americas
ARTH 580.001: Exhibiting Colonial Visual and Material Cultures
ARTH 529.001: Comparative Colonialisms [co-taught with Kirsten Pai Buick, Ph.D.]
ARTH 580.001: Text and Image in Spanish Colonial Art
Lectures: "El origen del arte entre nosotros: The Nineteenth-Century Origins of Colonial Art History–Problems of Structure and Practice," LAS Brown Bag Series, Latin American and Iberian Institute, November 2003.
Miscellaneous 2003–present: Affiliated Faculty Member, Latin American Studies, Latin American and Iberian Institute, University of New Mexico 2005–present: Founding Member and Coordinator, Colonial Studies Working Group, Latin American and Iberian Institute, University of New Mexico 2005–present: Co-Coordinator, Interdisciplinary Methods in Colonial Studies Colloquium, Colonial Studies Working Group and Latin American and Iberian Institute, University of New Mexico Spring 2007: Coordinator, Colonial Art Speaker Series with LAII support, "Current Vistas in the Study of Colonial Visual Cultures"; in conjunction with the exhibition, Body and Soul: Ibero- American Colonial Art in Context, Gale Memorial Fund, Department of Art and Art History and University of New Mexico Art Museum, Albuquerque, Spring 2007
95 2. The Center for Medieval Studies—
A Report prepared with help from Associate Professor
Justine Andrews (July 2010):
Reflective of the environment of Albuquerque and New Mexico, the study of Medieval
Art in the Department of Art History at UNM emphasizes the cultural exchange between the many regions and religions developing and flourishing between the years 400 and 1600.
Introductory courses consider the panorama of Medieval Art from the Early Middle Ages (Art
History 321), High Middle Ages (Art History 322), and Early Renaissance (Art History 331).
These classes examine a broad range of art and architecture primarily from Western Europe with selected comparisons between the emerging European kingdoms and the East (Byzantium and
Islamic world).
The focus of upper level courses in Medieval Art at UNM is in the Mediterranean. From
Spain through The Holy Land (modern day Israel and Syria), Northern Africa to the Balkans, the societies, religions and languages of these regions contributed to a rich variety of art and architecture. Questions of identity, ethnicity, perception, reception and issues regarding boundaries and categories are pursued in topics courses (Art History 429/529) on Byzantine Art and Architecture, Islamic Art and Architecture, The Art of Medieval Spain, as well as seminars on Icons, Illuminated Manuscripts and Crusader Art.
Additional resources for the student of Medieval Studies at UNM can be accessed through The Institute for Medieval Studies, University of New Mexico:
(http://www.unm.edu/~medinst/index.html). The institute provides listings of all courses on the medieval era offered at UNM. There is the opportunity to minor in Medieval Studies, which
96 includes an art history component. Students with an interest in Medieval Art are encouraged to also seek out course offerings in History, English, as well as Foreign Languages and Classics.
The Institute also presents several programs of interest to the student of Medieval Art including the Spring Lecture series
Faculty members in Art History engage with the Institute for Medieval Studies in a variety of ways. Dr. Justine Andrews has presented a Work-in-Progress seminar “Gothic
Cyprus: Sources and Functions of Fourteenth-Century Latin Architecture,” February 2009. She also participated in the programs offered off-campus such as Albuquerque Academy’s Medieval
Day, in which many UNM Faculty from the IMS offer short lectures to 9th graders studying the
Middle Ages. Faculty members from Art History also participate in the annual Spring Lecture
Series organized by the Institute for Medieval Studies. Each year one of the 4-5 invited lecturers is a nationally or internationally recognized art historian from universities in the U.S. and abroad.
They have had the opportunity to host prominent art historians in the fields of manuscript studies in particular. Faculty members assist in hosting the visiting lecturers and our students participate in the activities of the series. Occasionally, faculty are invited to present a lecture at the series.
Andrews did so with “From Contact to Coexistence: Art and the Crusades,” during the series A
Medieval Miscellany, in April 2007.
In addition, Justine Andrews serves on the Steering Committee of the Institute for
Medieval Studies. They determine the theme and participants for the Spring Lecture Series, host a visiting scholar of Scandinavian Studies each year, and participate and engage in the events of the programs of Religious Studies, among others groups on campus. They oversee the students who have declared a medieval studies undergraduate minor. The Steering Committee also reviews students’ requests for funding for travel to medieval conferences.
97 The UNM Faculty members have recently been included in a consortium with Arizona
State University’s Center for Medieval and Renaissance Studies in the Cambridge, England
Summer Study abroad program. This new affiliation allows faculty to propose five-week courses on topics in Medieval Studies and offers UNM students the opportunity to participate in the program. IMS faculty, including the participating art historian, will review applications for this program from UNM students.
98 3. Foreign Languages and Literatures
Collaborations between the faculty of Art History and that of Foreign Languages and
Literatures, especially with the areas of German and French, have been a constant feature of the department’s interdisciplinary orientation. Several faculty members, such as Associate Professor
Susanne Anderson-Riedel and Distinguished Professor David Craven, have served on Masters
Committees in Foreign Languages, like those in French and German. Moreover, a standard offering in most years are courses such as the following graduate seminar, which was cross-listed in the
Department of Foreign Languages and Literatures and in the Department of Art & Art History:
German-Speaking Art & Culture from 1800 to the Present Spring 2010 TH 2-3:45 GRMN/CL 580: ArtH 582
Prof. Susanne Baackmann Prof. David Craven Office Hours: T/Th 11-12 Ofiice Hours: Th 1-3 Ortega Hall 323 Art Building 319 Phone: 277-3206 Phone: 277-5861 Email: [email protected] Email: [email protected]
Course Description:
The substantial contributions of German-speaking nations to modern art, literature, and philosophy are recognized around the world. Major thinkers such as Kant, Hegel, Marx, Freud, Benjamin, Adorno, and Habermas continue to influence our contemporary understanding of the relationship between the subject and the state, as well as between individuals and larger collectives. While key artists like C.D. Friedrich, the German Expressionists, the Berlin Dadaists, and the contemporary Düsseldorf School of Photography have explored this topic using different visual registers, authors like Goethe, Heine, Mann, Musil, Hesse, and Grass, have transposed this into literary narratives. Centered on the historical emergence and evolution of two key terms—the subject and the nation-state—this advanced seminar on German cultural history will focus on a series of case studies from 1800 to the present. Each session will be centered on a couple of texts and/or a set of images as a point of departure for discussing much larger discursive fields of considerable pertinence to the present. In fact, this Cultural Studies seminar was conceived in light of the current political situation defined by increasingly complex relationships between individuals and
99 national, ethnic or religious collectives. Utilizing the analytical tools and critical languages of both literary studies and art history, texts and images will be examined as divergent ways of addressing shifting historical conceptions of the subject as they relate to changing perceptions of the nation-state.
Material: You will need to purchase the following books: • J.W. von Goethe, The Sorrows of Young Werther (1774), FQ Classics, 2007 (amazon, $7.99) • Sigmund Freud, Civilization & Its Discontents (1930), Norton 1989 (amazon $9.56) • Thomas Mann, Buddenbrooks (1901), Every Man’s Library, 1994 (amazon, $14.96) • Robert Musil, Young Törless (1906) Penguin Classics, 2001 (amazon $10.40) • Hermann Hesse, Steppenwolf (1928), Amazon Remainders Account, 2002 (amazon $8.28) • Max Horkheimer & T.W. Adorno, Dialectic of the Enlightenment (1944), Stanford University Press, 2002 (amazon $24.95) optional • Course Requirements and Grading Policies: • Class Participation 25%: All seminar participants are expected to read closely all assigned material and be ready to participate actively in class discussions. If you must miss a class it is your responsibility to contact one of the instructors. We will prepare discussion questions for some sessions in advance. These questions will serve as focal and departure points for our class discussions.
• Class Presentations 25%: Each participant is expected to make one oral presentation on selected material (marked in syllabus as secondary or critical material), approx. 15 minutes in length, accompanied by a typed hand-out for all participants summarizing the main points of your presentation.
• Class Session Summaries 10%: Each participant is expected to write up at least one summary of a class session. These summaries should indicate what material was discussed and briefly describe the main points of our discussions. These summaries are meant to help you review the class material in preparation for your graduate exams.
• Research Paper 50%: Each participant is expected to write a research paper on a selected topic of about 15-20 pages. By mid-semester we expect to present possible paper topics to the class as a whole in order to get constructive feedback. Papers are due the last day of class, May 7.
100 4. The Natural Sciences and the Studio Faculty at UNM
Collaborations with the Natural Sciences and with Computer Science are routine
affairs in our department. This Report by Mesa del Sol Chair Andrea Polli addresses one
such important example of how that multi-disciplinary work has lead to noteworthy
conferences and symposia:
In the fall of 2012, a group of New Mexico arts organizations will present a ISEA2012
New Mexico: Machine Wilderness, a symposium and series of events highlighting art
and technology in conjunction with the prestigious international ISEA Symposium. Held
every year in a different location around the world, ISEA has a 30-year history
(www.isea-web.org). The symposium will consist of a conference, a series of art
exhibitions at various sites, public events, performances, screenings, tutorials and
workshops.
The Albuquerque/Santa Fe area is fast becoming a national and international
center of media production, visualization and art/science collaboration. However, in the
US, New Mexico is geographically isolated, and within the state the many initiatives in
the electronic arts are spread out and isolated from each other. ISEA2012 will not only
give the region international exposure, but will provide an opportunity for centers of
electronic art and media in New Mexico a chance to work together towards a common
goal, to build audiences and to help revitalize the urban center of Albuquerque.
101 The title for the symposium is Machine Wilderness. Ronald Horvath describes machine
wilderness as the gradual reduction of wild space in favor of territory devoted to the use
of machines, exemplified by the increase in automobile territory in cities of the American
West. Machine wilderness is characterized by a growth, which increasingly creates
conflict between machine space and human space. As a place both wild and urban and
undergoing rapid growth, New Mexico presents a microcosm of this theme. This theme
will present artists’ and technologists’ ideas for a more ‘humane’ machine wilderness in
which ‘machines’ take many forms and support and sustain life on Earth.
The last time the conference took place in the United States was in San José, California in
2006, and the city used the ISEA conference as the launch for their ZERO1 biennial arts
and technology festival tied into ongoing initiatives for economic development and
cultural tourism. ISEA2012 partners are exploring options for making the most of this
important event for Albuquerque and New Mexico.
Themes for the ISEA2012 collaboration in Albuquerque/Santa Fe include: a bilingual
focus, as this project has the potential to draw significant participation from Latin
America; an indigenous thread, focusing on Native American and other indigenous
peoples woven into the main symposium; and a focus on land and skyscape. Because of
our vast resource of land in New Mexico, proposals from artists will be solicited that take
ISEA participants out into the landscape. The Albuquerque Balloon Fiesta may offer a
unique opportunity for artworks to extend into the sky as well. Subthemes of the
conference and symposium include: Ancient Cosmologies and Electronic Art; Getting off
the Planet; Land, Energy and Environment; and The Future of Creative Economies.
102 UNM College of Fine Arts
Conference host Responsibilities: ISEA liaison, conference organizing, co-direction of
ISEA exhibition
LEAD ORGANIZATIONS
516 Art Space in Albuquerque
Leader of community outreach and marketing for collaboration centering around
ISEA conference.
Responsibilities: collaboration coordination, marketing/public relations, publications,
co-direction of ISEA exhibition.
ISEA2012: Machine Wilderness 6/15/10, page 2
TENTATIVE DATES: • Conference: September 19 - 24, 2012 Collaboration: September - December, 2010 • • CONTACTS: • • Suzanne Sbarge, Executive Producer, ISEA2012 • Executive Director, 516 ARTS, 516 Central Avenue SW, Albuquerque, NM 87102 • w. 505-242-1445, c. 505-235-7580, [email protected], [email protected] • • Regina Chavez, Director of Economic Development & Outreach, ISEA2012 • Executive Director, Creative Albuquerque, P.O. Box 27657, Albuquerque, NM 87125 • w. 505.268.1920, [email protected] • • STEERING COMMITTEE: • Sherri Brueggemann, Manager, City of Albuquerque Public Art Program • Regina Chavez, Director, Creative Albuquerque • Andrew Connors, Curator of Art, The Albuquerque Museum • Andrea Polli, Associate Professor, UNM College of Fine Arts and School of Engineering Suzanne Sbarge, Executive Director, 516 ARTS • Andrea Polli, Artistic Director, ISEA2012 • w. 505-266-2327, c. 718-909-5607, [email protected]
103 • Mesa Del Sol Chair of Digital Media and Associate Professor, Art & Art History and School of Engineering, College of Fine Arts UNM Center for the Arts, Bldg 62 MSC04, Albuquerque, NM 87131
• PARTICIPATING ORGANIZATIONS TO DATE: • 516 ARTS • The Agora Group/Z-Node • Albuquerque Convention & Visitors Bureau • The Albuquerque Museum • City of Albuquerque Public Art Program • Creative Albuquerque • Domefest, hosted by ARTS Lab & LodeStar Astronomy Center of NM Museum of Natural History Film for Change and the Albuquerque International Film Festival • Indian Pueblo Cultural Center • National Hispanic Cultural Center • Santa Fe Complex • UNM Art Museum • UNM College of Fine Arts • UNM ARTS Lab • UNM Interdisciplinary Film and Digital Media Program
104 C. Common and Cross-Listed Courses for Other Graduate Programs and Undergraduate Curriculum
ART HISTORY
ARTH 204. Greek Civilization – also offered as HIST, PHIL 204 (Fall and Spring).
ARTH 205. Roman Civilization – also offered as CLST, HIST, PHIL 205 (Fall and Spring).
ARTH 323/567. World Architecture I – also offered as ARCH 321/523 (Fall).
ARTH 324/568. World Architecture II – also offered as ARCH 322/524 (Spring).
ARTH 343. Pre-Columbian Architecture – also offered as ARCH 363 (Spring 2009).
ARTH 402/502. Native American Art I – also offered as ANTH 401 (Fall).
ARTH 406/506. Native American Art II – also offered as ANTH 403 (Spring).
ARTH 407/507. Museum Practices – also offered as ANTH 402, MSST 407 (Fall 2008, Spring 2010).
ARTH 422/522. Contemporary Architecture – also offered as ARCH 425/525 (Spring).
ARTH 423/523. Frank Lloyd Wright and American Architecture – also offered as ARCH 423 (Spring 2010).
ARTH 429/529. Topics: 18TH century European Art – also offered as FREN 432/584 (Fall 2010).
ARTH 429/529. Topics: Memory and Architecture – also offered as ARCH 424/524 (Spring 2010).
ARTH 429/529 Topics: Comparative Colonialism – also offered as WMST 400, LA 500 (Spring 2006).
ARTH 429/529. Topics: Engraving History/Practices – offered with ARTS 474/574 ADVANCED/GRADUATE Printmaking (Spring 2006).
ARTH 429/529. Topics: Black Women Writers – also offered as WMST 234, ENGL 211, AMST 350 (Spring 2006).
ARTH 429/529. Topics: Lesbian Culture and Politics – also offered as WMST 335, ENGL 315, AMST 330 (Spring 2006).
105 ARTH 429/582. Seminar in Hypospace: Japanese Modern Architecture – also offered as ARCH 462/562 (Fall 2010).
ARTH 429/582. Seminar in Indigenous Architecture – also offered as ARCH 462/562 (Fall 2010).
ARTH 429/582. Topics: European Capitals – also offered as ARCH 412/512 (Fall 2009).
ARTH 453/553. African American Art – also offered as AFST 453 (Spring 2007).
ARTH 463/563. Modern and Contemporary Architecture – also offered as ARCH 422/522 (Fall).
ARTH 484. EVALUATING THE ARTS – also offered as DANC, MUS, MA, THEA 484 (Spring 2007).
ARTH 485/585. Seminar in Museum Methods – also offered as ANTH, MSST 485 (Spring 2006, Spring 2007).
ARTH 486/586. Practicum: Museum Methods – also offered as ANTH, MSST 486 (Fall and Spring).
ARTH 487/587. Topics: Arts-in-Medicine – also offered as DANC, MA, MUS, THEA 487 (Spring 2006, Spring 2009, Fall 2010).
ARTH 488/588. Arts of Mexico: 1820-1945 – also offered as LA 400/500 (Fall 2007).
ARTH 559. Seminar in Methods in Native American Art – also offered as ANTH 509 (Spring 2010).
ARTH 582. Seminar in German Critical Thought in Art and Literature – also offered as GRMN 555, COMP 580, MLNG 580 (Spring 2010).
ARTH 582. Seminar in 19th/20th Century German Literature and Art – also offered as GRMN 550 (Spring 2008).
106 ART STUDIO
ARTS 368. Porcelain Vessels – also offered as ARTE 368 (Fall and Spring).
ARTS 389/429/529. Topics: Southwest Water – also offered as NATV 450 (Fall 2007).
ARTS 394. Computer-Generated Imagery and Animation – also offered as CS 394, MA 394 (Fall and Spring).
ARTS 409/509. Advanced Video Art – also offered as MA 409 (Fall and Spring).
ARTS 429/529. Topics: Aesthetics in Sustainable Landscapes – also offered as BIOL 402/502, LA 512, SUST 402 (Fall 2010).
ARTS 429/529. Topics: Movement and Image – also offered as DANC 495.
ARTS 429/529. Topics: Movement, Image, and Sound – also offered as DANC 495, MUS 435/535 (Spring 2009).
ARTS 429/529. Topics: Real-Time Multimedia – also offered as MA 429 (Spring 2007).
ARTS 429/529. Topics: Dance and Photography – also offered as DANC 495 (Spring 2006, Spring 2007).
ARTS 467/567. Art and Ecology in Interdisciplinary Practice – also offered as ARCH 512 (Spring 2009).
ARTS 494/594. Advanced Topics in Computer-Generated Imaging – also offered as CS, MA 494 (Fall and Spring).
MUSEUM STUDIES
MSST 429/529. Topics: Museum Learning – also offered as ARTE 493/593 (Spring 2009).
MSST 429/529. Topics: Art of Teaching in the Museum – also offered as ANTH 340/540, ARTE 493/593 (Spring 2008).
MSST 429/529. Topics: Museum Education – also offered as ARTE 493/539 (Spring 2007, Spring 2006).
107
Departments & Areas that have with Cross-listings with Art & Art History ______
AFST Africana Studies DAN Dance MUS Music AMST American ENGL English NATV Native American Studies FREN French Studies ANTH Anthropology GRM German PHIL Philosophy ARCH Architecture HIST History SUST Sustainability ARTE Art Education LA Landscape Studies BIOL Biology Architecture THEA Theatre CLST Classics MA Cinematic Arts WMST Women COMP Comparative MLNG Foreign Studies Literature Languages and CS Computer Literatures Science MSST Museum Studies
108 5. National and International Standing of Faculty A. Size of the Graduate Faculty and Its Profile by Gender and Ethnicity
List of Faculty for PhD in Art History
Full Professors – NAME TITLE/RANK DEGREE/SCHOOL David Craven Distinguished Professor and Chair PhD, University of North Carolina Dave Hickey Distinguished Professor of Criticism PhD, University of Texas, Austin and MacArthur Fellow Libby Lumpkin Professor PhD, University of New Mexico Christopher Mead Regents’ Professor PhD, University of Pennsylvania Joyce Szabo Regents’ Professor PhD, University of New Mexico
Associate Professors – Susanne Anderson-Riedel Associate Professor PhD, University of California (Los Angeles) Justine Andrews Associate Professor PhD, University of California (Los Angeles) Holly Barnet-Sanchez Associate Professor PhD, University of California (Los Angeles) Kirsten Buick Associate Professor PhD, University of Michigan, Ann Arbor
Assistant Professors – Ray Hernández-Durán Assistant Professor PhD, University of Chicago Margaret Jackson Assistant Professor PhD, University of California (Los Angeles) Catherine Zuromskis Assistant Professor PhD, University of Rochester
Instructor – Aaron Fry Instructor ABD, University of New Mexico
Research Professors – Jennifer von Schwerin Assistant Research Professor PhD, Columbia University Kristaan Villela Research Fellow PhD, University of Texas
List of Faculty for the MFA in Studio
Full Professors –
Steve Barry Professor MFA, Hunter College Michael D. Cook Professor MFA, University of Oklahoma Constance DeJong Professor MFA, University of New Mexico William T. Gilbert Lannan Endowed Professor MFA, University of Montana Dave Hickey Distinguished Professor of Criticism PhD, University of Texas, Austin 109 Libby Lumpkin Professor PhD, University of New Mexico Adrienne Salinger Regents’ Professor MFA, Art Institute of Chicago Jim Stone Professor MFA, Rhode Island School of Design
Associate Professors – Gina Bobrowski Associate Professor MFA, University of Georgia Kathleen Jesse Associate Professor MFA, University of California (Berkeley) Andrea Polli Mesa del Sol Endowed Chair MFA, The Art Institute of Chicago Yoshiko Shimano Associate Professor MFA, Mills College Mary Tsiongas Associate Professor MFA, California College of Arts and Crafts Baochi Zhang Associate Professor MFA, Florida State University
Assistant Professors – Scott Anderson Assistant Professor MFA, University of Illinois at Urbana Ellen Babcock Assistant Professor MFA, California College of Arts and Crafts Ligia Bouton Assistant Professor MFA, Rutgers University Kathryne Cyman Assistant Professor MFA Equivalent in Arita, Japan Porcelain Catherine P. Harris Assistant Professor MFA, Stanford University Szu-Han Ho Assistant Professor MFA, Art Institute of Chicago Shaurya Kumar Assistant Professor MFA, University of Tennessee Patrick Manning Assistant Professor MFA, University of New Mexico R. Lee Montgomery Assistant Professor MFA, San Francisco Art Institute Claudia X. Valdes Assistant Professor MFA, University of California (Berkeley) Robin Ward Assistant Professor MFA, San Francisco Art Institute
Research Professors – Marjorie Devon Professor & Director of Tamarind BA, University of California Rodney Hamon Assistant Research Professor MFA, University of New Mexico and Master Printer, Tamarind Institute Visiting Professors – Elen Feinberg Visiting Professor in 2010/2011 MFA, Indiana University Joyce Neimanas Visiting Professor in 2010/2011 MFA, Art Institute of Chicago Molly Sturges Visiting Professor of Practice MA, Wesleyan University
110 B. Tenure/Tenure-Track Faculty by Sex and Ethnicity
PhD FACULTY Ethnicity Sex # African American/Black F 1 African American/Black M American Indian F American Indian* M 1 Asian/Pacific Islander F Asian/Pacific Islander M Hispanic F Hispanic M 1 White, non-Hispanic F 5.5 White, non-Hispanic M 1.5 International F 1 International M TOTAL Female 7.5 TOTAL Male 3.5 * One male instructor is Native American.
MFA FACULTY Ethnicity Sex # African American/Black F African American/Black M American Indian F American Indian M Asian/Pacific Islander F 1.5 Asian/Pacific Islander M 2 Hispanic F 2 Hispanic M White, non-Hispanic F 10 White, non-Hispanic M 7 International F International M TOTAL Female 13.5 TOTAL Male 9
C. Resumés of Permanent Faculty Members (See Appendix Three)
111 D. Adjunct Faculty in Department
Department of Art and Art History ADJUNCT FACULTY, 2006 - 2010
FALL SPRING FALL SPRING FALL SPRING FALL SPRING FALL 2006 2007 2007 2008 2008 2009 2009 2010 2010
ART HISTORY 2 2 3 7 2 4 3 2 1
SUB- TOTAL 2 2 3 7 2 4 3 2 1
ART STUDIO
Art & Ecology 2 - 2 - - 2 - - 1
Ceramics 1 - 3 1 3 1 3 1 3
Electronic Arts 1 1 1 1 1 2 1 - 1
Painting & Drawing 7 9 5 5 9 8 6 5 7
Photography 1 1 4 1 5 1 5 1 4
Printmaking - 1 - 2 3 2 3 2 1
Studio Foundations 3 2 2 1 1 1 1 - -
Sculpture 4 3 4 6 5 6 5 4 4
Grad Shop Foundations - - - - 1 - 1 - 1
SUB- TOTAL 19 17 21 17 28 23 25 13 22
TOTAL 21 19 24 24 30 27 28 15 23
SALARY TOTAL $56,700 $51,300 $64,800 $64,800 $81,000 $72,900 $84,000 $45,000 $69,000
ANNUALLY $108,000 $129,600 $153,900 $129,000
112 E. Staff in Department a. List of Staff
ADMINISTRATIVE NAME TITLE/POSITION DEGREE/SCHOOL Nancy Treviso Department Administrator II BAFA, Art History, University of New Mexico Theresa Lujan Accountant II BA, Accounting, University of New Mexico Angelina Skonieczka Administrative Assistant III BFA, Art Studio, University of New Mexico Marjorie Crow Office Assistant
TECHNICAL Oscar Caraveo Art Lab Manager, Ceramics Associate Degree, University of New Mexico William Collins Web Site Administrator MFA, Electronic Music and Recording Media, Mills College Michelle Evans Art Lab Manager, Photography BA, Anthropology, Photo Minor, University of New Mexico Brian Kimura Art Lab Manager, Electronic Arts BFA, Art Studio, University of New Mexico Justin Nighbert Art Lab Manager, Mattox MFA, Sculpture, University of New Mexico Chris Reisz Art Lab Manager, Sculpture/3D BFA, Art Studio, University of New Mexico Brooke Steiger Art Lab Manager, Printmaking MFA, Printmaking, University of New Mexico, and Tamarind Master Printer
ADVISEMENT Darrell Collins Undergraduate Advisor MA, Art Education, University of Illinois, Urbana-Champaign Kat Heatherington Graduate Advisor MA, English, University of New Mexico
b. Advances in Staff Grades and Numbers in the Past Five Years
In June 2006, Babs Baker retired as the department administrator after 24 years of devoted service. Nancy Treviso, her replacement, transferred from Tamarind Institute where she had gained valuable experience as its administrator for seven and a half years.
Also in 2006, two other administrative positions changed hands. In December 2006, Marjorie Crow became our Office Assistant as Teresa Lujan moved to become Accountant I for the Department of Theatre and Dance. Molly Terrell resigned as administrative assistant to the chair in December. Human Resources approved upgrading the position from a grade 7 to a grade 8 with the hiring in January 2007 of our current administrative assistant, Angelina Skonieczka.
Theresa Lujan returned to the department as its new accountant after the resignation of Agnes Harrison at the end of October 2007.
In Fall 2007 with approval from HR, the department successfully attained much-needed upgrades for its five lab coordinators. In January 2008, they received the new title of art lab manager, grade 10, exempt, along with a 10% pay increase.
113
After more than twenty years of service to the department, Mickey McConnell retired as undergraduate advisor in May 2008. The department then moved the position from adjunct faculty with a special administrative component to a staff position, grade 9, in order to offer health benefits to the incoming advisor. In August 2008, the Department hired Darrell Collins as its new undergraduate advisor, at .5 FTE. In fall 2008, additional funding was found to increase Darrell’s hours from 20 to 30 hours per week (.75 FTE).
Maribel Posada, who was accepted into the College of Education graduate program spring semester, resigned from her position as an accounting clerk with the department in February 2009. In August of that same year, Virginia Yen with over thirty years of service retired as printmaking lab manager. We replaced Virginia by hiring Brooke Steiger, a master printer from Tamarind Institute and MFA graduate of our program, as the new lab manager in Printmaking. Maribel in the Accounting Office was not replaced.
Savings from the accounting clerk and printmaking lab manager positions made it possible to hire someone to oversee the Mattox Sculpture Center. With the expansion of our Ceramics Program to include Arita Porcelain, we moved Oscar Caraveo, our Ceramics lab manager who worked at Mattox in the afternoons, to full-time in the Ceramics area. In August, we hired Justin Nighbert, an MFA graduate of our program in sculpture, as our new .5 FTE art lab manager in Mattox.
Over the past five years, Art and Art History has made great strides in adding important staff positions to the department, such as the undergraduate advisor and Mattox lab manager, as well as raising grade levels and pay for many of its staff. But still much remains to be done. With the next merit increase, hopefully in July 2011, the chair and department administrator will review all staff positions for equity in regards to pay and grade levels and make appropriate adjustments. c. Staff by Sex and Ethnicity
Art & Art History Staff by Sex and Ethnicity
Ethnicity Sex # African American/Black F African American/Black M American Indian F American Indian M Asian/Pacific Islander F Asian/Pacific Islander M 1 Hispanic F 1 Hispanic M 1 White, non-Hispanic F 5.5 White, non-Hispanic M 2.5 International F International M TOTAL Female 6.5 TOTAL Male 4.5
114 6. Institutional Resources and Infrastructure of Department
A. Library Collections at UNM in the Fine Arts Library and in Zimmerman
A Report prepared by Nina Stephenson, Library Liaison for Art and Art History (with Dr. Suzanne Schadl, Head of Latin American Collections)
The UNIVERSITY OF NEW MEXICO LIBRARIES: AN OVERVIEW
The University Libraries (UL) system contributes to the UNM Mission by providing high quality research sources, both in print and online, to all our students and faculty. The library promotes the use of library resources and contributes to student learning and success through an array of services designed to reach our users both on and off campus. The University Libraries home page, http://elibrary.unm.edu, provides detailed information about these services, and links to the library’s catalog, electronic resources, and digital collections.
Subject specialist librarians serve as liaisons to academic departments. They also manage print and electronic collections in their subject areas, purchase materials requested by faculty and students, and provide instruction in research skills and information literacy, thereby improving students’ critical thinking abilities and promoting student success. Nina Stephenson, the library liaison to the Department of Art and Art History, holds a BFA from California College of the Arts (formerly California College of Arts and Crafts), an MA in art history from the University of New Mexico, and an MLIS from the University of California at Berkeley.
The UL has over 2.6 million volumes, almost 340,000 electronic books, and 75,000 print and electronic subscriptions encompassing journals, magazines, newspapers, reference tools and more. UL is a member of the Association of Research Libraries and in 2007/2008 ranked 59th out of 113 member libraries and in a country with over 1,200 colleges and universities (latest available figures; see http://chronicle.com/article/Library-Investment-Index-at/48067/).
FACILITIES
The University Libraries system is composed of four separate branch facilities: • Zimmerman Library, the education, social sciences, humanities, special collections and government documents library • Centennial Science and Engineering Library • Parish Business and Economics Memorial Library • Fine Arts and Design Library, which houses the primary collections used by Art and Art History faculty and students. This new facility, which opened in 2008, features ample study space including computers and group study rooms, a computer classroom, media collections, and over 200,000 volumes.
Students and faculty also have access to the Law Library and the Health Sciences Library and Informatics Center. Library computers, including laptops for student use in libraries, provide access to the online catalog and online resources. Students may also type and print assignments using application software and library printers and copiers. Wireless campus access and remote off-campus provides access to licensed online
115 resources using UNM network IDs for authentication. Adaptive software for students with disabilities is available in Zimmerman Library’s Alice Clark Room.
SERVICES
Services address the needs of researchers from beginner to advanced levels and extend access to resources from our own online and print collections to materials from other libraries. The University Libraries system provides general and specialized help in person and remotely by generalists and subject specialists using an array of print and electronic resources. Primary services include the following:
Service desk personnel at the Fine Arts and Design Library (and at other campus libraries) provide answers on all library-related topics, and assist students, staff and faculty with circulation and course reserve needs. Professional librarians help with research problems and devise search strategies using print and electronic resources.
Ask a Librarian, a 24/5 function of our Virtual Service Desk, provides a one-stop avenue to reference and technical help for remote users via phone, email, or chat. Referrals to subject specialists and other campus units are made as appropriate.
Library orientations and research instruction are provided for all English 102 and Freshman Learning Community students. Workshops tailored to specific courses, taught by subject specialist librarians (library liaisons) upon request by instructors, are typically offered in library computer classrooms. Individual tutorials are also available on request.
Interlibrary Loan and Library Express services provide free, unlimited borrowing including quick delivery of books and electronic delivery of journal articles from consortia member libraries. Item requests are reviewed to determine whether materials should be purchased rather than borrowed. Books that are readily available in the US and cost less than $100 are usually purchased and added to the UL collections automatically. Most journal articles are delivered within 24 hours and books within 4 days. The UL monitors requests to identity subject areas and titles that need to be added to the collections. In addition to this purchase-on-demand program through Interlibrary Loan, circulation staff members now order additional copies of heavily used items. Library Express, an extension of Interlibrary Loan, offers electronic delivery of journal articles and books chapters from UL’s own collections.
Inter-American Studies Programs provide outstanding research collections and outreach to minority students. These include: Indigenous Nations Library Program CHIPOTLE: Chicano, Hispano, and Latino Studies DILARES: Latin American and Iberian Research and Services COLLECTIONS AT UNM
LIBROS, the online catalog of UNM and the statewide LIBROS Consortium of academic libraries, has over 3 million records for print and electronic books, journals, magazines, newspapers, government documents, DVDs, sound recordings, music scores, and other locally owned resources. WorldCat, which combines the catalogs of over 13,000 libraries worldwide, provides direct links to the Interlibrary Loan system.
116 As an active participant in the Center for Research Libraries’ (CRL) collaborative Latin American Research Resource Project (LARRP), the University Libraries (UL) at UNM maintains its designation as the strongest Research Collection in North America on Latin American Art, Art History, and Photography, spending over $50,000.00 each year on Latin American art materials. Our Latin American art book collection contains around 500,000 books, pamphlets, and bound periodicals. This premiere collection is inclusive of all Latin American countries, but Mexico, Brazil, Argentina, and Chile, are best represented. In addition, the holdings in Central America are largely unrivalled nationally. Our strong commitment in special collections to Latin American exhibit catalogs and artistic ephemera, such as, popular images and political posters, street poetry, and graphic arts, make these collections more recognizable. We are currently developing a project within Archive-It for archiving electronic ephemera documenting Latin American street art.
UL’s photography collections are also impressive, having supported top-ranked studio and history programs for many decades. UL also has major strengths in Native American art and material culture. Monographs and exhibition catalogs are actively purchased, supporting these and other subject areas taught in the Department of Art and Art history, ranging from land arts, all studio disciplines, the arts of the Americas, and the history of artistic traditions throughout the world as required by curricular needs.
It is impossible to count all relevant books in the University Libraries collections, but the following illustrative phrase searches in the LIBROS catalog on July 21, 2010, limited to UL books, yielded the following:
o “Art, modern” – 3,539 books o “Indian art” – 1,400 books o "Maya architecture" or "Maya art" or "Maya sculpture" – 251 books o “Mural painting and decoration” – 593 books o “Photography, artistic” – 6,454 books
The Center for Southwest Research (CSWR) houses primary and secondary sources, including archival collections and manuscripts on all areas of research concerning the Southwestern US. CSWR also has significant strengths in Latin American studies, including a large collection of high quality Mesoamerican facsimile codices, the Sam Slick Latin American Political Poster Collection, and the Taller de Grafica Popular, a collection of broadsheets, posters and other publications. CSWR also has hundreds of artists’ books (works of art inspired by a book format) created by Latin American and North American artists.
UNM’s Center for Research Libraries (CRL) membership gives researchers access to almost four million rarely-held books, journals, pamphlets, newspapers and primary sources from all regions of the globe. CRL lends its materials to researchers for extended time periods.
Ebook reference collections include:
• Ebrary with over 40,000 books in all topics from major academic and trade publishers • Credo Reference, a suite of full-text and high quality image resources such as: The Bridgeman Art Library Archive and The Thames & Hudson Dictionary of Art Terms • Oxford Art Online including the scholarly art encyclopedia, Grove Art Online
117 Research Databases are available online 24/7 to support research across the curriculum. These include specialized and cross-disciplinary research resources. Most provide full text, or direct links to search UL holdings or to Interlibrary Loan/Library Express services. Databases that cover the practice and history of the visual arts include:
Specialized:
• Art Full Text (indexing and some full text, 1984 to present) • Art Index Retrospective (indexing from 1929 to 1984) • ArtBibliographies Modern (abstracts of journal articles, books, essays, etc., late 19th century to the present) • Arts & Humanities Citation Index (indexes and abstracts of 1,130 leading journals) • ARTstor (digital library of 1 million + high quality images with metadata) • Avery Index to Architectural Periodicals (indexing from 1934 to the present)
Interdisciplinary (selective list):
• Academic Search Complete (full-text and indexing for thousands periodicals) • America: History and Life (indexing and selective full text on USA & Canadian topics) • American Indian History Online (full-text addressing 15,000 years of culture and history) • Digital Dissertations and Theses (citations and abstracts, 24-page “previews” for dissertations since 1997, full text for recent UNM dissertations) • Chicano Database (bibliographic index on Mexican American and Chicano topics) • Handbook of Latin American Studies (scholarly annotated bibliography) • International Medieval Bibliography (covering the European Middle Ages c. 400-1500) • Hispanic American Periodicals Index (indexing and partial full-text) • Historical Abstracts (world history from 1450 to the present excludes USA & Canada) • JSTOR (high quality PDF back files of 1000+ core scholarly journals in all disciplines) • Project Muse (full text for over 400 peer-reviewed journals). • Numerous full text newspaper sources such as EthnicNewsWatch, Latin American Newsstand, LexisNexis Academic Universe, New Mexico Newsstand, New York Times (1851 to present), and Times London Archive (1785-1985).
Journal subscriptions are maintained in print and digital format. The proliferation of titles available through our online databases and the increasingly interdisciplinary nature of current scholarship make it impossible to count or list all relevant periodicals. The growth in full text online holdings is evident in the following chart, based on a comparison of e-journal titles in February 15, 2010, and five months later on July 21, 2010:
Online art magazines and journals, arranged by subject focus:
• Architecture (210 – up from 90 on February 15, 2010) • Arts & Crafts (48 - up from 35 on February 15, 2010) • Fine Arts - General (117 - up from 61 on February 15, 2010) • Gardens, Landscape Architecture & Parks (40 - up from 21 on February 15, 2010) • Visual Arts o Decorative Arts (75- up from 51 on February 15, 2010) o Drawing, Design & Illustration (20 - up from 3 on February 15, 2010) 118 o Painting (21 - up from 1 on February 15, 2010) o Photography (212 - up from 50 on February 15, 2010) o Print Media (3 - up from 1 on February 15, 2010) o Sculpture (8 - up from 3 on February 15, 2010) o Visual Arts - General (394 - up from 233 on February 15, 2010)
Selective list of important art journals currently received in print or electronic format
African Arts American Art Apollo Architectural History Archives of American Art Journal Archives of Asian Art Archivo Español de Arte Ars Orientalis Art Bulletin (The) Art Criticism Art History Art Journal British Journal of Aesthetics Burlington Magazine (The) Critical Inquiry Design Issues (USA) Design Studies Digital Creativity Dumbarton Oaks Papers Eighteenth Century Studies Gesta – International Center of Medieval Art Grey Room Harvard Design Magazine History of Photography I Tatti Studies: Studies in the Renaissance Industrial Archaeology Review International Journal of Historical Archaeology Journal of Aesthetics and Art Criticism (The) Journal of Architectural and Planning Research Journal of Architecture (The) Journal of Cultural Heritage Journal of Design History Journal of Material Culture Journal of the History of Collections Journal of the Society of Architectural Historians Journal of the Warburg and Courtauld Institutes Journal of Urban Design Journal of Urban History 119 Journal of Visual Anthropology Journal of Visual Culture Landscapes Master Drawings Muqarnas October Oxford Art Journal Print Quarterly Renaissance Quarterly Renaissance Studies Representations Res: Anthropology and Aesthetics Sculpture Journal Third Text Word & Image
120 B. The Bainbridge Bunting Visual Resources Center
A Report Prepared by Cindy Abel Morris, Manager, Bunting Visual Resources Library, July 2010
Context and Institutional Relationships
At the University of New Mexico (UNM), the image collections for Art and Art History are part of the
Bunting Visual Resources Library (BVRL), one of eight administrative units of the College of Fine Arts
(CFA). The Bunting Visual Resources Library supports the programs of the College of Fine Arts and the School of Architecture & Planning. It opened in 1972 and is housed in a purpose-built facility on the third floor of the Art Building.
Visual Resources Collections
1. Goals: The mission of the Bunting Visual Resources Library is to acquire, maintain, and provide
access to visual resources library information, collections, instruction, and facilities that support
and enhance the educational effectiveness and competitiveness of primarily the programs of the
College of Fine Arts and the School of Architecture & Planning and secondarily, commensurate
with its resources, the programs of the entire University of New Mexico community.
2. Subject coverage: The focus of the art and art history collections is on images art, architecture
and cultural objects which support the teaching programs in the CFA & SAAP. Particular areas
of specialization include Native American, Pre-Columbian, and Spanish Colonial art and
architecture, the history of photography and printmaking.
3. Levels of coverage: The scope of the collections extends to the history of art and architecture in
Europe and the Americas from pre-history to the present. The depth is sufficient to support
undergraduate courses in all areas, and graduate courses in modern, Native American, Pre-
Columbian, and Spanish Colonial art and architecture.
121 4. Number of images: The visual resources collections currently contain approximately 350,000
35mm slides of which approximately, and 46,000 digital images.
5. Growth: During the past three years the BVRL has added an average of 5,000 new images per
year in digital formats; the slide collections have not been methodically expanded since 2007.
6. Other resources: The BVRL maintains a study print collection of approximately 50,000
photographic and photomechanical prints
7. Subscriptions: The BVRL, in partnership with the University Libraries subscribes to ARTstor,
and uses this online resource as the host for its digital collections.
8. Conservation and preservation: All slides are bound in-house in archival Gepe anti-newton glass
mounts. The bound slides are housed in Remington slide cabinets with acid free dividers.
Windows in the facility do not open in order to provide a relatively dust free environment. The
HVAC system is separate from the central building system to improve climate control for slide
storage. All digital images are archived in 18MB TIFF format on CDs filed in archival CD
albums with corrosion intercept CD protection sleeves. All images are compressed into three
jpeg formats: thumbnail size for the VISIC catalog, screen size for student reviews on WebCT,
and presentation size for classroom use. These jpeg images and associated metadata are stored
on SQLservers and maintained and backed-up nightly by University IT staff.
Services
1. Reference: An information desk located at the door of the library is open during all hours the
library is opened. Staff members provide informational and directional guidance in the use of the
library and its various finding aids.
2. Information literacy: The BVRL offers three regularly scheduled graduate student orientations at
the start of each semester. It also offers course specific orientations and individual student or
faculty orientations on request. 122 3. Current awareness: The BVRL automatically informs all requestors when their requested
material has been added to the collections. It maintains its own website at
http://www.unm.edu/~bbmsl/
4. Access to collections:
a. Intellectual access to scholars and artists is provided by full descriptive cataloging and
classification. For slides, cataloging and classification is standardized according to the
Fogg Classification System, a self-indexing classification system designed to facilitate
direct access to slides. The descriptive data, accession numbers and call numbers are
printed on the slide labels and in readily accessible accession books. They also are
entered into VISIC, the library’s Digital Asset Management (DAM) system. VISIC is a
customized, highly relational, fully searchable SQL DAM. It serves as a finding aid for
the slide collections as well as for the digital assets. For digital images in VISIC,
cataloging follows standardized Cataloging Cultural Objects (CCO) guidelines and
involves describing four principle entities: the Image, the Work represented by the Image,
the Creator (architect or firm) responsible for the creation of the Work, and the Format or
digital expression of the Image. Vocabulary in VISIC is strictly controlled through the
enforced use of international standards such as the Art & Architecture Thesaurus for
terms and the Thesaurus of Geographic Names for sites and locations in order to apply
the necessary consistency to searching.
b. Slide circulation policies are authorized by the Committee on the Slide Library and
printed in the circulation policy manual. Circulation policies also are presented in flyers
at the circulation desk and on the BVRL website. The BVRL is opened 45 hours per
week, Monday through Friday, 8:00am to 5:00pm. In addition, prepared carousels of
slides can be checked out and returned to the Fine Arts Library after hours by
123 arrangement. Keys to the BVRL are available for check-out to authorized users for
evening and week-end use. Dedicated slide review rooms are opened 24 hours per day
whenever slide reviews are scheduled.
c. Digital image reviews are available electronically through WebCT, eReserves and
ARTstor. There is, as required by image license agreements, password-authenticated
remote access to each of these resources. Network ports are sufficient to handle traffic.
A pilot project version of VISIC is in deployment which will provide remote access to a
friendly and flexible VISIC interface, and also meet the restricted access terms of all
image license agreements and authorized “fair use” guidelines.
Staff
1. Structure: The BVRL is an administrative unit of the College of Fine Arts. The BVRL Manager
reports directly to the Dean of the College of Fine Arts who, in turn, reports to the University’s
Provost. The BVRL Manager serves on the CFA’s Dean’s Policy Council with the Directors of
the Arts of the America’s Institute, the Arts Technology Center, and the Tamarind Institute, plus
the chairs of the Departments of Art & Art History, Media Arts, Music, and Theatre & Dance.
The BVRL
2. Professional expertise: The Manager's position is classified as administrative staff. Preferred
qualifications include an MLS or comparable terminal professional degree, a master’s degree in a
relevant subject specialty, and active participation in relevant associations. The current Manager
holds a MBA in the Management of Technology, a MA in Art History, 18 years of library and
library management experience, and is an active participant in the Art Libraries Society of North
America (ARLIS/NA) and the Visual Resources Association (VRA). The Manager exceeds the
ARLIS/NA and VRA criteria for visual resources professionals. 124 3. Support Staff: Reporting to the Manager are 3 FTE regular staff: two Library Information
Specialist III (Grade 10) paraprofessional positions and one Library Information Specialist II
(Grade 8) technical position. Standardized institutional job descriptions exist for these positions
and are available on the UNM Human Resources website. All three positions require a
bachelor’s degree. All present incumbents exceed requirements with one paraprofessional
holding a MA in Art History and the other a MA in Near Eastern Languages and Culture and a
MLS. The technician holds a BA in studio art. Also assigned to the director each year are four
.25 FTE graduate students in the BVRL’s stipend-based Internship Program plus 2 FTE student
employees. The BVRL meets the ARLIS/NA and VRA staffing standards for visual resources
libraries. The Internship Program is officially endorsed by ARLIS/NA and VRA. BVRL interns
are eligible to apply for additional ARLIS/NA internship stipends through ARLIS/NA.
4. Compensation: Staff salaries and benefits are standardized by grade across the University by the
Department of Human Resources. Staff are eligible to apply for CFA career development grants
and may use their UNM tuition remission benefits for job-related workshops and courses.
Facilities
1. Space: The BVRL is located on the third floor of the Art Building. The BVRL’s 2,700 sq. ft.
facility includes library, office, workroom, copy-photography studio, and classroom spaces.
Built in 1976, the facility is reaching capacity for slide storage and workspaces, but remains
adequate for both. It is barrier free with one light table specifically outfitted for wheelchair
accessibility.
2. Environmental factors: The BVRL has an appropriately designed HVAC system separate from
the central building system. Lighting and electrical service are sufficient. The facility is wired
to the campus network, and wireless connectivity is also available. 125 3. Equipment: Slide collections are stored in specialized and appropriate slide and photograph
storage cabinets. Fifteen light tables with stools are available for slide presentation preparation.
Each light table has an outlet for laptop computer hookup to the campus network and the
Internet. Four public access terminal also is provided for network and Internet access. Two slide
projectors are available for slide presentation preview. Digital assets are stored on networked
SQLservers in on campus servers and accessed through a public terminal in the BVRL. Seven
desks with computer workstations serve the regular, intern, and student employees.
Workstations are variously configured with cataloging software, printers, scanners, CD and DVD
burners, and appropriate imaging software. A slide review room is equipped with a projection
booth, slide projector with remote control operation, and twenty-five tablet armchairs. The copy-
photography studio is equipped with all photographic gear necessary to do professional level
slide copy-photography, although no slides have been processed since 2007. Since 2005 the
copy studio has been outfitted with a high end, networked, digital copy-photography system and
computer workstation for color calibration and digital processing.
Budget, Administration, and Operations
1. BVRL funding is from recurring institutional allocation and non-recurring development funds,
grants, and CFA student technology fees. All funding comes to the BVRL through the College of
Fine Arts. Neither the School of Architecture & Planning nor the General Libraries participates
in BVRL funding. Through careful budget management and active pursuit of non-recurring
grants and CFA student technology fees to fund operations, the BVRL is executing a conversion
from slide collections to digital collections with all the new technologies, digital assets
management systems, licensing vs. acquisitions paradigms, copyright restrictions, and general
learning curves such a conversion entails. To aid in funding the costs associated with this 126 ongoing digital conversion, the BVRL is participating in a university-wide endeavor, a major
fund raising campaign in which BVRL development needs and goals are included in CFA
development needs and goals. The BVRL Manager has input into this and all CFA budget
development activities as well as authority over library expenditures.
127 C. The Tamarind Institute at UNM and the MFA Program with a Focus on Lithography within the Department of Art & Art History
Since Clinton Adams, then Dean of the College of Fine Arts at UNM, moved the Tamarind Institute to Albuquerque in 1970, there has been a special relationship between Tamarind and the Department of Art and Art History. With the opening of the Tamarind building on Central and the hiring of new faculty and staff in Printmaking in our department, the Department of Art & Art History is poised to renew that relationship in the strongest way possible. Particular attention will be given to energizing an MFA Degree
Track in our department that has a focus on Lithography. Along with its Professional Printer Training and
Master Printer Training programs, the Tamarind Institute now offers, in cooperation with the University of
New Mexico’s Department of Art and Art History, the option of pursuing an M.F.A. upon completion of the
Tamarind program. Degree requirements can normally be completed in three years. Credit hours taken at
Tamarind can be applied to the M.F.A. program.
Students interested in entering this program must have a strong interest in collaborative printmaking, as the Tamarind’s programs concentrate on the acquisition of fundamental technical and interpersonal skills for collaborative lithography. Students apply directly to TI for admission to the
Professional Printer Training Program, and all students must complete the first year Professional Printer
Training at Tamarind. This intensive program requires a time commitment of a minimum of 60 hours per week.
At the end of the Fall semester of the Professional Printer Training Program, students who plan to pursue the M.F.A. must apply for admission to the graduate program at the University of New Mexico by January 15. An M.F.A. is the most advanced degree in studio art and it emphasizes the creative dimensions of an artist’s work. Those students who wish to be assured of having a place in the MFA program for the second year must be accepted simultaneously to Tamarind and Art and Art History (note that Art and Art History’s deadline for admission is January 15; Tamarind’s is February 1). Accepted 128 candidates who do not participate in the Master Printer Program at Tamarind (only 1 – 3 candidates are accepted into this program each year) will complete years 2 and 3 in Art and Art History.
During the Spring semester of the Professional Printer Training Program, students interested in pursuing the Tamarind Master Printer Program must submit an application to the Master Printer
Training Program at Tamarind. If accepted to the Master Printer Program, M.F.A. students stay at
Tamarind for year 2, then complete A&AH requirements during year 3. M.F.A./Master Printer Program students receive a stipend from TI, and must register for 12 credit hours each semester while in the
Master Printer Program. All M.F.A. students must take the Methods course in the Fall semester of the second year and the Interdisciplinary Seminar in the Fall semester of the third year.
Students who have completed the Professional Printer Training Program will also have the opportunity to apply for the Master Printer program. If accepted, they will receive a stipend, but they will not be required to register for credit.
Course requirements: Tamarind 1 year + 2 years M.F.A. Fall 1 (Tamarind) Professional Lithography I (4 – AS) Lithography Workshop I (2 – AS)
Spring 1 (Tamarind) Professional Lithography II (3 – AS) History of Graphic Arts II (3 – AH) Total Non-Degree Hours = 12 Students must be enrolled as a Non-Degree Student during their first year. Students must be accepted into the M.F.A . Program their second year. Students will need to fulfill these remaining MFA credit hour requirements in years 2 and 3: 3 Art Studio 502 Interdisciplinary Seminar (must be taken Fall 2) 12 Art Studio courses 3 Art History courses 6 Electives outside of studio 6 Electives outside of department 6 Free electives 36 Hours from M.F.A. Program +12 Hours from TI (non-degree) 48 required for M.F.A. Program +12 Dissertation hours 60 TOTAL HOURS REQUIRED FOR M.F.A. DEGREE 129 Course requirements: Tamarind 2 years + 1 year M.F.A. Fall 1 (Tamarind) Professional Lithography I (4 – AS) Lithography Workshop I (2 – AS)
Spring 1 (Tamarind) Professional Lithography II (3 –AS) History of Graphic Arts II (3 – AH)
TOTAL NON-DEGREE HOURS = 12
Students must be enrolled as a Non-Degree Student during their first year. Students must be accepted into the M.F.A. program their second year.
Fall 2 3 Art History 500 Philosophy and Methods 9 Art Studio 595 Graduate tutorials with Tamarind instructors (Master Printer Program)
Spring 2 12 Art Studio 595 Graduate tutorials with Tamarind instructors (Master Printer Program) Fall 3 9 Art Studio 502 Interdisciplinary Seminar Any 500-level graduate art studio or art history courses
Spring 3 12 Art Studio 699 Dissertation
Subtotal 33-42 Art Studio (9 from non-degree) 6-15 Art History (3 from non-degree) Total 48 Required for M.F.A. +12 Dissertation hours 60 Total required for M.F.A. Degree
130 D. University Art Museum and Art in Public Places at UNM
Since the founding of the University Art Museum in 1963, with Professor Van Deren Coke as its first
Director, this institution has become one of the top 25 university art museums in the US. Now housing over
33,000 works of art in all media, the permanent collection at UNM is seldom rivaled in two key areas: photographs and prints. In each of these subdivisions, the University Art Museum is simply world class and it is of special significance that these two collections not only compliment, but are in fact also signal resources for two of the signature studio programs in our department, namely, printmaking and photography.18 If we add to this permanent collection the archive of the Tamarind Institute’s collection of lithographs at around 10,000 (which the University Art Museum houses), then the stellar nature of the collection for both graduate seminars and scholarly research by faculty is more than clear.
From the beginning—though never more so than in the last academic year under the deft direction of
Electra Luanne MacKinnon and her excellent staff—the University Art Museum has featured commanding shows of more than regional significance. Such was the case, for example, with the innovative exhibit entitled “Man Ray: African Art and the Modernist Lens” (February 6—May 30, 2010), which also showed in the Philips Collection in Washington D.C. and was met with rave reviews in The New York Times, as well as elsewhere. During the duration of the exhibition, which drew record numbers of spectators to our museum, the Area of Art History collaborated with the University Art Museum to host a public lecture series worthy of the exhibition. This series featured talks by leading experts from other institutions (the
University of Maryland, Duke, and the New Mexico Museum of Art in Santa Fe), along with key presentations by UNM faculty members, including Associate Professor of Art History Kirsten Buick. The overall success of this show and series rivaled anything at UNM in the last twenty years and it is a harbinger
18 See: Highlights of the Collection, The University of New Mexico Art Museum (Albuquerque: UNM Art Museum, 2001). The Preface by former Director Peter Walch and the subsequent entries by various scholars like former Curator Kathleen Howe on major artworks at UNM elucidate well the unique strengths of the collection. 131 of things to come beginning in the Fall of 2010 when, yet again, the Department of Art and Art History will collaborate on a series of talks centered around the innovative exhibitions scheduled, beginning with a
Retrospective of the Photographs by former UNM faculty member Patrick Nagatani. This new and heightened relationship between the University Art Museum and the Department of Art & Art History is a sign of things to come.
Along with the array of museums in Albuquerque complimenting the University Art Museum—from the National Hispanic Center’s Art Museum and the Maxwell Anthropology Museum at UNM to the
Albuquerque Museum of History and Art—there is the extensive and often excellent collection of public artworks located on campus, thanks to the UNM Art in Public Places Committee, which has been primarily funded through the state government’s Art in Public Places program. Counting over 125 works in all by a diverse group of artists representing Chicano, Native American, Mexican, and Asian-American culture, as well as that of the mainstream art world based in New York, these monumental pieces at UNM include at least six that command international standing: Bruce Nauman’s installation The Center of the Universe
(1988), Luis Jiménez’s fiberglass sculpture Fiesta Dancers (1996), Jesús Guerrero Galván’s fresco in
Scholes Hall The Union of the Americas (1942/43), George Rickey’s kinetic sculpture Two Lines Oblique:
Variation 3 (1973), Bob Haozous’s installation Cultural Crossroads of the Americas (1996), and Youn Ja
Johnson’s granite fountain Homage to Grandmother (1994). As such, these works have been analyzed in thousands of essays by UNM students in classes like ArtH 101, ArtH 250, and ArtH 491.
132 E. New Technology in Electronic Arts
Paradoxes abound in the Area of Electronic Arts at UNM. It is a new program that already has very three accomplished faculty members who are making their mark both nationally and internationally in ways that bring distinction to the department. Moreover, as an Area, Electronic Arts is often seen as the cutting edge in MFA Programs trying to incorporate the advances of modern computer technology into contemporary artistic practice. Yet, the woefully inadequate classroom space at UNM and the equally unacceptable shortfall in the basic technology to which Electronic Arts has ready access pose some of the most serious challenges that our department faces right now. Certainly, the predicament of Electronic Arts reminds us yet again that, as the External Review Report of 2000 made clear, the inadequacy of the present
Art Building makes the pressing demand for a new, state of the art facility imperative in the near future.
Concerning the essential technology that must be purchased in advance of the department being given a new building, the following list has been complied by the Area of Electronic Arts:
Electronic Arts Equipment Needs List
Item Quantity Price Each Total
Mary Tsiongas, Area Rep for Electronic Arts
Spring 2010
1 MacBook Pro with AppleCare and video connectors 2 $2,296.00 $4,592.00
2 Mac Pro tower CPU's with monitors and AppleCare 8 $7,777.00 $62,216.00
3 Dell Precision WorksationT5500 with Monitors and Warranty 12 $4,804.02 $57,648.24
7 for Classroom and 5 for Render Farm 133 4 Adobe After Effects, purchase from UNM IT, 30 Mac versions and 7 PC 37 $214.00 $7,918.00
5 Cycling 74 MAX/MSP/Jitter 5 software 5 $2,097.00 $2,097.00
6 LaCie Networked Storage for server 10 TB space 1 $1,899.00 $1,899.00
7 Dell Windows Server for Render Farm from Dell 1 $13,408.98 $13,408.98
8 Deadline Render Management Software (1-25 nodes) 5 $175.00 $875.00
9 Cisco 8 port ethernet switch for Render Farm 1 $979.99 $979.99
10 Cat 6 ethernet cables for Render Farm 10 $3.49 $34.90
Grand Total $151,669.11
F. The Necessity of a New Art Building for the Department
This section will begin with the end of the 2000 Report of the Graduate Unit Review Committee for our
Department, which was written by Professors Elaine O’Neil of RIT, Cecilia Klein of UCLA, Mary Hu of the University of Washington in Seattle, and Jane Slaughter of UNM. In their conclusion, they stated:
The committee was astounded to find that the facilities which support a program that continues as an unquestioned leader in Art and Art History education are substandard when compared to almost any other program, at any level in the United States. The department is housed in a facility which is woefully out of date relative to the delivery of a contemporary curriculum, contemporary health and safety standards, and contemporary art practice (p.23).
134
As if to emphasize our case for a new building that has state of the art facilities as I begin this summation, nature gave me an added incentive when it flooded the Photo Area in the Art Building on July
27th. As Photo Lab Supervisor Michelle Evans showed me subsequently, the water dripping down the walls in the Photo Labs created extremely dangerous circumstances for our students, even as it came close to damaging thousands of dollars of high tech photo equipment that we can ill-afford to replace with our present budget. Is there another institution in the US where a program ranked in the top 5 nationally of its field faces a comparable problem?
Nothing would be gained were we to enumerate yet again the “horror show” of antiquated equipment and cramped classroom spaces confronting many of the studio areas in our present building.
In fact, we are “making do” as best we can and the results, nevertheless, are often quite impressive for all the inadequacy of the facility and the precariousness of the health situation for the students, according to
OSHA Regulations. BUT, let us face the fact of how much we need a new building that will allow us not only to maintain what we have, but also exceed what we have ever done before, even in a department known for exemplary accomplishments.
A new building with adequate facilities would enable us to measure ourselves against the previous standards already established by our department, thus challenging us in ways that we welcome.
135 7. The Department’s National Rankings for the MFA and PhD Programs [See Appendix D for Photocopies of the Rankings]
National rankings can always be overrated, but they should never be dismissed. This is an axiom that we embrace, since it gives us both hopeful signs and a chance to take stock in ways that encourage self- criticism. If we look back at the rankings in The US News and World Report included below, which cover the last 15 years (from 1995 to 2010), then there are both encouraging observations and sobering insights simultaneously. In 1995, the MFA Program was ranked No. 25 nationally, along with Washington
University in St. Louis. Moreover, two UNM Areas were ranked in the top five nationally: Photography at
No. 2 and Printmaking at No. 4.
In 1997, the MFA Program at UNM rose to No. 19 in the nation—one of its highest rankings ever— along with UCLA and the University of Wisconsin-Madison—and ahead of such legendary institutions as the University of Michigan-Ann Arbor, Ohio State, and the University of California-Berkeley. Yet, at the same time, only one area in studio remained in the top five nationally: Photography. Unfortunately, the Area of Printmaking began at this point a long slide in the reputation that we believe we have now begun to reverse with renewed ties to a rejuvenated Tamarind Institute and with a couple of outstanding hires
(Shauyra Kumar and Brooke Steiger), which we hope to augment with yet others in printmaking in the near future.
The year 1998 saw the MFA at UNM slide to a still very impressive No. 45 nationally (out of 350
MFA Programs)—in a tie with Cornell University, NYU, and UC-Berkeley, among others. Photography remained firm at No. 2 in the nation, even as no other area at UNM reached the top five. What happened between 1997 and 1998? The answer is surprising, since it revolves around a new way of ranking MFA
Programs. Before 1998, there were only 5 “classic” areas in studio art ranked: Ceramics, Painting/Drawing,
Photography, Printmaking, and Sculpture. With only one exception, these areas are of course all traditional strengths of our department.
136 In 1998, however, the national rankings included 8 categories—and these would expand to 12 in
2009—with the new cluster entailing 3 new areas that UNM did not have: Graphic Design, Industrial
Design, and Multimedia Communications (or what is now termed “Electronic Arts”). The response of our department was to add one of the three, while rejecting one area, “Graphic Design,” owing to its commercial connotations, and assuming perhaps (we did not discuss it) that the third “Industrial Design” was covered by the School of Architecture or perhaps the School of Engineering—though it is not clear why our students would have gained easily from these offerings on campus.
In 2005 and despite the fact that we covered only 5 of the 8 categories mandated by the rankings used in the US News and World Report Magazine, the MFA Program at UNM stayed at No. 45, along with
Cornell, NYU, and UC—Berkeley. Again, it was the Area of Photography that remained extremely high in the rankings at No. 2 nationally. In fact, this was the position of UNM’s MFA Program until 2009, when the above noted switch in rankings involved no longer 8 categories in studio, but 12. Of this 12 Areas, our department offers only 7 Areas: Photography, Painting/Drawing, Printmaking, Sculpture, Jewelry/Small
Metals, and Ceramics, the latter of which has been in a state of crisis for the last half decade at least--until
2010 with the addition of the Arita Porcelain Program. (See the discussion above of these changes). What are the five MFA areas not covered at UNM? They are the following: Fiber Arts, Glass, Graphic Design,
Industrial Design, and Interior Design. The question before us is clear enough. Should we consider adding faculty lines in any or all of these areas? Or should we simply continue to concentrate on the “classic areas”?
137 B. Graduate Programs in Latin American Art History (ALAA)
These 44 institutions offer opportunities for pursuing an MA in Latin American Art History--with 20 of these programs also offering a PhD. The list is organized alphabetically by institution and currently emphasizes programs in the United States; where not specified, the program offers a PhD in art history. This guide is intended as a bare-bones directory and does not generally include faculty in related fields (history, Spanish, anthropology, literature, Latin American and/or Iberian Studies, etc.). As the reader will see when persusing the following list, the University of New Mexico ranks second in the nation in terms of faculty lines committed to the PhD in Latin American Art History.
1. Arizona State University School of Art, Joint PhD with University of Arizona Emily Umberger, Pre-Columbian & Colonial Mesoamerica
2. California State University—Long Beach, California Art Department, M.A. only Catha Paquette, 19th & 20th Century Latin American, Pre-Columbian
3. City College of New York (The City University of New York) Art Department, M.A. only Anna Indych-López, Modern and Contemporary Latin American Art History
4. City University of New York—Graduate School of Art History Eloise Quiñones Keber, Pre-Columbian, Colonial Latin American Art Timothy Pugh (Anthropology), Pre-Columbian/Maya Katherine Manthorne, Art of the Americas, Modern Latin American, Latino Art Anna Indych-López, Modern and Contemporary Latin American Art
5. College of William and Mary Department of Art History MA and PhD in American Studies Susan Verdi Webster, Iberia and Colonial Latin America
6. Columbia University Department of Art History and Archaeology Kellie Jones, African American, African Disapora, Latin American Alessandra Russo, Colonial Latin America (Dept. of Spanish and Portuguese) Esther Pasztory, Pre-Columbian, Mesoamerica
7. Cornell University Department of History of Art and Visual Studies María Fernández, Modern and Contemporary Latin America
8. Emory University Art History Department Rebecca Stone, Ancient Andean and Central American art 138
9. Florida State University College of Visual Arts, Theatre and Dance Michael Carrasco, Mesoamerica, Maya and Mayan epigraphy
10. George Mason University Department of History and Art History, M.A. only Michele Greet, Modern Latin American Art History
11. Harvard University Dept. of History of Art and Architecture Thomas Cummins, Pre-Columbian and Latin American Art
12. New York University—Institute of Fine Arts Jonathan Brown, Viceregal, principally Mexican art Edward J. Sullivan, Latin American/Caribbean Modern Robert Lubar, Modern Latin American
13. Northern Illinois University School of Art, Department of Art History, M.A. only Jeff Kowalski, Pre-Columbian art
14. Rutgers, The State University of New Jersey Department of Art History Tatiana Flores, Modern and Contemporary Latin American Art
15. Southern Methodist University Art History Department Amy J. Buono, Colonial Latin America, esp. Brazil; Lusophone world Adam Herring, Ancient Americas and Colonial Latin American
16. Texas Christian University (TCU) Art History Department, M.A. only Lori Diel, Pre-Columbian and Colonial Latin American
17. Texas Tech University Art Department, M.A. only Constance Cortez, Associate Professor, Pre-Columbian & Spanish Colonial
18. Tufts University Dept. of Art and Art History, M.A. only Adriana Zavala, Modern and Contemporary Latin America ; Chicano/a; Latino/a
139
19. Tulane University Art Department MA in art history; PhD joint degree in Art History & Latin American Studies Florencia Bazzano, Modern, Contemporary Latin America Elizabeth H. Boone, Pre-Columbian, Colonial, Mesoamerica Roberto A. Gonzalez, Latin American, Pan-American and Border Architecture Thomas F. Reese, Colonial Latin American
20. University of Alberta, Edmonton, Alberta Department of Art and Design MA in Department of Art and Design; Interdisciplinary PhD M. Elizabeth (Betsy) Boone, 19th & 20th century Art and Visual Culture Odile Cisneros, Modernism and the Avant-Gardes, especially Mexico and Brazil Ann de Leon, Colonial Literatures and Cultural Studies
21. University of Arizona Department of Art, Joint PhD with Arizona State University Stacie Widdifield, Pre-Columbian through Modern
22. University of California, Los Angeles (UCLA) Department of Art History Cecelia F. Klein, Pre-Columbian and early Colonial Mesoamerica and Andes Charlene Villaseñor Black, Colonial and Modern Latin America, Chicano art David Kunzle, Professor Emeritus, Modern Latin American Protest Art
23. University of California, Riverside Department of Art History, M.A. only Stella Nair, Pre-Columbian and Colonial Andes Karl Taube, Pre-Columbian Mesoamerica
24. University of California, San Diego (UCSD) Department of Visual Arts Elizabeth Newsome, Mesoamerican Art History
25. University of California, Santa Barbara Dept. of History of Art & Architecture Jeanette Peterson, Pre-Columbian and Colonial Latin America Gerardo Aldana (art historian in Chicano Studies Dept), Pre-Columbian, esp. Mayan Guisela Latorre (art historian in Chicano Studies Dept), Modern/Chicano art, esp. murals
26. University of California, Santa Cruz Program in Visual Studies Carolyn Dean, Pre-Hispanic and Colonial Latin America Daniela Sandler, Modern Latin American Architecture
140 27. University of Colorado, Boulder Dept. of Art History, M.A. only James Cordova, Pre-Columbian and Colonial Latin American Art
28. University of Delaware Dept. of Art History Monica Dominguez Torres, Renaissance and Baroque Art of Hispanic World
29.University of Denver School of Art and Art History, Museum Studies, M.A. only Annabeth Headrick, Mesoamerican Visual Culture
30. University of Florida Department of Art History Maya Stanfield-Mazzi, Pre-Columbian and Colonial Latin America
31. University of Illinois, Urbana-Champaign School of Art and Design Irene Small, Modern and Contemporary Art in a transnational context; Brazilian art Oscar Vázquez, Late Colonial and Modern Latin America and Spain
32. University of Illinois, Chicago Art History Department Virginia Miller, Pre-Columbian Mesoamerica Ellen Baird, Pre-Columbian Mesoamerica/Spanish Colonial
33. University of Minnesota Department of Art History Angélica J. Afanador-Pujol, Pre-Columbian and Colonial Latin American Art
34. University of New Mexico, Albuquerque Department of Art & Art History Holly Barnet-Sánchez, Associate Professor, Chicano/Latin American Art Flora Clancy, Professor Emerita, Pre-Columbian Art David Craven, Distinguished Professor, Modern Latin American Art & Culture Margaret Jackson, Assistant Professor, Art of Ancient America Ray Hernández-Durán, Assistant Professor, Colonial Latin American Also: Michele Penhall, Adjunct Professor, Modern Latin American Photography Kristaan Villela, Research Fellow, Pre-Columbian Art Jennifer von Schwerin, Assistant Research Professor, Pre-Columbian Art
35. University of North Carolina, Chapel Hill Department of Art & Art History Eduardo Douglas, Pre-Columbian, Colonial, and Modern Latin America
141
36. University of St. Thomas, St. Paul Department of Art History, M.A. only William Barnes, Pre-Columbian and Colonial Latin America Heather Shirey, Afro-Brazilian art and art of the African diaspora
37. University of Southern California Department of Art History Daniela Bleichmar, Colonial/Trans-Atlantic Megan O’Neil, Art/Archaeology of Ancient Americas
38. University of Texas, Austin Dept. of Art & Art History Steve Bourget, South America-Moche Andrea Giunta, Modern Latin America Julia Guernsey, Mesoamerica-Preclassic Roberto Tejada, Modern Latin America David Stuart, Mesoamerica/Maya Hieroglyphic Writing Jacqueline Barnitz, Professor Emerita, Modern Latin American Art
39. University of Texas, San Antonio Dept. of Art & Art History, M. A. only Teresa Eckmann, Modern and Contemporary Latin America Elizabeth Olton, Pre-Columbian and Colonial Latin America Jacinto Quirarte, Professor Emeritus, Pre-Columbian Mesoamerica 40. University of Utah, Salt Lake City Department of Art History, M.A. only Elena Stromberg, 20th-century Latin American Art and Visual Culture 41. University of Wisconsin, Milwaukee Department of Art History, M.A. only Andrea Stone, Pre-Columbian Art 42. Virginia Commonwealth University Dept of Art & Art History James Farmer , Pre-Columbian/Ecuador & Peru, Southwest, Mesoamerica Margaret Lindauer, Museum Studies/Frida Kahlo Michael Schreffler, Colonial New Spain & Andes 43. Virginia Tech Environmental Design and Planning, College of Architecture and Urban Studies Humberto Rodríguez-Camilloni, South American Pre-Columbian & Spanish American Art & Architecture 44. Yale University Department of Art History Jaime Lara, Colonial Latin America/religion Mary Miller, Pre-Columbian Aztecs, Maya and Inca
142 8. The Department’s Strategic Direction in the Future
A. Current Strengths: The Year in Review, 2009/2010 and 2010 In Relation to the External Report of 2000
Many noteworthy changes have occurred over the last academic year and they are worth noting because they constitute a sort of rudimentary vision of where we seem to be heading in the future—a vision in the making that is articulated somewhat more in a series of statements below by various Areas in the Department of Art & Art History.
What are these gains over the last year and what do they mean in the long term? These advances are comprised of the following:
(1) The hiring of MacArthur Fellow Dave Hickey, one of the West’s foremost art critics, to teach in our department for the next few years;
(2) The hiring of Libby Lumpkin, also a noted critic and art historian, to a tenured Professorship;
(3) A signed agreement to have Hickey and Lumpkin work with the UNM Foundation, as well as our department, in creating a new Endowed Chair for a Distinguished Art Critic (see attached);
(4) The consequent expansion of the history and practice of art criticism within our MFA program to a level seldom rivaled anywhere else in the US;
(5) The relocation of the prestigious (and unique) Arita Porcelain Program into our department where it will be a core part of the BFA and MFA concentrations;
(6) The hiring of Kathryne Cyman (the premier protégé in the USA of Japanese Master Manji
Inouye Sensei) to a tenure-track position as an Assistant Professor;
(7) The infrastructural transformation of the entire Ceramics area, not just that of Porcelain Area-
-with financial help from Provost Ortega and the Interim Dean Linnell;
(8) The hiring of Shaurya Kumar, a dynamic new Assistant Professor of Printmaker, who will help us improve that Area through such things as rebuilding a bridge to the Tamarind Institute and
143 installing a much needed digital component within printmaking that will place us back in the national dialogue;
(9) The hiring of Assistant Professor Margaret Jackson, an award-winning national author, as our new Pre-Columbian expert to replace Dr. Jennifer von Schwerin;
(10) The dramatic upgrading of the Pre-Columbian Area in Art History (and thus of Latin
American Art History more generally) through such things as a graduate seminar led by Dr. Jackson that will involve advanced students in an exhibition of Mayan art accompanied by a book for the Los
Angeles County Museum of Art or LACMA in 2012;
(11) The granting of tenure to Dr. Justine Andrews in Medieval art, as well as Dr. Susanne
Anderson-Riedel in the History of Graphic Arts;
(12) New projects with Belinda Jentzen at the CFA Office of Development on consolidating our graduate fellowship money so that more well-funded grants can be offered, especially to our several international graduate students;
(13) New projects with Electra Luanne McKinnon, Director of the University Art Museum, to create a new and much more expansive way to fund lectures by visiting scholars brought in conjunction with exhibitions (as was the case with the scholars whom the Area of Art History sponsored during the excellent exhibition of Man Ray Photographs at the university museum);
(14) New projects with Director McKinnon on attracting new donations to the University Art
Museum—as happened when the Blanton Art Museum at UT-Austin gave 14 outstanding (and very expensive) lithographs by the celebrated Nicaraguan artist Armando Morales to UNM in return for a donation made by Craven to the Blanton;
(15) The recruiting of artist Neal Ambrose-Smith as an adjunct professor of non-toxic printmaking in the Art & Ecology Program--and we would like to recruit Ambrose-Smith, a Native
American artist, as a targeted hire on a tenure-track line to teach contemporary art by Native Americans;
144 (16) The expansion of Pueblo Pottery to two classes a year—with particular focus on the summer term—under the direction of Adjunct III Ceramics Instructor Clarence Cruz—another Native American artist whom we would also like to target-hire on a tenure-track line;
(17) The relocation of Oscar Caraveo into Ceramics on a full-time staff basis to oversee the
Ceramics Lab;
(18) The successful hiring of Justin Nighbert as Lab Manager in Mattox in order to provide continuity in 3D;
(19) The current reconfiguring of spaces in the Photo Lab, so as to provide a much better working space there, despite the recent damages from the rain;
(20) The expansion, as well as consolidation, of the departmental Research Fellows and
Assistant Research Professors Program (which is honorary, since it entails no salary, but only library privileges and computer support) to include for the coming year: Jennifer von Schwerin (who has already brought in over $50,000.00 in grant money for her archaeological project in Copán, Honduras),
Kristaan Villela (whose co-edited book on the Aztec Calender through the Getty in the spring of 2010 won acknowledgement for UNM), and Anna Bessler, a Ph.D. student in the Art History of Latin
America at Humboldt University in Berlin, who will be in residence in our department during the fall semester of 2010.
An immediate consequence of these transformative changes will be a major rise in the national profile of our already nationally ranked MFA Program and a comparable rise in the significant reputation for Latin American Art History within our Ph.D. program. This will be linked to the plan to raise money for an Endowed Chair in Art Criticism as follows:
The Endowed Chair in Art Criticism for the Department of Art & Art History in the College of Fine Arts will be established to attract one of the world’s leading critics of the visual arts to teach at UNM in a permanent capacity. (At the same time this faculty line could conceivably be used as a rotating endowed chair during certain periods in the future when that is deemed preferable to hiring any one critic permanently.) The multiple aims behind founding the Chair will entail 145 strengthening our instruction in the history of criticism, as well as in the practice of criticism and the analysis of contemporary art, for the MFA program in Studio Art along with the Ph.D. program in Art History. In addition, the well‐known author occupying this Chair will be of such statue and range as to be capable of teaching broad multi‐disciplinary classes on the arts in general for the entire College of Fine Arts. Internationally acclaimed publications, particularly award‐winning books, will be of fundamental significance in identifying the critic to whom this endowed Chair will be given. A serious commitment to teaching advanced graduate students in addition to undergraduate students will be of matching importance in selecting the holder of this Chair, as will a keen interest in mentoring students within the MFA Program first and foremost, but also in the Ph.D. Program in Art History and in other departments in the College of Fine Arts.
The Endowed Chair in Art Criticism will reside permanently in the Department of Art and Art History within the College of Fine Arts and will have a special role to play in the Studio areas of the department, though a broad‐ranging approach by the professor in this position will enable active engagement with the area of Art History plus other departments in the CFA. The selection process for this endowed chair will follow the standard selection process currently used in the Department of Art & Art History to hire new faculty members. A special search committee will be appointed by the department Chair for a line defined primarily as a studio line (4 faculty plus a graduate student) and the choice of the committee will involve a careful canvassing of faculty and students for their collective opinions concerning the choice of the person to be awarded the Endowed Chair in Art Criticism. The search committee will then recommend a choice to the Chair of the Department of Art & Art History and to the Dean of the College of Fine Arts for their confirmation in making the selection.
Finally, there has emerged a long-term and welcomed, if rather unexpected opportunity for our department, which promises to be beneficial for the entire secondary public educational system in New
Mexico. This is the new agreement we have signed with the College of Education to create a degree program for both the BFA and MFA that will lead to licensure to teach in the public system by all of our graduates in novel programs to be instituted in partnership with the College of Education at UNM.
What Type of Strategic Vision for the Department emerges from these developments and what tactics would allow us to consolidate this vision? Our answers to both these queries were of course built into the statements about the programmatic advances of the department discussed above, yet it would be worthwhile to conclude this section by revisiting the Report of the External Review Team that was presented to our department in 2000.
146 B. The Department in 2010 versus the Department in 2000
If we look back on the 2000 Report and assess our overall progress as a department since that time, there is both good news and bad news to report. Some of the problems we faced in 2000 have indeed been solved, some have not—such as the very obvious issue of a new building—and yet other new challenges have emerged over the last decade. We will begin by listing some of the handsome gains we have registered before we outline the ongoing problems we confront—problems that we simply must surmount if we are to maintain in the future the high caliber and national recognition of our MFA and PhD Programs that we enjoy at the moment.
First, there is excellent news in response to all the dire predictions of 2000 concerning the likely loss of all our best faculty members, because of very poor salaries at the time. This never happened. In fact, the exact opposite occurred, since as faculty retired (and only a few professors of modest accomplishment went elsewhere) the department both retained its emerging stars of the year 2000 and, with each new national search, has notably strengthened a whole succession of areas and sub-areas. Owing to some deft salary upgrades in the department by former Dean Christopher Mead, our faculty is now on average considerably stronger and far more well known internationally than it was in 2000—especially in the areas of Art History,
Ceramics, Painting/Drawing, and Printmaking. In Art History, for example, the current faculty in 2010 have published over 10 times as much as was true in 2000 and these publications have in some cases garnered international acclaim in ways that recall not the studies of the 1990s, but rather those of the “Golden Age” of the 1960s through the 1980s when the likes of Clinton Adams, Betsy Smith, Beaumont Newhall, and J.J.
Brody were all producing landmark texts and images. Furthermore, not only have the Areas of Latin
American Art History and Native American Art History flourished like never before over the last decade, but also—with the remarkable addition of MacArthur Fellow Dave Hickey and Dr. Libby Lumpkin this year—the Area of mainstream US Art History (which is anchored in New York City, Los Angeles, and
147 Chicago) from colonial to contemporary has undergone an unprecedented boost that will raise the national profile of both the PhD Program and the MFA Program. In short, our faculty in 2000 was nationally known, but the faculty in 2010 is internationally recognized.
Similar things can be said about the MFA graduate faculty in Studio Art (which includes Hickey and
Lumpkin playing central roles as contemporary critics). In 2010, the faculty in this interrelated set of seven areas—two of which did not exist in 2000—is on balance actually stronger, or at least more promising, than it was in 2000, despite the retirement of some truly excellent faculty members in Studio Art over the last decade. This is the case, owing to a whole series of quite successful searches that have brought in a new generation of “emerging stars” in every “traditional” area of studio—Painting/Drawing, Photo, Ceramics,
Printmaking, and Sculpture—plus, a very promising group of younger faculty in two new areas: Electronic
Arts and Art & Ecology. The only site of emergency in relation to personnel in our department is in the most signature program of studio, namely, photography. Why? Two major artists, Patrick Nagatani and
Joyce Neimanas, have both retired over the last couple of years and they have left a void, despite the fact that the three remaining faculty are all outstanding. Given the overflow of Photo MFA students—indeed, the overflow of MFA and PhD students in general in our department this fall—we must have at the very least four lines in that area to maintain it in a minimal manner. Hiring a fourth person in Photography is thus urgent.
Are other issues unaddressed in 2000 either by the Department Report or by the External Reviews’
Report that also demand an immediate response? Yes. The lack of a single tenured or tenure-track faculty member who is Native American in a department of almost 40 full time lines is simply inexcusable. The absence of a permanent Native American faculty member is all the more lamentable given both the otherwise respectable record of the department on diversity and also given the demographics of New
Mexico. Is there a set of quick solutions to this dilemma? Yes. The situation will, we hope, start to correct itself beginning this Fall when Instructor Aaron Fry of Laguna Pueblo files his dissertation—which,
148 incidently, is already contracted as a book by the University of Oklahoma Press—so that he, with the awarding of a PhD, can go from being an Instructor to being a tenure-track Assistant Professor. Moreover, there are striking opportunities to simply upgrade at least two other Adjunct Professors in our department to the status of tenure-track positions, so that we can literally increase the number of Native American faculty by 300% in one year, or to a modestly acceptable level by reasonable standards. These two faculty members are both superb artists and scholars of Native American cultures. Their names are Instructor Clarence Cruz,
MFA, from San Juan Pueblo, who teaches Pueblo pottery here at UNM already, and Instructor Neal
Ambrose-Smith, MFA, Salish, who already teaches Art History and Non-Toxic Printmaking at UNM. By hiring these two highly accomplished artists to our faculty on tenure-track lines, we could become a real
“world center” in Native American Art, as indeed we should be. Obviously, this would be only the first step in a larger process for establishing something like a more democratic and better demographic representation at UNM in our department. But, it would be a significant first step of historic importance.
A second issue brought up by the External Reviewers in 2000 involved both the extremely high caliber of graduate students at UNM and the surprisingly minimal level of funding for these students. Here we will simply quote from the Report in 2000 by Professors from UCLA, the University of Washington, and
Rochester Institute of Technology, which was sent to our Chair:
In many of the areas, the graduate students are the equal of their peers in the top programs in the country.
Strengths include academic ability, artistic talent, the geographic diversity from which students are drawn, and generally positive and appreciative student attitudes. Without any comments to the contrary, they say they come to UNM because of the faculty…. The application standards of the program are justifiably high and the admission process…thorough and fair. The policy of “limiting the number of students to ensure quality graduate education” permits an extraordinary amount of individualized faculty attention. Students are justifiably proud of their advancement through the program (p. 14).
149
Here again, the caliber of graduate student in 2010 is even higher than in 2000, though it was already impressive then. This means that the acceptance rate in Photo is often less then 5% (thus, it is harder to get into UNM to study Photography at the MFA level than it is to get into Harvard, Princeton, and Yale!), that the international students in Art History sometimes choose us over Ivy League Schools like Cornell and
Brown or public institutions like UT and Berkeley, and, finally, that the graduate students in all the other studio areas simply “march to the beat of a different drummer” in ways that guarantee long term creativity, yet in unexpected ways. But, here again, there is a level of accomplishment by our program beyond what one would not necessarily expect in the future--should we not improve in one key area. What area is this? It is the one that involves Fellowships of a type that are available only at the highest level—that is, only at
Carnegie Research Universities (VH). Our department has almost none of those Fellowships—which means we could recruit top students monetarily, as well as through the prestige of the faculty—by offering these exemplary students what other Research One Universities do: $15,000 to $20,000 a year for three to five years simply to work on their MFA (normally a 3 year degree) or on their PhD (normally a five year degree). Only when we our department has 7 to 10 Fellowships like this in Studio Art and 5 to 10 in Art
History will we be competing on a level playing field with all the other Research One Universities that all have such Fellowships for incoming graduate students.
One final issue of a much more structural nature needs to be addressed, if we are to respond adequately to the 2000 Report of the External Review team. One of their conclusions, until now little discussed either in the Department of Art and Art History or the College of Fine Arts, was: “The
Department should investigate becoming a School of Visual Art.” In other words: Why not de-centralize the
CFA into a School of the Performing Arts (Music, Dance, Theater, and Cinema) and a School of the Visual
Arts (Art, Art History, the Tamarind, and the University Art Museum)?
150 This would entail following the lead of the School of Architecture and it would involve a School of the Visual Arts of roughly comparable size. There are obviously arguments both for and against such a reconfiguration, but the process of considering these competing arguments should take place over a protracted period, so as to give due weigh to the various positions at issue and also to avoid the undue influence of current administrators who would place personal agendas over the long term interests of our department, as well as those of other departments. Certainly, one possible reason for establishing a School of the Visual Arts is added faculty cohesion and structural coherence in each of the two new schools.
Moreover, some people really think that considerable money could be saved as well through such a process of de-centralization and added concentration. Perhaps, perhaps not.
Yet another contention is that a new School of Visual Arts (based on the only department in the CFA with a doctoral program—indeed two doctoral-type programs) would be able to commit more single- mindedly to its two PhD programs and the very special demands that these necessitate. As it stands now in the CFA, the primary focus of Music, Dance, Theater, and Cinema is on producing teachers, while the over- arching focus of the Department of Art & Art History is often on producing the teachers of teachers, as only scholars and artists who teach in a doctoral program can do directly. There is not always a constructive situation in the CFA involving the programs committed to the visual arts and those dedicated to the performance arts. (Could this be fixed through the National Search for a New Dean of CFA in the fall of
2011?) This is the situation now, despite the fact that the faculty in our department deeply respect and admire individual faculty members in the performing arts. Thus, the issue here should not be one of personalities, but rather a structural one, and this is how the debate around this issue should take place were we to entertain it further.
151 Future Re-Configurations Based on the Provost’s New Criteria for Prioritization: A Challenge of the Present Linked with a New Vision of the Future
Already our different areas, especially in Studio Art, have begun to examine the relative contributions of each of the seven studio areas to see who is producing the most SCH and the largest number of graduate students relative to the number of graduate or permanent faculty in that area. This triangulated ratio will help us identify the area most susceptible to cuts, downsizing, or even elimination should the 5% budgetary cuts for the department be enacted during the Spring Semester of 2011 at UNM. Cuts to a given area will be voted on by the members of the all the different areas in the department, in order to insure that these cuts are arrived at in way that is democratic within the department—and that the majority view is precisely the one put forth by the department. Already the preliminary discussions have been going towards cuts based in the area with the largest faculty and the fewest students as outlined below. The lower the departmental ranking in these three areas, the more likely are cuts to that area:
The Ratio of Faculty Lines to Graduate Students & Undergraduate SCH In the Department of Art & Art History (Fall 2010)
SCH in Art History for 2009/2010: 6,831 and Grad Students: 41 SCH in Studio Art for 2009/2010: 8,501 and Grad Students: 52 Foundations SCH in Spring 2010: 246
1. Art History 11 Grad Faculty 3,449 SCH in Spring 2010 41 Grad Students in Fall 2010
2. Painting & Drawing 5 Grad Faculty 1,656 SCH in Spring 2010 14 Grad Students in Fall 2010
3. Photography 3 Grad Faculty 923 SCH in Spring 2010 15 Grad Students in Fall 2010
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4. Sculpture 3 Grad Faculty 562 SCH in Spring 2010 7 Grad Students in Fall 2010
5. Ceramics 2 (1.5 lines) Grad Faculty 333 SCH in Spring 2010 5 Grad Students in Fall 2010
6. Printmaking 2 Grad Faculty 246 SCH in Spring 2010 5 Grad Students in Fall 2010
7. Electronic Arts 3 Grad Faculty 277 SCH in 2010 3 Grad Students ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 8. Art & Ecology 4 (3.5 lines) Grad Faculty 126 SCH in Spring 2010 4 Grad Students in Fall 2010
153 Concluding Section: Visions of the Future Provided by Areas within The Department of Art & Art History (Painting & Drawing, Photography, Electronic Arts, Printmaking, Sculpture, and Art History)
1. Our Vision and Some Questions for the External Reviewers Concerning the Best Interests of the Department and the Area.
The Painting and Drawing Area (Michael Cook, Scott Anderson, Kathleen Jesse, Robin Ward, Baochi Zhang)
The area of Painting and Drawing has consistently generated the highest SCH of any studio area in the department of Art and Art History. We have done this in support of our department and our core curriculum (at the undergraduate level) and on behalf of our graduate students. But, this has left us with little flexibility to expand offerings and even exposed to cuts in class offerings, like the
Painting and Drawing Graduate Seminar. We five are forced to teach the same number of courses originally taught by 7 full time tenured/tenure track faculty members.
Our vision for the future includes the ability to offer topics courses that more closely mirror individual faculty studio practice/research interests and also to provide topics course that address a current or timely subject. We rarely are able to do this now for reasons previously explained. We feel this critical not only to keep our students current but to keep our faculty fresh. Many faculty members have dealt with this situation by incorporating current topics into the existing curriculum, but obviously the depth of the investigation is restricted.
We also hope to create an Endowed Chair in Painting and Drawing and to regain recently lost faculty lines, one of which could be devoted to 4‐6 visiting artists to the area a year. We would like to link a course to these visitors, which would address a specific approach to painting practice or geographic influence, and so forth.
154 2. A Vision of the Future for the Area of Photography (Manning, Neimanas, Salinger, Stone)
The photography program has a long tradition of scholarly artistic production instilling in its students the history of the medium, while pushing them to explore all the possible ways it connects to the contemporary practice of image making. Over the last few years, photography has been aggressively converting its curriculum and facilities to an almost completely digital practice, despite limited resources and a reduction in faculty. These changes have altered not only the ways our students go about making images, they are also continuing to alter the core of the practice as well. We are constantly reviewing our curriculum and developing new ways of teaching that embody fundamental transformations to the medium.
While retaining its dedication to the tradition of the discipline, the Area of Photography will explore the interconnectedness that the digital age is causing, thus bringing photography closer to the moving image, web‐based practices, and 3D imaging. Yet, most importantly, the Area will continue to develop contemporary artistic practice in all of the ways that relate to lens‐based imaging. Photography at UNM will continue to be a national leader in the field, offering the opportunity to study in small classes, as well as individually with advanced artists practicing in the field both at the technological edges and within the traditional core. Students will continue to gain a fundamental understanding not just of the technologies of the medium but of the artistic practice of photography in all of its varied forms.
To continue to achieve these goals, however, we will need to restore the number of faculty to at least four—but preferably five lines—in order to provide our students with the requisite access to artist/professors. In addition, we will need to improve our facilities substantially, thus giving students adequate access to the space, equipment, and software essential for image making at the highest level. In keeping with our role as one of the great public art programs among 155 national research universities, we will also begin to seek ways to make our graduate program free to all the candidates for an MFA who have been accepted into the program.
In sum, this means that the department must begin a search for a new tenure track line in photography no later than the Fall of 2011 and that efforts to create an Endowed Chair in
Photography must progress with maximum speed to insure the recruitment of a famous figure in the field within the next couple of years at the latest.
3. The Vision of Electronic Arts (Montgomery, Tsiongas, Valdés)
Electronic Arts is a small cutting-edge program within the Department of Art & Art History. Although it is a young and developing program, it is already on the way towards establishing an international reputation. Our current specializations in video, broadcast, immersive technology, physical computing, and open source hardware and software have received international attention. In the last two years, work produced by graduate and undergraduate students in these courses has garnered multiple international awards and been featured at world-renown venues such as Ars Electronica Center in Linz, Austria, and The Contemporary Museum in Baltimore. The vision is to grow the Electronic Arts program in such a manner that it can build on its early successes and effectively compete with nationally ranked programs at other universities. By offering curriculum that remains fresh and in conversation with the most current practices integrating art and technology we aim to foster a dynamic environment where the norm is creative innovation towards the development of new art forms. In the coming decade Electronic Arts aspires to become a hub of the University's research activities as they relate to artistic experimentation within a rigorous art practice that intrinsically overlaps with computing, engineering and other sciences. Electronic Arts seeks to significantly improve its teaching /research facilities, build its equipment resources, and increase student access to those facilities/resources. Improved and increased facilities, resources and access are essential, as they will enable us to better support existing course offerings, expand the curriculum in emerging art practices, and cultivate an environment where students can deeply engage with the medium. For example, an experimental non-traditional research laboratory with policies allowing students to work with discarded computers and other electronic hardware would enable our program to further develop robotics and open source based courses. To ensure research and teaching in Electronic Arts is well informed by and responsive to recent and emergent theory, we envision a dedicated Media Art Theorist/Historian to the program. A theorist with deep knowledge in the unique historical, social, cultural, political, philosophical and technological facets of this ever-evolving medium will provide knowledge required to support the sophisticated research and teaching needs of our developing graduate program.
156 4. A Vision for the Area of Printmaking (Kumar, Shimano, Steiger)
The printmaking area at UNM seeks to provide a complete studio experience to students, offering a curriculum that covers a wide range of traditional and contemporary printmaking processes including relief, intaglio, lithography, serigraphy, monoprint/ monotypes, non-silver photographic and digital techniques.
The vision of the area remains not only to honor the rich history and tradition of printmaking at
UNM, but also to carry forward it’s legacy by constant innovation and research by faculty, graduate and undergraduate students on both technical and conceptual fronts. The printmaking area strives to provide a clean, safe, and creative environment in which students are encouraged to explore and combine all techniques and processes of printmaking to create works that are innovative, challenging, and thought provoking.
Through its pedagogical approach, various outreach & community based projects and international print exchange projects, the area of printmaking hopes to continually encourage interdisciplinary and collaborative practices among its students, and with those in other departments across campus, the community of Albuquerque and New Mexico, and the printmaking societies around the world.
157 SCULPTURE PAST: PRELUDE TO A “VISION” (Babcock, Barry, DeJong)
For over a decade the sculpture area has undergone dramatic structural shifts. Initially part of a five faculty 3 lab conglomerate known as “3-D,” which was comprised of ceramics (2 faculty) sculpture
(2 faculty) and small metals (1), it offered a full undergraduate curriculum in spatial practices and shared oversight of a graduate program. Out of this lab based structure emerged Art and Ecology, an interdisciplinary practice devoted to land based practice and theory. This was very much in keeping with college and university initiatives. The unfortunate side effect was that the sculpture and ceramics labs struggled to provide discipline-specific curriculum with single faculty members remaining in each lab.
While the small metals lab has always been relatively autonomous, it, and the other two labs relied on soft money to maintain full curriculum. Ceramics eventually split off from the area. Growth had produced some problems. Luckily, two very important hires offset these growing pains. The department approved to consolidate the foundations curriculum into a cross-disciplinary model relieving the sculpture area of 3-D design and P&D of 2-D design. This initiative provides great hope of moving our undergraduate program into a model more in line with contemporary practice. The return of a second line in the sculpture lab restores our area to its initial strength and while not exactly growth allows the area to consider the future from a position of stability. This however will be short lived with the pending retirement of the senior faculty member in the area in the midst of budget cuts.
VISION
The 3D area currently maintains two largely separate programs, each with a lab (one for small scale production, one large scale) that provides comprehensive instruction in woodworking, metal casting and fabrication. We would like to merge these two programs to function more smoothly as one area, maintaining 3 full time faculty members in order to continue to offer a rigorous approach to hand 158 and machine skills necessary to shape a wide range of materials. We would like to expand the curriculum and labs to include technical instruction in 3D digital modeling, cutting and printing, kinetics and robotics without sacrificing more intuitive material handling approaches. It should be noted that besides this important technical training our area has been the center of instruction in modern and postmodern practices associated with space. This includes performance, body art, installation, public art, art activism and all things spatial. Hence, we are by necessity interdisciplinary, often sharing students with all areas of the department.
We will continue to encourage an interdisciplinary model of instruction in order to support and expand the recent initiatives in 3D Foundations. The formation of Art and Ecology is a good indicator of how we have attempted to accommodate expansion of our discipline, as is our deep associations with the
Electronic Arts labs. Historically we share many students with these new areas, and portions of the work are inevitably executed in more than one facility. We anticipate, with the proliferation of cross- disciplinary practice, that our supportive role will make it ever more critical that we maintain top quality physical labs. The sculpture woodworking, metal fabrication and casting labs effectively serve the interdisciplinary model of instruction now established in foundations. Our departmental goals can be maintained in upper level classes alongside, and not at the expense of, discipline-specific teaching. Both approaches are necessary, mutually beneficial and together will provide instruction that is in keeping with the varied nature of current art practices. Faculty need to be able to develop courses that are focused not only on the epicenter of a specific discipline, but also on its edges and on the overlapping with other areas to promote the kind of flexible thinking that fosters creative problem solving.
A solid core curriculum structure needs to be surrounded by a more responsive, fluid, and changing array of approaches. Interconnectivity between areas can be shaped by curriculum design that creates threads linking courses in different areas, concentrations such as Public Practice, Sustainability, or Diversity Studies. Having completed a series of linked, inter-area courses, a student could, for
159 example, graduate with a degree in Spatial Practices with an emphasis in Sustainability. This curriculum model is ideal in a time when many graduates of the university may have to string together many part time or successive short term jobs, and will need not only solid marketable skills but a familiarity with the sort of nimble, strategic and resourceful thinking that is alert to areas of overlap and convergences.
In the long term, when our new fine arts building is planned, the 3D or Spatial Practices Area will be envisioned with attention to the way that floor plan promotes shared access and flexibility and can foster an interdisciplinary approach to making. Pooling resources among areas may reduce redundancy, increase efficiency, and allow for more full time staffing plus the oversight of labs that depend heavily on soft money.
160 6. A Vision for the Area of Art History (Andrews, Anderson-Riedel, Barnet-Sanchez, Buick, Craven, Fry, Hernández-Durán, Jackson, Lumpkin, Mead, Szabo, Zuromskis)
Among the things that define our vision of the future, beyond simply maintaining the excellence of the programs already in place are the following:
1) Hiring a tenure-track professor in Classical Antiquities (Ancient Africa, the Middle East, Greece, and
Rome), who could provide support for both Art of the Modern World and the Arts of the Americas—where the visual discourses of the Ancient Mediterranean still loom large in the Americas in many respects.
2) Hiring an expert in Asian Art, so that we can begin becoming as fundamentally trans-Pacific in orientation as we are already trans-Atlantic, thus also complimenting the new Arita Program in Studio Art.
3) Developing joint Masters Degrees with other Departments, such as those of Foreign Languages and
Literatures or Philosophy, so that we could attract graduate students who wish to have a dual graduate degree in German and Art History, or French and Art History, among many other appealing options. Such a set of programs could also entail sharing faculty members with the Department of Foreign Languages and
Literatures or other departments.
4) Hiring another tenure-track professor in contemporary art by Native American Artists, thus further consolidating our pre-eminence nationally in this domain of scholarship.
5) Putting in place a series of at least 10 to 12 Research Assistantships ($15K to $20K a year for 4 to 5 years) for advanced graduate students in Art History, each of whom would be attached to a different permanent faculty member.
6) Instituting a campus wide at UNM for all students a $50 a year fee for the arts that would go to the various departments in the CFA and also to the University Art Museum.
161 In drawing upon the Area Visions articulated above, these are the questions that we would like to pose to the External Reviewers?
1. Should the Department add some new areas, like Fiber Arts and Graphic Design, in order to keep up with the expanding set of areas being instituted by other leading MFA Programs in the nation?
2. What areas, if any, should be consolidated in a different manner within our department than they are at present?
3. What in your view would be some of the key considerations for designing a new building to house our department, along with other disciplines like Theater, Dance and Cinema?
4. What are some new ideas for gaining the funds to create more high-end Graduate Fellowships?
5. Should the department change its name to the “Department of Art, Art History, and Visual Culture,” thus acknowledging more precisely the actual scope of what we already do any way?
6. For the Area of Painting & Drawing, the question(s) boil down to the current economic conditions and finite resources. The questions are these: Should an area that generates the foundation of SCH for the studio area of the department continue to carry areas that do not have comparable demand or significant student interest? Should there be a re-allocation of existing resources that recognizes this inequity? Should we continue in the same way to limit our offerings because of this situation? Should we cut courses with high student demand within our area and reorganize?
7. For the Area of Art & Ecology, the question is: How successful is the department (and the College of Fine Arts) in supporting interdisciplinary and collaborative practices, specifically in terms of providing faculty and students with lab space, funding creative research, facilitating interdisciplinary teaching within and beyond the department and college, and crediting various forms of exhibiting/publishing? How could the department and college do these things better?
162 Appendix One—
A LIST OF ALL CLASSES CURRENTLY OFFERED BY THE DEPARTMENT
Art History (ARTH) The following courses, 101, 251, 201, 202 and 250, are strongly recommended to all students in the study of art history and related studio areas.
101. Introduction to Art. (3) 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 (NMCCN 1013). {Fall, Spring}
201. History of Art I. (3) Prehistoric, Near Eastern, Egyptian, Greek, Roman, Early Christian, Byzantine, Romanesque and Gothic Art. Meets New Mexico Lower‐Division General Education Common Core Curriculum Area V: Humanities and Fine Arts (NMCCN 2113). {Fall}
202. History of Art II. (3) Western Art from the Early Renaissance to Impressionism. Meets New Mexico Lower‐Division General Education Common Core Curriculum Area V: Humanities and Fine Arts (NMCCN 2123). {Spring}
204. Greek Civilization. (3) (Also offered as HIST, PHIL 204.) An interdisciplinary introduction to the ancient world as the foundation of modern civilization. Lectures on classical art, history, literature and philosophy.
205. Roman Civilization. (3) (Also offered as CLST, HIST, PHIL 205.) An interdisciplinary introduction to ancient Rome. Lectures on Roman literature, history, art and philosophy.
210. History of Photography. (3) A survey tracing the historical and cultural impact of photography, including artistic, scientific, documentary, commercial, and vernacular images. {Offered upon demand}
250. Modern Art. (3) Craven Major stylistic developments of European and American painting and sculpture from Impressionism to approximately World War II. {Fall, Summer}
251. Artistic Traditions of the Southwest. (3) 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. {Offered upon demand}
252. Contemporary Art and New Media. (3) This course surveys the roots and evolution of what is now regarded as New Media and Contemporary Art, those pioneering new forms and technologies that often blur the boundaries between art, science, and technology.
303. Asian Art. (3) An introduction of prominent visual forms in Asia known over time (Neolithic to modern period). The slide lectures survey different artistic media according to region in historical and cultural contexts. {Offered upon demand}
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315. Ancient Art. (3) Architecture, painting, and sculpture from 1800 B.C. to 6th century A.D.
321. Early Medieval Art, 500–1000 C.E. (3) 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 500 to 1000 C.E. {Offered upon demand.}
322. High Medieval Art, 1000–1200 C.E. (3) 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. {Offered upon demand.}
323./567. [261./567.] World Architecture I: History of the Built Environment from PreHistory to 1400 CE. (3) (Also offered as ARCH 321./523.) Lecture survey of the architectural and urban traditions of ancient and indigenous cultures from prehistory to the late middle ages. Restriction: enrolled in B.A.A. or B.F.A. ARTH.
324./568. [262./568.] World Architecture II: History of the Built Environment From 1400 CE to the Present. (3) Mead (Also offered as ARCH 322./524.) Survey of the architectural and urban traditions of the modern world from the renaissance to the present. Prerequisite: 323. {Spring}
*330. Renaissance Art and Architecture. (3) Survey of visual culture of the thirteenth through sixteenth centuries in Italy, as well as Northern Europe. Interactions with Byzantium, the Islamic world, and Spain will also be considered.
*340. Baroque Art. (3) Painting, sculpture and architecture of the 17th‐century European masters, such as Bernini, Rubens, Velasquez, Poussin and Rembrandt, are examined against their background of religious and political conflict, theoretical dispute and the rise of modern science.
*343. PreColumbian Architecture. (3) (Also offered as ARCH 363.) North, South and Mesoamerican pre‐Columbian architecture, with emphasis on the cultural background of ancient civilization. {Offered upon demand}
*352. Renaissance Art in Northern Europe. (3) Northern European art from the late 14th century through the 16th century.
402./502. Native American Art I. (3) (Also offered as ANTH 401.) Archaeological and historic art forms of the Arctic Northwest coast and the eastern woodlands of North America. {Fall}
405./505. PreHistoric Art. (3) Prehistoric art and architecture of the Mediterranean Basin from the Paleolithic Period to the Bronze age.
406./506. Native American Art II. (3) (Also offered as ANTH 403.) Archaeological and historic art forms of the Plains, Southwest and western regions of North America. {Spring}
407./507. Museum Practices. (3 to a maximum of 6) (Also offered as ANTH 402, MSST 407. ) History, philosophy and purposes of museums. Techniques and problems of museum administration, education, collection, exhibition, conservation and public relations. {Offered upon demand} 4
11./511. PreColumbian Art: Mesoamerica. (3) The art of Mexico and Central America prior to the 16th century. {Fall}
412./512. PreColumbian Art: South America. (3) Arts of the Andean region prior to the 16th century. {Spring} 164
415./515. Modern Native American Art. (3) Late 19th century through the present, includes painting and photography as well as media more often termed traditional. Examines historical background and current critical issues including the impact of stereotypes and the marketplace. 416. Southwestern Native Ceramics. (3) This course examines Native Southwestern ceramics from the archaeological past to the present. Regional developments, changes in ceramics made for internal use and for outside sale, as well as issues of the contemporary market are investigated. {Offered periodically}
417./517. Seminar in Native American Tourists Arts. (3) Long undervalued, Native arts made for outside sale provide multi‐voiced narratives. Seminar‐format will examine the intrinsic, aesthetic value of these complex arts, their roles and their importance to creators, purchasers and various audiences.
420./520. History of Graphic Arts I. (3) Printmaking, printing and book illustration from Gutenberg to Goya, presenting the graphic arts as an expression of intellectual history and the precursor of photography. Provides an introduction to the curatorship of prints and books.
421./521. History of the Graphic Arts II. (3) Printmaking, printing and artists’ books from Goya to present. Including the graphic arts and photography, the rise of the ideas of the original print, 20th‐century mixed media and the relationship between words and images. {Spring}
422./522. Contemporary Architecture. (3) (Also offered as ARCH 425./525.) This experimental seminar provides a forum in which to discuss the theoretical issues and critical diversity of contemporary architecture of the last 30 years. Restriction: enrolled in B.F.A. ARTH or B.A.A. ARCH. {Offered upon demand} 423./523. Frank Lloyd Wright and American Architecture. (3) Mead (Also offered as ARCH 423.) This seminar examines the origins, principles, practitioners, consequences of an American tradition of architecture that Frank Lloyd Wright called organic. Restriction: permission of instructor. {Offered upon demand}
425./525. 19thCentury Photography. (3) An in‐depth study of historical, critical, and theoretical issues in American and European photographic visual culture from its inception to approximately 1914. {Offered upon demand}
426./526. 20thCentury Photography. (3) An in‐depth study of historical, critical, and theoretical issues in American and European photographic visual culture from 1914 to approximately 1980. {Offered upon demand}
427./527. Contemporary Photography. (3) An in‐depth study of recent photographic visual culture, from approximately 1980 to the present. Emphasis on how images are deployed and understood as efforts to explore artistic, cultural, political, social, and theoretical issues. 429. Topics in Art History. (13, no limit) Δ Course work determined by specific students’ request or by the professor’s current research. {Offered upon demand}
431./531. Byzantine Art and Architecture. (3) This course will explore the worship and display of art and architecture from the Byzantine Empire with a specific emphasis on the cross‐cultural connections among Byzantium, Medieval Europe, the Islamic world, and the Armenian Kingdom.
432./532. Islamic Art and Architecture. (3) An introduction to the visual culture of the Islamic world from its foundations in the seventh century on the Arabian Peninsula to its flowering under Ottoman and Mughal rule in the seventeenth century.
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449./549. Art of Spain. (3) Survey of Spanish art and civilization.
450./550. Spanish Colonial Art. (3) Architecture, sculpture and painting in the period of Spanish colonization and the relation of these art forms to both the Spanish and the native Indian traditions. {Offered upon demand}
453./553. African American Art. (3) (Also offered as AFST 453.) This class provides an overview of African American artists and contextualizes their creativity within the wider framework of U.S. art. What, for example, are the benefits and pitfalls of assigning race to any creative practice?
463./563. Modern and Contemporary Architecture. (3) (Also offered as ARCH 422./522.) Survey of modern architecture since the late 19th century, primarily in Europe and the Americas. Prerequisite: 323 or 324. Restriction: enrolled in M.F.A. ARTH or M. ARCH. {Spring}
464./564. European Art 17501830. [European Art 1750–1848.] (3) Painting, sculpture and architecture in France, England, Spain and Germany from the twilight of Absolutism through the Industrial and French Revolutions.
472./572. American Art: 1675–1875. (3) 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.
476./576. Chicano Art: A History of an American Art Movement 1965 to Present. [Chicano Art: A History of an American Art Movement 1965–1995.] (3) Barnet Chicano art began in Mexican American communities in support of the civil rights movement, becoming a national art movement with international scope. Discourses of form, content, institutional practice, tradition, innovation, mythic constructs, political/cultural engagement. {Offered upon demand}
479./579. American Art: 1876–1940. (3) Visual culture from Reconstruction to World War II including works by Eakins, Stieglitz, Douglas and O’Keeffe. Traces the emergence of American Impressionism, early Modernism and Regionalism and explores their engagement with political, cultural and social debates.
481./595. European Art 18301900. [European Art 1848–1900.] (3) Painting and sculpture in France, England and Germany from Courbet’s Realism and the Victorian Pre‐Raphaelites through Impressionism and the late works of Cezanne and Monet.
*484. Evaluating the Arts. (3) (Also offered as DANC, MUS, MA, THEA 484.) Examines the practice of criticism, with emphasis on critical processes that penetrate a variety of art forms. Also explores aesthetic theories and cultural outlooks that underpin practical criticism. Restriction: permission of instructor.
485./585. Seminar in Museum Methods. (3 to a maximum of 6) Δ (Also offered as MSST, ANTH 485.) Theoretical and practical work in specific museum problems. Prerequisite: 407 or ANTH 402. {Offered upon demand}
486./586. Practicum: Museum Methods. (3) (Also offered as MSST, ANTH 486.) Practicum in museum methods and management. Prerequisite: ARTH 407 or ANTH 402. Restriction: permission of instructor. {Offered upon demand}
487./587. Contemporary Interdisciplinary Topics. (3 to a maximum of 6). (Also offered as DANC, MA, MUS, THEA 487). Analyzes major instances of interdisciplinary influence and collaboration in the present day. 166 Restriction: permission of instructor.
488./588. The Arts of Mexico, 1810–1945. (3) Art movements, themes, mediums, institutions and individual artists who were influential in the formation of modern Mexico’s complex artistic identity between its War of Independence and the end of World War II. {Alternate Falls}
489./589. The Arts of Mexico, 1945–1990. (3) Post‐war developments in modernism and post‐modernism. Established and innovative artistic practices, organizations and movements. {Alternate Springs}
490./590. Muralism in the Americas, 1920Present. [Muralism in the Americas, 1920–1995.] (3) A History of muralism from the Mexican mural movement to the depression‐era United States, the emergence of U.S. civil rights muralism in the 1960s and parallel developments in the Caribbean, Central and South America. {Offered upon demand}
491./591. Late 20thCentury Art. (3) Painting and sculpture, 1940 to the present. Prerequisite: 250.
492./592. American Landscapes. (3) The class provides an examination of how densely populated American environments were reinterpreted by Europeans upon contact in the process of designing and implementing various systems for their habitation, exploitation, and consumption.
493./593. The Art of Latin America, 1820–1945. (3) Barnet, Central and South American art from independence to the end of World War II. Chronological, thematic and institutional developments from national and regional perspectives in addition to themes, styles, movements and other issues of continental significance. {Alternate Falls}
494./594. The Art of Latin America, 1945–1990. (3) Barnet, Central and South American post‐war modernism and post modernity examined through issues of theme, style and medium, including contemporary artistic practices such as conceptual and installation art. {Alternate Springs}
496. Undergraduate Tutorial. (3, no limit) Δ Individual investigation or reading under faculty direction. Restriction: permission of instructor. {Fall, Spring}
499. Honors Thesis. (36) Directed independent study in a field of special interest culminating in a written thesis. Open only by invitation to departmental honors candidates. {Fall, Spring}
500. Philosophy and Methods of Art History. (3) 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. Prerequisite for others: permission of instructor. {Fall}
502./402. Native American Art I. (3) (Also offered as ANTH 501.) Archaeological and historic art forms of the Arctic Northwest coast and the eastern woodlands of North America. {Fall}
503. Introduction to Graduate Studies. (3) Introduction to methodologies, research tools, bibliographies, standard reference works and critical writings about recent art for the studio student. Open only to studio graduate students in the Department of Art and Art History.
505./405. PreHistoric Art. (3) 167 Prehistoric art and architecture of the Mediterranean Basin from the Paleolithic Period to the Bronze age.
506./406. Native American Art II. (3) (Also offered as ANTH 503.) Archaeological and historic art forms of the Plains, Southwest and western regions of North America. {Spring}
507./407. Museum Practices. (3 to a maximum of 6) (Also offered as ANTH 582, MSST 507.) History, philosophy and purposes of museums. Techniques and problems of museum administration, education, collection, exhibition, conservation and public relations. {Offered upon demand}
511./411. PreColumbian Art: Mesoamerica. (3) The art of Mexico and Central America prior to the 16th century. {Fall}
512./412. PreColumbian Art: South America. (3) Arts of the Andean region prior to the 16th century. {Spring}
515./415. Modern Native American Art. (3) Late 19th century through the present, includes painting and photography as well as media more often termed traditional. Examines historical background and current critical issues including the impact of stereotypes and the marketplace. {Offered periodically}
516./416. Southwestern Native Ceramics. (3) This course examines Native Southwestern ceramics from the archaeological past to the present. Regional developments, changes in ceramics made for internal use and for outside sale, as well as issues of the contemporary market are investigated. {Offered periodically}
517./417. Seminar in Native American Tourists Arts. (3) Long undervalued, Native arts made for outside sale provide multi‐voiced narratives. Seminar‐format will examine the intrinsic, aesthetic value of these complex arts, their roles and their importance to creators, purchasers and various audiences.
520./420. History of Graphic Arts I. (3) Printmaking, printing and book illustration from Gutenberg to Goya, presenting the graphic arts as an expression of intellectual history and the precursor of photography. Provides an introduction to the curatorship of prints and books.
521./421. History of the Graphic Arts II. (3) Printmaking, printing and artists’ books from Goya to present. Including the graphic arts and photography, the rise of the ideas of the original print, 20th century mixed media and the relationship between words and images. {Spring}
522./422. Contemporary Architecture. (3) (Also offered as ARCH 525./425.) This experimental seminar provides a forum in which to discuss the theoretical issues and critical diversity of contemporary architecture of the last 30 years. Restriction: enrolled in M.F.A. ARTH or M. Arch. {Offered upon demand}
523./423. Frank Lloyd Wright and American Architecture. (3) (Also offered as ARCH 529.) This seminar examines the origins, principles, practitioners, consequences of an American tradition of architecture that Frank Lloyd Wright called organic. Restriction: permission of instructor. {Offered upon demand}
525./425. 19thCentury Photography. (3) An in‐depth study of historical, critical, and theoretical issues in American and European photographic visual culture from its inception to approximately 1914. {Offered upon demand}
526./426. 20thCentury Photography. (3)
168 An in‐depth study of historical, critical, and theoretical issues in American and European photographic visual culture from 1914 to approximately 1980. {Offered upon demand}
527./427. Contemporary Photography. (3) An in‐depth study of recent photographic visual culture, from approximately 1980 to the present. Emphasis on how images are deployed and understood as efforts to explore artistic, cultural, political, social, and theoretical issues. {Offered upon demand}
529. Topics in Art History. (13, no limit) Δ {Offered upon demand}
531./431. Byzantine Art and Architecture. (3) This course will explore the worship and display of art and architecture from the Byzantine Empire with a specific emphasis on the cross‐cultural connections among Byzantium, Medieval Europe, the Islamic world, and the Armenian Kingdom.
532./432. Islamic Art and Architecture. (3) An introduction to the visual culture of the Islamic world from its foundations in the seventh century on the Arabian Peninsula to its flowering under Ottoman and Mughal rule in the seventeenth century.
549./449. Art of Spain. (3) Survey of Spanish art and civilization. {Offered upon demand}
550./450. Spanish Colonial Art. (3) Architecture, sculpture and painting in the period of Spanish colonization and the relation of these art forms to both the Spanish and the native Indian traditions. {Offered upon demand}
551–552. Problems. (23 to a maximum of 6 hours) {Fall, Spring}
553./453. African American Art. (3) This class provides an overview of African American artists and contextualizes their creativity within the wider framework of U.S. art. What, for example, are the benefits and pitfalls of assigning race to any creative practice?
558. Seminar in PreHistoric Art. (3) The seminar concentrates on the theoretical questions engendered by the earliest prehistoric cultures; the origin and generation of meaning; the primacy of language; the affinities between language and image; the politics of the Great Goddess and reception theory; and modern uses of prehistory and ethnography.
559. Seminar in Native American Art. (3, no limit) (Also offered as ANTH 509.)Restriction: permission of instructor. {Offered upon demand}
560. Seminar in PreColumbian Art. (3 to a maximum of 15) Aspects of Pre‐Columbian art, architecture, and culture in Mesoamerica and South America are examined in depth. Prerequisite: 511 and 512. {Offered upon demand.}
563./463. Modern and Contemporary Architecture. (3) (Also offered as ARCH 522./422.) Survey of modern architecture since the late 19th century, primarily in Europe and the Americas. Restriction: enrolled in M.F.A. ARTH or M.Arch. {Offered upon demand}
564./464. European Art 17501830. [European Art 1750–1848.] (3) Painting, sculpture and architecture in France, England, Spain and Germany from Absolutism through the Industrial & French Revolutions.
567./323. World Architecture I: History of the Built Environment From Prehistory to 1400 CE. (3) (Also offered as ARCH 523./321.) Survey of the architectural and urban traditions of ancient and indigenous cultures from prehistory to the late middle ages. Restriction: enrolled in M.F.A. {Fall}
169 568./324. [568./262.] World Architecture II: History of the Built Environment From 1400 CE to the Present. (3) (Also offered as ARCH 524./322.) Survey of the architectural and urban traditions of the modern world from the renaissance to the present. Prerequisite: 323. {Spring}
572./472. American Art: 1675–1875. (3) 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.
576./476. Chicano Art: A History of an American Art Movement 1965 to Present. [Chicano Art: A History of an American Art Movement 1965–1995.] (3) Chicano art began in Mexican American communities in support of the civil rights movement, becoming a national art movement with international scope. Discourses of form, content, institutional practice, tradition, innovation, mythic constructs, political/cultural engagement. Suggested prerequisite: 479. {Offered upon demand}
579./479. American Art: 1876–1940. (3) Visual culture from Reconstruction to World War II including works by Eakins, Stieglitz, Douglas and O’Keeffe. Traces the emergence of American Impressionism, early Modernism and Regionalism and explores their engagement with political, cultural and social debates.
580. Seminar in Spanish Colonial Art. (3, no limit) Prerequisite: 450. {Offered upon demand.}
581. Seminar in Early Modern Art 1750–1900. (3 to a maximum of 12) Prerequisite: 481. {Offered upon demand.}
582. Seminar in 20thCentury Art. (3, no limit) Prerequisite: 491. {Offered upon demand}
583. Seminar in Modern/Contemporary Latin American Art History. (3, no limit) Restriction: permission of instructor. {Offered upon demand}
584. Problems in Interdisciplinary Studies. (3 to a maximum of 6)(Also offered as MUS, THEA 584 and MA *485.) An independent study in either critical studies or studio, beyond the scope of the Fine Arts interdisciplinary courses, which may occur within or outside the College of Fine Arts. Restriction: permission of instructor. {Fall, Spring}
585./485. Seminar in Museum Methods. (3 to a maximum of 6)(Also offered as MSST, ANTH 585.) Prerequisite: 407 or ANTH 402. {Offered upon demand}
586./486. Practicum: Museum Methods. (3 to a maximum of 6)(Also offered as MSST, ANTH 586.) Practicum in museum methods and management. Prerequisite: 585 or ANTH 585. Restriction: permission of instructor. {Offered upon demand}
587./487. Contemporary Interdisciplinary Topics. (3 to a maximum of 6)(Also offered as DANC, MUS, THEA 587 and MA *487.) Analyzes major instances of interdisciplinary influence and collaboration in the present day. {Spring}
588./488. The Arts of Mexico, 1810–1945. (3) Art movements, themes, mediums, institutions and individual artists who were influential in the formation of modern Mexico’s complex artistic identity between its War of Independence and the end of World War II. {Alternate Falls}
589./489. The Arts of Mexico, 1945–1990. (3) Post‐war developments in modernism and post‐modernism. Established and innovative artistic practices, organizations and movements. {Alternate Springs}
170 590./490. Muralism in the Americas, 1920Present. [Muralism in the Americas, 1920–1995.] (3) History of muralism from the Mexican mural movement to the depression‐era United States, the emergence of U.S. civil rights muralism in the 1960s and parallel developments in the Caribbean, Central and South America. {Offered upon demand}
591./491. Late 20thCentury Art. (3) Painting and sculpture, 1940 to the present. Prerequisite: 250.
592./492. American Landscapes. (3) The class provides an examination of how densely populated American environments were reinterpreted by Europeans upon contact in the process of designing and implementing various systems for their habitation, exploitation, and consumption.
593./493. The Art of Latin America, 1820–1945. (3) Central and South American art from independence to the end of World War II. Chronological, thematic and institutional developments from national and regional perspectives in addition to themes, styles, movements and other issues of continental significance. {Alternate Falls}
594./494. The Art of Latin America, 1945–1990. (3) Central and South American post‐war modernism and post‐modernity examined through issues of theme, style and medium, including contemporary artistic practices such as conceptual and installation art. {Alternate Springs}
595./481. European Art 18301900. [European Art 1848–1900.] (3) Painting and sculpture in France, England and Germany from Courbet’s Realism and the Victorian Pre‐Raphaelites through Impressionism and the late works of Cezanne and Monet.
599. Master’s Thesis. (16, no limit) Δ Offered on a CR/NC basis only. {Fall, Spring}
699. Dissertation. (312, no limit) Δ Offered on a CR/NC basis only. {Fall, Spring}
171 Art Studio (ARTS)
Major Courses All 100‐level studio courses, with the exception of 188, carry no prerequisites and are designed for both students who have a general interest in art as well as students who plan on majoring or minoring in an area. Basic drawing concepts, including the expressive use of contour, value, perspective and composition while exploring both dry and wet media. Assigned problems may include still life, landscape, portraiture or the figure. {Fall, Spring}
121. Twodimensional Design. (3) Emphasis on elements of line, form, value, color theory, painting principles and visual vocabulary. Particular attention will be placed on a disciplined approach toward design and development of perceptual skills. {Fall, Spring}
123. Shop Foundations. (2) Familiarizes the art student with the safe practice and maintenance of wood and metal shop tools and machinery. Offered on a CR/NC basis only. {Fall, Spring}
125. Art Practices I. (3) This is an interdisciplinary course, exploring the thematic concepts and diverse media that are central to the nature of art making today. Art Practices I will investigate issues of LIGHT, FRAME, and MARK. {Fall, Spring}
126. Art Practices II. (3) This is an interdisciplinary course, exploring the thematic concepts and diverse media that are central to the nature of art making today. Art Practices II will investigate issues of MOTIVE and CHANGE. {Fall, Spring}
130. Introduction to Electronic Art. (3) Introduction to the computer as a medium and fine art tool. Course will explore history, theory and contemporary art issues associated with computer‐based art practice, as well as introducing students to basic tools and technologies. {Fall, Spring}
141. Introduction to Art and Ecology. (3) This course introduces the student to three basic skills of an ecological art practice: research, making, and an immersion in ecological systems through poetic thinking, subversive action, and creative fabrication.
157. Small Scale Metal Construction I. (3 to a maximum of 6) Introduction to basic fabrication methods as they relate to object‐making and small‐scale sculpture. {Fall, Spring}
168. Introduction to Ceramics. (3) Comprehensive introduction to the terms, concepts, historical, and technical information that support creative development. Includes hand building and throwing, basic clay bodies, slip and glaze, oxidation, reduction, and atmospheric firing. {Fall, Spring}
187. Introduction to Photography. (3) This is a hands‐on course introducing contemporary techniques, technologies, underlying concepts, and practitioners of fine art photography. ARTS 187 is a foundation course designed to prepare students for ARTS 188. {Fall, Spring}
188. Visualizing Ideas Using Photography. (3) This course will help students use photography to develop their ideas conceptually. Students will work in both a traditional and an experimental manner with a variety of photographic processes and technologies to advance the visual presentation of their ideas. Prerequisite: 187.
205. Drawing II. (3) Further concentration on basic drawing concepts with a greater emphasis on descriptive and perceptual drawing skills using both dry and wet media. Assigned problems explore aspects of still life, landscape, portraiture and/or the figure. Prerequisite: 106 and 121. {Fall, Spring} 172
207. Painting I. (3) Painting materials and techniques, integrating basic drawing concepts with color theory and composition. Emphasis on descriptive and perceptual skills through assigned problems which explore aspects of still life, landscape, portraiture and/or the figure. Prerequisite: 106 and 121. {Fall, Spring}
208. Painting II. (3 to a maximum of 6) Continued exploration of the painting concepts and techniques, presented in 207. Working from imagination as well as observation, emphasizing the expressive potential of the medium. Prerequisite: 207. Co‐requisite: 305. {Fall, Spring}
213. Sculpture I. (3) A further exploration into the concepts presented in Three dimensional Design. Will investigate, through specific assignments, issues that are central to producing sculpture. Pre‐ or Co‐requisite: 123. {Fall, Spring}
231. Video Art I. (3) An investigation of video as a medium within a fine art context. Course will explore history, theory, and contemporary art issues associated with video art practice as well as develop student's mastery of technical skills. Prerequisite: 130.
240. Inside the Outside: A Contemporary Survey of Ecological, Public, and Activist Art. (3) This course will knit together land art from the 1960s with the present ecological practice of art with lectures and readings. {Fall, Spring}
241. Social and Public Ecological Art. (3) This course builds on the ecological practice of art, adding in public interaction, presentation, and social practice. Prerequisite: 141 and 240. {Fall, Spring}
232. Sound Art I. (3) An investigation of sound as a medium within a fine art context. Course will explore history, theory, and contemporary art issues associated with sound art and develop student's skills in sound editing/recording technology. Prerequisite: 130.
257. Small Scale Metal Construction II. (3 to a maximum of 6) A continuation of 157. Fabrication skills are further developed and refined. Emphasis is on developing a deeper understanding of form/content as it relates to intimate scale. Prerequisite: 157. {Fall, Spring}
268. Ceramics: Materials and Aesthetics. (3 to a maximum of 6) Continuation of 168 with emphasis placed on the mastery of forming, surfacing, and firing processes, expanded critical awareness, and the development of a personal aesthetic. Open‐ended and self‐selected projects. Individual and group critiques. Prerequisite: 168. {Fall, Spring}
274. Introduction to Printmaking. (3) Fundamental techniques, methods and expressive potentials of the major printmaking processes, including monotype, etching, lithography, woodcut and xerography. Instruction includes lecture, demonstrations, practice and critique. Prerequisite: 106 and 121. {Fall, Spring}
287. Black & White Photography. (3) Concentrates on black and white photographic techniques: film processing and fine black and white printing. {Offered upon demand}
288. Color Techniques in Photography. (3) The techniques and aesthetics of color photographic imaging. Prerequisite: 188. {Offered upon demand}
289. Digital Imaging Techniques. (3) Techniques and aesthetics of digital imaging using a variety of software programs and hardware. Prerequisite: 188. {Offered upon demand}
173 305. Drawing III. (3 to a maximum of 6) Δ Continued exploration of drawing concepts and techniques presented in 205. Emphasis on expressive drawing, working from imagination as well as from observation. Prerequisite: 205. {Fall, Spring}
308. Painting III. (3 to a maximum of 6) Δ Extension of the concepts presented in 207, emphasizing experimentation with materials and techniques. Individual in‐depth projects are assigned to encourage independent thinking with regard to contemporary painting issues. Prerequisite: 208. {Fall, Spring}
310. Figure Drawing. (3 to a maximum of 6) Δ Study of the human figure as the primary vehicle for addressing formal and conceptual drawing problems. Prerequisite: 205.
313. Intermediate Sculpture. (3 to a maximum of 6) This class encourages the student to develop personal direction with an emphasis on expanding sculptural possibilities. Topically appropriate assignments will be given according to the instructor’s individual expertise as well as the current theoretical discourse. Prerequisite: 123. {Fall, Spring}
320. The Phenomena of Color. (3 to a maximum of 6) An intensive study of color through assigned problems designed to develop greater awareness of and sensitivity to the use and function of color in the arts.
330. Intermediate Electronic Art. (3 to a maximum of 9) Course emphasizes art making using evolving computer based tools. Class draws on current work and theory, combined with classroom critique. Students must have a basic understanding of video and digital imaging techniques to take course.{Fall, Spring}
335. Intaglio Printmaking I. (3 to a maximum of 6) Exploration of intaglio processes. Includes lecture, demonstration, studio practice and critique. Emphasis on technical considerations and the development of a personal aesthetic. Prerequisite: 274. {Fall, Spring}
336. Intaglio Printmaking II. (3 to a maximum of 6) A continuation of 335 with the exploration of multiple plate and color printing processes. Greater emphasis is given to technical considerations and the development of a personal aesthetic. Prerequisite: 335. {Spring}
345. Serigraphy. (3 to a maximum of 6) Introduction to techniques, history, aesthetics and creative aspects of screen printing. Prerequisite: 274. {Offered upon demand.}
357. Small Scale Casting. (3 to a maximum of 6) Introduction to the fundamentals of small‐scale metal casting in bronze and silver through the lost wax process. Additional metal related techniques such as soldering and patination will be explored. Prerequisite: 157.
358./458./558. Nature & Technology. (3 to a maximum of 6) Cook, This course addresses what constitutes authentic experience in an era profoundly shaped by electronic media. Travel to locations in New Mexico where work is produced on site with digital video and other imaging tools. Restriction: permission of instructor. {Offered upon demand}
368. Porcelain Vessels. (13) (Also offered as ARTE 368.) History, design, processes, tools, materials and terminology of the Oriental‐Japanese method of wheel‐thrown porcelain ceramic vessels. {Summer, Fall, Spring}
369. Ceramics: Spatial Situations. (3 to a maximum of 6)1 Continued investigation of technical, conceptual, historical and contemporary issues while emphasizing the development of a personal artistic vision. Prerequisite: 268. Restriction: permission of instructor. {Fall, Spring}
174 374. Lithography I. (3 to a maximum of 6) Δ Shimano, Fundamental techniques of drawing and painting on and from lithographic stones and metal plates, primarily in black and white. Includes lectures, demonstrations, critiques and practical experience. Prerequisite: 274. {Fall, Spring}
375. Lithography II. (3 to a maximum of 6) Δ Shimano, Continuation of 374 with particular emphasis on color printing and special processes, including photo reproduction. Emphasis on personal aesthetic and technical concepts. Prerequisite: 374. {Fall, Spring}
385. NonSilver Photographic Process. (3) The techniques and processes of non‐silver photography such as cyanotypes, gum bichromate. Prerequisite: 187. {Offered upon demand}
387. Intermediate Photography. (3 to a maximum of 9) [3 to a maximum of 6] Δ Salinger, Stone Students will begin to develop their own work based on individual interests and contemporary issues, in‐class critiques, and readings. Prerequisite: 187 and 188 and (ARTH 210 or ARTH 425 or ARTH 426 or ARTH 427). {Offered upon demand}
389. Topics in Studio Art. (13, no limit) Δ1 Concentrated practical and historical study of specified concerns in studio art. Restriction: Permission of instructor. {Offered upon demand}
394. Computer Generated Imagery and Animation. (3) (Also offered as CS 394 and MA 394.) Introduction to story boarding, modeling, rendering, animation and dynamics. Class uses high‐level commercial animation software. Course emphasizes both the development of technical skills and the aesthetic aspects of computer imagery. Not allowed for graduate credit for computer science majors, nor as a technical elective for undergraduate computer science majors.
405. Advanced Drawing. (3 to a maximum of 9) Emphasis on contemporary drawing issues. Students are encouraged to initiate their own projects and to develop a personal direction. Individual and group critiques. Prerequisite: 305. {Fall, Spring}
407. Advanced Painting. (3 to a maximum of 9) Emphasizes contemporary painting issues. Students are encouraged to initiate their own projects and to develop a personal direction. Individual and group critiques. Prerequisite: 308. {Fall, Spring}
408. Outdoor Studio. (13, may be repeated twice) This is a nature based, field study class. Sites are visited which inspire artists to develop projects with an interrelated media approach. Formal and conceptual issues regarding several environments will be addressed. Restriction: permission of instructor. {Fall}
409./509. Advanced Video Art. (3 to a maximum of 6) (Also offered as MA 409.) This class helps students to develop more complex artistic statements on video. Critiques of student work, plus readings and discussions about various arts and media. Prerequisite: MA 111. {Spring}
413. Advanced Sculpture. (3 to a maximum of 12) Allows students to pursue their own individual concepts and techniques. Emphasis will be on independent projects. Prerequisite: 123. {Fall, Spring}
429. Undergraduate Topics in Studio Art. (16 to a maximum of 15) Course work determined by specific student need or by the professor’s current research. Restriction: Permission of instructor. {Fall, Spring}
175 432./532. Special Projects in Electronic Art I. (3 to a maximum of 12) Course is based on the integration nascent technologies in electronic/digital media art practice. Works will be created in conjunction with concurrent investigation of digital media art history and contemporary theoretical discourses. Part I. Restriction: permission of instructor.
433./533. Special Projects in Electronic Art II. (3 to a maximum of 12) Course is based on integration nascent technologies in electronic/digital media art practice. Works will be created in conjunction with concurrent investigation of digital media, art history, and contemporary theoretical discourses. Part II. Restriction: permission of instructor.
457. Advanced Casting and Construction. (3 to a maximum of 12) Students must develop an individual program of studies in consultation with the instructor. Group critiques are scheduled regularly. Prerequisite: 357. {Spring}
458./358./558. Nature & Technology. (3 to a maximum of 6) Cook, This course addresses what constitutes authentic experience in an era profoundly shaped by electronic media. Travel to locations in New Mexico where work is produced on site with digital video and other imaging tools. Restriction: permission of instructor. {Offered upon demand}
461./561. Artifacts: Production, Use, Apprehension. (3 to a maximum of 6) This course will investigate our relation to artifacts through an examination of production (intent, craft, realization), use (literal + conceptual), and apprehension (material + immaterial). Co‐requisite: 462 and 463 and 464. Restriction: permission of instructor. {Offered upon demand.}
462./562. Mapping: Body, Landscape, Memory. (3 to a maximum of 6) This course will investigate the specific nature of the way the American West has been mapped, and divided as a point of departure for the creation of a set of documents. Corequisite: 461 and 463 and 464. Restriction: permission of instructor. {Offered upon demand.}
463./563. Place: Land, Civilization, Persona. (3 to a maximum of 6) This course will address the process of making space into place through occupation of and intervention in the land through an investigation of place as a continuum across time and cultures. Co‐requisite: 461 and 462 and 464. Restriction: permission of instructor. {Offered upon demand.}
464./564. Space: Expanse, Thresholds, Limits. (3 to a maximum of 6) This course will investigate our relation to space through an examination of edges, limits, and thresholds. We will look at the way space is defined, marked and measured. Co‐requisite: 461 and 462 and 463. Restriction: permission of instructor. {Offered upon demand.}
467./567. Art and Ecology. (3) This class investigates the interrelationship of art and ecology through field trips, guest speakers, readings, and non‐ lab based hands‐on research projects. We will study ways artists work to constructively transform ecologies.
468. Ceramics: Professional Practices. (3 to a maximum of 12) Emphasizes contemporary ceramic issues. Students are encouraged to initiate their own projects and to develop a personal direction. Individual and group critiques. Prerequisite: 369. {Fall, Spring}
469./569. Pueblo Pottery. (3) A cross‐cultural class designed to expose students to the Pueblo pottery tradition. The course combines a hands‐on approach to pottery making with an analytical investigation of material culture and ethno‐aesthetics. Restriction: permission of instructor. {Fall}
474. Advanced Printmaking. (3 to a maximum of 15) Concentrated exploration of various concepts and methods of printmaking including multiple processes. Course content varies but emphasizes the development of personalized direction and the establishment of high professional standards. Individual and group critiques. Prerequisite: 336 or 374.
176 487. Advanced Interdisciplinary Portfolio. (3 to a maximum of 12) Salinger, Stone, Emphasis on photo‐based media, but open to advanced students in all areas of studio art. Will encourage cross‐media critique and help students prepare for the professional world upon graduation. Restriction: permission of instructor. {Fall, Spring}
493. Seminar in Studio Art. (3 to a maximum of 6) {Fall, Spring}
494./594. Advanced Topics in Computer Generated Imaging. (3 to a maximum of 6)(Also offered as MA 494 and CS 494.) A continuation of Computer Science 394. Students are expected to research and make presentations on advanced topics in CGI. Significant term project required. Not allowed for graduate credit for computer science majors, nor as a technical elective for undergraduate computer science majors.
495. Independent Study. (3 to a maximum of 6) Δ1 Advanced, individually directed study in areas of special interest not normally covered in advanced level courses. Restriction: permission of department.
499. Honors Thesis. (36) Directed independent study in a field of special interest, culminating in an exhibition and written thesis. Open only by invitation to departmental honors candidates. May be repeated for credit towards degree to a maximum of 6 hours. {Fall, Spring}
502. Interdisciplinary Seminar. (3) Study of relationships between theory and practice. Course examines contemporary theories of art as viewed in the context of the student’s own work. Open only to studio graduate students in the Department of Art & Art History. {Fall}
505. Graduate Drawing and Painting. (3 to a maximum of 9) Restriction: permission of instructor. {Fall, Spring}
508. Graduate Outdoor Studio. (13, may be repeated twice) This is a nature based, field study class. Sites are visited which inspire artists to develop projects with an interrelated media approach. Formal and conceptual issues regarding several environments will be addressed. {Fall}
509./409. Advanced Video Art. (3 to a maximum of 6) (Also offered as MA 409.) This class helps students to develop more complex artistic statements on video. Critiques of student work, plus readings and discussions about various arts and media. Course fee required. Restriction: permission of instructor. {Spring}
513. Graduate Sculpture. (3 to a maximum of 12) Δ Student is required to produce four projects, an artist’s statement, a portfolio of the semester’s work and give a slide lecture on a contemporary topic. {Fall, Spring}
520. Graduate Phenomena of Color. (3) Production of finished works based upon current research and studio practice incorporating concepts such as one color as two, two color as one, transparency/illusion, saturation/shadow, descriptive/local color, optical mixtures, unity, anomaly, psychological color, electronic color.
529. Graduate Topics in Studio Art. (16 to a maximum of 12) Course work determined by specific student need or by the professor's current research. {Fall, Spring}
532./432. Special Projects in Electronic Art I. (3 to a maximum of 12) Course is based on the integration nascent technologies in electronic / digital media art practice. Works will be created in conjunction with concurrent investigation of digital media art history and contemporary theoretical discourses. Part I. Restriction: permission of instructor.
533./433. Special Projects in Electronic Art II. (3 to a maximum of 12) Course is based on integration nascent technologies in electronic / digital media art practice. Works will be created in conjunction with concurrent investigation of digital media, art history, and contemporary theoretical discourses. Part II. Restriction: permission of instructor.
177 557. Graduate Casting and Construction. (3 to a maximum of 12) Small scale metal casting in bronze and silver through the lost wax process. Included are additional metal related techniques such as soldering and patination. Restriction: permission of instructor. {Fall, Spring}
558./458./358. Nature & Technology. (3 to a maximum of 6) Michael Cook. This course addresses what constitutes authentic experience in an era profoundly shaped by electronic media. Travel to locations in New Mexico where work is produced on site with digital video and other imaging tools. Restriction: permission of instructor. {Offered upon demand}
561./461. Artifacts: Production, Use, Apprehension. (3 to a maximum of 6) This course will investigate our relation to artifacts through an examination of production (intent, craft, realization), use (literal + conceptual), and apprehension (material + immaterial). Co‐requisite: 562 and 563 and 564. Restriction: permission of instructor. (Offered upon demand)
562./462. Mapping: Body, Landscape, Memory. (3 to a maximum of 6) This course will investigate the specific nature of the way the American West has been mapped, and divided as a point of departure for the creation of a set of documents. Co‐requisite: 561 and 563 and and 564. Restriction: permission of instructor. (Offered upon demand)
563./463. Place: Land, Civilization, Persona. (3 to a maximum of 6) This course will address the process of making space into place through occupation of and intervention in the land through an investigation of place as a continuum across time and cultures. Co‐requisite: 561 and 562 and 564. Restriction: permission of instructor. (Offered upon demand)
564./464. Space: Expanse, Thresholds, Limits. (3 to a maximum of 6) This course will investigate our relation to space through an examination of edges, limits, and thresholds. We will look at the way space is defined, marked, and measured. Co‐requisite: 561 and 562 and 563. Restriction: permission of instructor. (Offered upon demand)
567./467. Art and Ecology. (3) This class investigates the interrelationship of art and ecology through field trips, guest speakers, readings, and non‐ lab based hands‐on research projects. We will study ways artists work to constructively transform ecologies.
569./469. Pueblo Pottery. (3) Pueblo pottery investigates the dominant ceramic tradition of the Southwest. Students work to learn traditional processes, forms and designs. Restriction: permission of instructor. {Fall}
574. Graduate Printmaking. (3 to a maximum of 15)
587. Graduate Visual Art Seminar. (3 to a maximum of 15) Concentration on student’s individual art production in any area of studio art, with special attention given to developing critical acuity toward photo‐based media. Restriction: permission of instructor. {Fall, Spring}
593. Seminar in Studio Art. (3 to a maximum of 6) Δ Consideration of theoretical, critical and historical issues in the context of studio disciplines. Course content determined by student request or professor’s current research. {Fall, Spring}
594./494. Advanced Topics in Computer Generated Imaging. (3 to a maximum of 6)(Also offered as MA 494 and CS 494.) A continuation of Computer Science 394. Students are expected to research and make presentations on advanced topics in CGI. Significant term project required. Not allowed for graduate credit for computer science majors, nor as a technical elective for undergraduate computer science majors.
595. Graduate Tutorial. (19 to a maximum of 21) Δ Advanced, individually directed study. Open to graduate students only. {Fall, Spring}
699. Dissertation. (312, no limit) 178 Offered on a CR/NC basis only. {Fall, Spring} Footnotes 1 Open only to undergraduates enrolled in the Pre‐professional curricula of the College of Fine Arts. Students in Art Education curricula and majors in Art enrolled in the College of Arts & Sciences may enroll with permission of the department chairperson.
Museum Studies (MSST) 311./511. Material Culture in America. (3)(Also offered as AMST 311/511.) This course covers the theory and practice of material culture study as it has been used to define American culture. Course content includes architecture, technology, religious art and artifacts, literary, folk and “fine” arts.
407./507. Museum Practices. (3 to a maximum of 6) (Also offered as ANTH 402, ARTH 407.) History, philosophy and purposes of museums. Techniques and problems of museum administration, education, collection, exhibition, conservation and public relations. {Offered upon demand}
485./585. Seminar in Museum Methods. (3 to a maximum of 6) (Also offered as ARTH, ANTH 485.) Theoretical and practical work in specific museum problems. Prerequisite: 407 or ANTH 402. Restriction: permission of instructor. {Offered upon demand}
486./586. Practicum: Museum Methods. (3) (Also offered as ARTH, ANTH 486.) Practicum in museum methods and management. Prerequisite: ARTH 407 or ANTH 402. Restriction: permission of instructor. {Offered upon demand}
507./407. Museum Practices. (3 to a maximum of 6) (Also offered as ANTH 582, ARTH 507.) History, philosophy and purposes of museums. Techniques and problems of museum administration, education, collection, exhibition, conservation and public relations. {Offered upon demand}
511./311. Material Culture in America. (3) (Also offered as AMST 311/511.) This course covers the theory and practice of material culture study as it has been used to define American culture. Course content includes architecture, technology, religious art and artifacts, literary, folk and “fine” arts.
585./485. Seminar in Museum Methods. (3 to a maximum of 6)(Also offered as ARTH, ANTH 585.) Theoretical and practical work in specific museum problems. Prerequisite: 407 or ANTH 402. {Offered upon demand}
586./486. Practicum: Museum Methods. (3 to a maximum of 6)(Also offered as ARTH, ANTH 586.) Practicum in museum methods and management. Prerequisite: ARTH 407 or ANTH 402. Restriction: permission of instructor. {Offered upon demand}
179 Appendix Two—Enrollments, Applications, etc.
Table #1—Art History Enrollment Patterns
Table 1. Fall Enrollment by Major and Level (2000 to 2009) Art & Art History
Declared Major: ARTH: Art History
Undergraduate Students in Undergraduate Studies with Declared Major in Discipline 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Year 1: Freshman 1 2 1 3 2 3 4 4 3 10 Year 2: Sophomore 2 2 2 3 3 9 5 7 5 Year 3: Junior 2 2 2 1 1 5 1 1 Year 4: Senior 1 1 1 1 Total 6 6 5 5 6 6 14 14 11 17
Undergraduate Students with Declared Major Admitted to Major College 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Year 1: Freshman 1 Year 2: Sophomore 5 5 3 2 3 2 2 Year 3: Junior 10 14 15 7 10 14 16 8 10 9 Year 4: Senior 14 12 15 21 24 25 23 24 23 21 Total 29 31 33 30 35 42 39 34 33 32
Graduate Students 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Masters 20 10 16 18 20 22 25 22 22 19 Special Graduate Doctoral 17 13 11 8 9 9 10 8 8 13 Professional Post Doctoral Total 37 23 27 26 29 31 35 30 30 32
Data Source:Enrollment Management dataset based on 21-day CHE/HED Enrollment file
UNM Institutional Research: C. Bernhard
180 Table #2—Art Studio Enrollment Patterns
Table 2. Fall Enrollment by Major and Level (2000 to 2009) Art & Art History
Declared Major: ARTS: Art Studio
Undergraduate Students in Undergraduate Studies with Declared Major in Discipline 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Year 1: Freshman 22 16 20 20 12 22 19 30 24 48 Year 2: Sophomore 23 22 27 10 22 24 28 35 45 50 Year 3: Junior 7 2 5 3 2 9 5 10 6 6 Year 4: Senior 1 1 3 2 2 2 3 3 Total 53 40 53 33 39 57 54 77 78 107
Undergraduate Students with Declared Major Admitted to Major College 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Year 1: Freshman 2 3 1 4 9 1 Year 2: Sophomore 29 29 20 33 21 13 15 19 22 32 Year 3: Junior 64 85 89 66 72 66 73 66 68 94 Year 4: Senior 134 144 156 185 166 171 161 170 153 141 Total 229 261 266 288 268 251 249 255 243 267
Graduate Students 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Masters 46 49 52 60 55 57 52 49 38 43 Special Graduate Doctoral 1 2 1 1 Professional Post Doctoral Total 47 51 52 60 55 57 52 49 39 44 Data Source:Enrollment Management dataset based on 21-day CHE/HED Enrollment file UNM Institutional Research: C. Bernhard
181 Table # 3—Enrollment in Art History Classes: Statistics by Ethnicity
Table 3. Enrollment by Sex and Ethnicity of Students Admitted to Program 1 Art History Fall 2000 to Fall 2009 Undergraduate Enrollment Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 African Female Amer/Black 1 1 American Female Indian 1 2 1 1 1 1 1 1 Asian/Pacific Female Islander 1 1 1 Female Hispanic 2 4 6 9 9 12 9 6 4 White/non- Female Hispanic 19 13 20 16 17 21 17 19 19 17 Female International 1 1 No Female Response 1 1 1 2 2 4 2 3 2 1 Total 22 20 27 24 28 35 33 33 29 23 Percent Minority 9.1% 25.0% 18.5% 25.0% 32.1% 28.6% 42.4% 33.3% 27.6% 21.7%
Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 African Male Amer/Black American Male Indian 1 1 2 1 1 1 Asian/Pacific Male Islander Male Hispanic 1 2 3 2 1 1 1 2 White/non- Male Hispanic 7 8 3 1 1 3 3 1 3 6 Male International No Male Response 1 3 2 2 Total 7 11 6 6 7 7 6 1 4 9 Percent Minority 0.0% 18.2% 50.0% 83.3% 42.9% 28.6% 16.7% 0.0% 25.0% 33.3%
Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 M & F African Comb Amer/Black 1 1 0 0 0 0 0 0 0 0 M & F American Comb Indian 1 3 2 2 1 2 1 1 1 2 M & F Asian/Pacific Comb Islander 0 0 0 0 0 0 1 1 1 0 M & F Comb Hispanic 0 3 6 9 11 10 13 9 7 6 M & F White/non- Comb Hispanic 26 21 23 17 18 24 20 20 22 23 M & F Comb International 0 1 1 0 0 0 0 0 0 0 182 M & F No Comb Response 1 2 1 2 5 6 4 3 2 1 Total 29 31 33 30 35 42 39 34 33 32 Percent Minority 6.9% 22.6% 24.2% 36.7% 34.3% 28.6% 38.5% 32.4% 27.3% 25.0%
Graduate Enrollment Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 African Female Amer/Black 1 American Female Indian 1 2 2 2 2 1 1 2 Asian/Pacific Female Islander 1 2 2 1 2 1 1 Female Hispanic 4 3 4 4 3 4 3 4 7 5 White/non- Female Hispanic 21 11 13 9 11 11 13 8 10 12 Female International 1 1 2 1 1 2 2 3 4 No Female Response 1 1 2 4 1 2 1 2 Total 29 17 21 19 21 22 22 17 22 25 Percent Minority 20.7% 29.4% 33.3% 42.1% 33.3% 27.3% 27.3% 29.4% 36.4% 28.0%
Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 African Male Amer/Black American Male Indian 1 1 1 1 1 1 1 1 1 Asian/Pacific Male Islander 1 1 1 1 Male Hispanic 3 1 1 1 1 2 3 4 3 3 White/non- Male Hispanic 5 4 3 3 2 2 6 4 3 2 Male International 1 2 1 1 No Male Response 1 2 3 3 1 1 Total 8 6 6 7 8 9 13 13 8 7 Percent Minority 37.5% 33.3% 33.3% 28.6% 37.5% 44.4% 38.5% 46.2% 50.0% 57.1%
Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 M & F African Comb Amer/Black 1 0 0 0 0 0 0 0 0 0 M & F American Comb Indian 1 3 3 3 3 2 2 1 1 3 M & F Asian/Pacific Comb Islander 0 0 1 2 3 2 3 2 1 0 M & F Comb Hispanic 7 4 5 5 4 6 6 8 10 8 M & F White/non- Comb Hispanic 26 15 16 12 13 13 19 12 13 14 M & F Comb International 1 0 1 2 1 1 3 4 4 5 M & F No Comb Response 1 1 1 2 5 7 2 3 1 2
183 Total 37 23 27 26 29 31 35 30 30 32 Percent Minority 24.3% 30.4% 33.3% 38.5% 34.5% 32.3% 31.4% 36.7% 40.0% 34.4%
1 Undergraduate enrollments exclude declared majors in program who are in Undergraduate Studies and have not yet been admitted to the program's college. Data Source:Enrollment Management dataset based on 21-day CHE/HED Enrollment file
UNM Institutional Research: C. Bernhard
Table #4—Enrollment in Art Studio: Statistics by Ethnicity
Table 4. Enrollment by Sex and Ethnicity of Students Admitted to Program 1 Art Studio Fall 2000 to Fall 2009 Undergraduate Enrollment Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 African Female Amer/Black 2 2 2 2 1 1 1 1 1 2 American Female Indian 7 9 12 14 8 9 7 6 6 4 Asian/Pacific Female Islander 7 5 4 3 6 5 5 3 7 8 Female Hispanic 19 21 31 33 39 42 30 30 28 32 White/non- Female Hispanic 95 120 105 114 95 86 93 87 88 93 Female International 1 2 1 1 2 2 1 No Female Response 7 10 13 10 11 11 11 11 9 15 Total 137 168 169 177 160 154 148 140 141 155 Percent Minority 25.5% 22.0% 29.0% 29.4% 33.8% 37.0% 29.1% 28.6% 29.8% 29.7%
Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 African Male Amer/Black 1 1 3 2 3 3 3 3 1 American Male Indian 6 9 13 13 15 10 9 8 4 7 Asian/Pacific Male Islander 1 2 2 2 2 1 2 3 7 Male Hispanic 15 15 13 17 19 21 22 33 33 37 White/non- Male Hispanic 60 57 57 66 59 48 58 61 51 55 Male International 1 2 2 No Male Response 8 9 9 11 10 14 9 8 8 4 Total 92 93 97 111 108 97 101 115 102 112 184 Percent Minority 25.0% 29.0% 32.0% 30.6% 36.1% 36.1% 33.7% 40.0% 40.2% 45.5%
Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 M & F African Comb Amer/Black 3 3 5 4 4 4 4 4 2 2 M & F American Comb Indian 13 18 25 27 23 19 16 14 10 11 M & F Asian/Pacific Comb Islander 8 7 6 5 8 6 5 5 10 15 M & F Comb Hispanic 34 36 44 50 58 63 52 63 61 69 M & F White/non- Comb Hispanic 155 177 162 180 154 134 151 148 139 148 M & F Comb International 1 1 2 1 0 0 1 2 4 3 M & F No Comb Response 15 19 22 21 21 25 20 19 17 19 Total 229 261 266 288 268 251 249 255 243 267 Percent Minority 25.3% 24.5% 30.1% 29.9% 34.7% 36.7% 30.9% 33.7% 34.2% 36.3%
Graduate Enrollment Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 African Female Amer/Black 1 1 American Female Indian 1 2 1 1 1 1 Asian/Pacific Female Islander 2 2 2 3 3 2 2 2 1 1 Female Hispanic 1 1 1 1 2 1 2 3 White/non- Female Hispanic 15 17 19 20 21 19 22 22 21 22 Female International 2 1 2 2 1 2 No Female Response 1 2 4 7 8 8 2 1 1 3 Total 22 24 28 33 34 31 29 27 26 32 Percent Minority 18.2% 16.7% 10.7% 12.1% 11.8% 12.9% 17.2% 14.8% 15.4% 15.6%
Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 African Male Amer/Black 1 1 1 American Male Indian 1 1 2 2 2 1 Asian/Pacific Male Islander 2 1 1 2 Male Hispanic 1 2 2 2 2 1 1 1 White/non- Male Hispanic 19 21 17 20 15 19 16 13 9 8 Male International 1 1 1 1 1 1 1 1 1 No Male Response 2 3 4 4 2 4 2 2 1 Total 25 27 24 27 21 26 23 22 13 12 Percent Minority 12.0% 7.4% 8.3% 7.4% 19.0% 7.7% 17.4% 27.3% 23.1% 16.7%
185
Sex Ethnicity 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 M & F African Comb Amer/Black 1 1 0 0 0 0 0 1 1 1 M & F American Comb Indian 0 0 0 0 2 3 3 3 3 2 M & F Asian/Pacific Comb Islander 4 2 2 3 4 2 3 4 1 1 M & F Comb Hispanic 2 3 3 3 2 1 3 2 2 3 M & F White/non- Comb Hispanic 34 38 36 40 36 38 38 35 30 30 M & F Comb International 3 2 3 3 1 1 1 1 1 3 M & F No Comb Response 3 5 8 11 10 12 4 3 1 4 Total 47 51 52 60 55 57 52 49 39 44 Percent Minority 14.9% 11.8% 9.6% 10.0% 14.5% 10.5% 17.3% 20.4% 17.9% 15.9% 1 Undergraduate enrollments exclude declared majors in program who are in Undergraduate Studies and have not yet been admitted to the program's college. Data Source:Enrollment Management dataset based on 21-day CHE/HED Enrollment file UNM Institutional Research: C. Bernhard
Table #5—Full-Time/Part-Time Enrollment in Art History Classes
Table 5.
Full-Time/Part-Time Enrollment by Level of Students Admitted to Program 1 ART HISTORY Fall 2000 to Fall 2009 FT- Level PT 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Undergrad FT 19 21 25 20 22 28 25 27 22 23 Undergrad PT 10 10 8 10 13 14 14 7 11 9 Undergrad Total 29 31 33 30 35 42 39 34 33 32 Grad FT 9 10 10 9 10 5 8 12 5 8 Grad PT 28 13 17 17 19 26 27 18 25 24 Grad Total 37 23 27 26 29 31 35 30 30 32 Total FT 28 31 35 29 32 33 33 39 27 31 Total PT 38 23 25 27 32 40 41 25 36 33 Total Total 66 54 60 56 64 73 74 64 63 64 1 Undergraduate enrollments exclude declared majors in program who are in Undergraduate Studies and have not yet been admitted to the program's college. Data Source:Enrollment Management dataset based on 21-day CHE/HED Enrollment file UNM Institutional Research: C. Bernhard
186 Table #6—Full-Time/Part-Time Enrollment in Art Studio Classes
Table 6. Full-Time/Part-Time Enrollment by Level of Students Admitted to Program 1 ART STUDIO Fall 2000 to Fall 2009
FT- Level PT 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Undergrad FT 158 178 175 192 167 162 169 176 169 193 Undergrad PT 71 83 91 96 101 89 80 79 74 74 Undergrad Total 229 261 266 288 268 251 249 255 243 267 Grad FT 38 35 36 34 35 31 34 33 23 29 Grad PT 9 16 16 26 20 26 18 16 16 15 Grad Total 47 51 52 60 55 57 52 49 39 44 Total FT 196 213 211 226 202 193 203 209 192 222 Total PT 80 99 107 122 121 115 98 95 90 89 Total Total 276 312 318 348 323 308 301 304 282 311 1 Undergraduate enrollments exclude declared majors in program who are in Undergraduate Studies and have not yet been admitted to the program's college. Data Source:Enrollment Management dataset based on 21-day CHE/HED Enrollment file UNM Institutional Research: C. Bernhard
Table #7—Student Credit Hours in Art History
Table 7. Total Academic Year Student Credit Hours Restricted and Unrestricted ART HISTORY 2000-2001 to 2009-2010 Academic Years Unrestricted Student Credit Hours Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2007- 2008- Level Discipline 01 02 03 04 05 06 07 08 09 Freshman ARTH 7560 7584 7380 7596 6876 9768 10452 11028 10728 Sophomore ARTH 8364 5928 6168 6012 7356 7392 7368 7140 8436 Junior ARTH 1092 1008 888 396 1092 696 792 1704 780 Senior ARTH 4572 4308 4908 5940 5556 5748 5652 4632 4660 Graduate ARTH 3166 2742 3117.6 2404.8 2654.8 2487.6 2663.6 2132.4 2073.6 Total 24,754 21,570 22,462 22,349 23,535 26,092 26,928 26,636 26,678
Restricted Student Credit Hours 1
Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2007- 2008- Level Discipline 01 02 03 04 05 06 07 08 09 Freshman Sophomore ARTH 12 132
187 Junior ARTH 72 132 Senior ARTH 24 72 216 Graduate ARTH 12 Total 0 0 36 0 0 0 0 156 480
Total Student Credit Hours
Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2007- 2008- Level Discipline 01 02 03 04 05 06 07 08 09 Freshman ARTH 7560 7584 7,380 7,596 6,876 9,768 10,452 11,028 10,728 Sophomore ARTH 8364 5928 6,168 6,012 7,356 7,392 7,368 7,152 8,568 Junior ARTH 1092 1008 888 396 1,092 696 792 1,776 912 Senior ARTH 4572 4308 4,932 5,940 5,556 5,748 5,652 4,704 4,876 Graduate ARTH 3166 2742 3,130 2,405 2,655 2,488 2,664 2,132 2,074 Total 24,754 21,570 22,498 22,349 23,535 26,092 26,928 26,792 27,158 1 Restricted credit hours are those for which UNM receives no funding from the state. They are primarily connected to courses funded by non-I&G accounts or are credit hours delivered via the
Internet to out-of-state students. Freshmen = 100-level courses Sophomore = 200-level courses Junior = 300-level courses Senior = 400-level courses Graduate = 500- & 600-level courses Data Source: CHE End-of-Semester Course File, created by the Registrar's System Team, maintained by the Office of Institutional Research UNM Institutional Research: C. Bernhard
Table #8—Student Credit Hours in Art Studio
Table 8. Total Academic Year Student Credit Hours Restricted and Unrestricted ART STUDIO 2000-2001 to 2009-2010 Academic Years Unrestricted Student Credit Hours Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- Level Discipline 01 02 03 04 05 06 07 2007-08 2008-09 Freshman ARTS 13728 14684 13864 14496 14452 15344 16152 16132.96 16038.24 Sophomore ARTS 5712 6408 6252 5532 5412 5520 3624 3960 4464 Junior ARTS 6624 6284.8 6768 6516 6636 6852 6484 6444 6060 Senior ARTS 4452 4032 4314 4758 5245.2 4560 4320 4812 4548 Graduate ARTS 2832.4 2629.2 2458.4 3243.2 3290 3004.8 2904.8 3064 2294.8 Total 33,348 34,038 33,656 34,545 35,035 35,281 33,485 34,413 33,405
Restricted Student Credit Hours 1
Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- Level Discipline 01 02 03 04 05 06 07 2007-08 2008-09 Freshman ARTS 47.04 59.76 188 Sophomore ARTS 24 36 Junior ARTS 24 Senior ARTS 18 54 72 192 24 36 Graduate ARTS 108 72 96 72 Total 0 0 126 126 168 288 0 95 132
Total Student Credit Hours
Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- Level Discipline 01 02 03 04 05 06 07 2007-08 2008-09 Freshman ARTS 13728 14684 13,864 14,496 14,452 15,344 16,152 16,180 16,098 Sophomore ARTS 5712 6408 6,252 5,532 5,412 5,520 3,624 3,984 4,500 Junior ARTS 6624 6284.8 6,768 6,516 6,636 6,876 6,484 6,444 6,060 Senior ARTS 4452 4032 4,332 4,812 5,317 4,752 4,320 4,836 4,584 Graduate ARTS 2832.4 2629.2 2,566 3,315 3,386 3,077 2,905 3,064 2,295 Total 33,348 34,038 33,782 34,671 35,203 35,569 33,485 34,508 33,537 1 Restricted credit hours are those for which UNM receives no funding from the state. They are primarily connected to courses funded by non-I&G accounts or are credit hours delivered via the
Internet to out-of-state students. Freshmen = 100-level courses Sophomore = 200-level courses Junior = 300-level courses Senior = 400-level courses Graduate = 500- & 600-level courses Data Source: CHE End-of-Semester Course File, created by the Registrar's System Team, maintained by the Office of Institutional Research UNM Institutional Research: C. Bernhard
Table #9—Student Credit Hours in Museum Studies
Table 9. Total Academic Year Student Credit Hours Restricted and Unrestricted MUSEUM STUDIES 2000-2001 to 2009-2010 Academic Years Unrestricted Student Credit Hours Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2007- 2008- Level Discipline 01 02 03 04 05 06 07 08 09 Freshman Sophomore Junior Senior MSST 60 72 48 24 12 Graduate MSST 60 72 60 72 36 72 Total 0 0 0 120 144 108 96 36 84
Restricted Student Credit Hours 1 Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2007- 2008- Level Discipline 01 02 03 04 05 06 07 08 09 Freshman 189 Sophomore Junior Senior Graduate Total 0 0 0 0 0 0 0 0 0
Total Student Credit Hours Course Course 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2007- 2008- Level Discipline 01 02 03 04 05 06 07 08 09 Freshman 0 0 0 0 0 0 0 0 0 Sophomore 0 0 0 0 0 0 0 0 0 Junior 0 0 0 0 0 0 0 0 0 Senior MSST 0 0 0 60 72 48 24 0 12 Graduate MSST 0 0 0 60 72 60 72 36 72 Total 0 0 0 120 144 108 96 36 84 1 Restricted credit hours are those for which UNM receives no funding from the state. They are primarily connected to courses funded by non-I&G accounts or are credit hours delivered via the
Internet to out-of-state students. Freshmen = 100-level courses Sophomore = 200-level courses Junior = 300-level courses Senior = 400-level courses Graduate = 500- & 600-level courses Data Source: CHE End-of-Semester Course File, created by the Registrar's System Team, maintained by the Office of Institutional Research UNM Institutional Research: C. Bernhard
Table #10—SCH by Course Level & Student Status in Art History
Table 10. Student Credit Hours by Course Level & Student Status Art History Fall 2000 to Fall 2009 Student Course Level Status 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009
Major In Freshman Dept 1 3 3 9 9 3 15 3 6 6 9 Major in UnGr Stud 2 9 12 6 12 6 30 24 27 33 39 (100-level Other Major courses) 3 981 927 912 885 855 1,266 1,236 1,350 1,395 1,344 Total Credit Hours 993 942 927 906 864 1,311 1,263 1,383 1,434 1,392 % Major in Dept 0.3% 0.3% 1.0% 1.0% 0.3% 1.1% 0.2% 0.4% 0.4% 0.6%
Major In Sophomore Dept 1 210 270 291 303 285 330 294 276 324 234 Major in UnGr Stud 2 45 27 36 21 24 42 60 84 129 114
190 (200-level Other Major courses) 3 711 444 456 510 582 630 675 666 741 582 Total Credit Hours 966 741 783 834 891 1,002 1,029 1,026 1,194 930 % Major in Dept 21.7% 36.4% 37.2% 36.3% 32.0% 32.9% 28.6% 26.9% 27.1% 25.2%
Major In Junior Dept 1 48 99 45 57 3 39 102 9 42 Major in UnGr Stud 2 3 0 3 9 9 (300-level Other Major courses) 3 117 153 63 45 12 36 78 6 69 Total Credit Hours 168 252 108 0 105 15 84 189 15 111 % Major in Dept 28.6% 39.3% 41.7% 54.3% 20.0% 46.4% 54.0% 60.0% 37.8%
Major In Senior Dept 1 192 228 324 426 324 450 360 300 372 345 Major in UnGr Stud 2 6 3 3 3 9 15 21 21 12 6 (400-level Other Major courses) 3 240 180 252 291 252 321 285 201 202 282 Total Credit Hours 438 411 579 720 585 786 666 522 586 633 % Major in Dept 43.8% 55.5% 56.0% 59.2% 55.4% 57.3% 54.1% 57.5% 63.5% 54.5%
Total Major In Undergraduate Dept 1 453 600 669 738 669 798 696 684 711 630 Major in UnGr Stud 2 63 42 45 36 42 87 114 141 174 159 (100- to 400-level Other Major courses) 3 2,049 1,704 1,683 1,686 1,734 2,229 2,232 2,295 2,344 2,277 Total Credit Hours 2,565 2,346 2,397 2,460 2,445 3,114 3,042 3,120 3,229 3,066 % Major in Dept 17.7% 25.6% 27.9% 30.0% 27.4% 25.6% 22.9% 21.9% 22.0% 20.5%
Major In Graduate Dept 307 282 282 222 250 227 254 235 198 257 (500- & 600-level courses) Other Major 48 25 75 51 51 57 60 45 48 59 Total Credit Hours 355 307 357 273 301 284 314 280 246 316 % Major in Dept 86.5% 91.9% 79.0% 81.3% 83.1% 79.9% 80.9% 83.9% 80.5% 81.3% 1 Student with major in department & admitted to major college 2 Student with declared major in department, but not yet admitted to major college (still in UG Studies). 3 "Other Major" are enrollments for those admitted to other academic programs and UG Studies
students with declared majors in other disciplines. Data Source: 21-day CHE/HED Course File (created by the Registrar's System Team, maintained by the Office of Institutional Research) matched to Enrollment Management database (based on 21-day CHE/HED enrollment file). UNM Institutional Research: C. Bernhard
191 Table #11—SCH by Course Level & Student Status in Art Studio
Table 11. Student Credit Hours by Course Level & Student Status Art Studio Fall 2000 to Fall 2009 Student Course Level Status 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009
Major In Freshman Dept 1 246 351 232 259 285 263 292 337 262 353 Major in UnGr Stud 2 68 67 97 42 58 91 106 155 189 237 (100-level Other courses) Major 3 1405 1396 1,319 1,471 1,514 1,543 1,591 1,427 1,467 1,435 Total Credit Hours 1,719 1,814 1,648 1,772 1,857 1,897 1,989 1,919 1,918 2,025 % Major in Dept 14.3% 19.3% 14.1% 14.6% 15.3% 13.9% 14.7% 17.6% 13.7% 17.4%
Major In Sophomore Dept 1 234 252 270 225 171 222 168 210 243 249 Major in UnGr Stud 2 48 36 36 24 48 63 42 78 39 96 (200-level Other courses) Major 3 399 483 459 444 450 423 228 192 288 249 Total Credit Hours 681 771 765 693 669 708 438 480 570 594 % Major in Dept 34.4% 32.7% 35.3% 32.5% 25.6% 31.4% 38.4% 43.8% 42.6% 41.9%
Major In Junior Dept 1 411 417 468 501 444 381 448 474 384 363 Major in UnGr Stud 2 21 18 24 9 15 12 15 36 15 15 (300-level Other courses) Major 3 420 309 378 267 333 324 261 237 225 309 Total Credit Hours 852 744 870 777 792 717 724 747 624 687 % Major in Dept 48.2% 56.0% 53.8% 64.5% 56.1% 53.1% 61.9% 63.5% 61.5% 52.8%
Major In Senior Dept 1 348 324 309 435 438 447 363 462 390 384 Major in UnGr Stud 2 3 3 6 9 6 12 (400-level Other courses) Major 3 111 126 132 111 147 150 132 144 117 135 Total Credit Hours 462 453 447 546 594 597 495 612 507 531 % Major in 75.3% 71.5% 69.1% 79.7% 73.7% 74.9% 73.3% 75.5% 76.9% 72.3% 192 Dept
Total Major In Undergraduate Dept 1 1,239 1,344 1,279 1,420 1,338 1,313 1,271 1,483 1,279 1,349 Major in UnGr Stud 2 140 124 163 75 130 166 163 275 243 360 (100- to 400- Other level courses) Major 3 2,335 2,314 2,288 2,293 2,444 2,440 2,212 2,000 2,097 2,128 Total Credit Hours 3,714 3,782 3,730 3,788 3,912 3,919 3,646 3,758 3,619 3,837 % Major in Dept 33.4% 35.5% 34.3% 37.5% 34.2% 33.5% 34.9% 39.5% 35.3% 35.2%
Major In Graduate Dept 308 275 278 298 320 286 297 271 190 253 (500- & 600- Other level courses) Major 29 29 22 53 96 63 36 50 56 42 Total Credit Hours 337 304 300 351 416 349 333 321 246 295 % Major in Dept 91.4% 90.5% 92.7% 84.9% 76.9% 81.9% 89.2% 84.4% 77.2% 85.8% 1 Student with major in department & admitted to major college 2 Student with declared major in department, but not yet admitted to major college (still in UG Studies). 3 "Other Major" are enrollments for those admitted to other academic programs and UG Studies students with declared majors in other disciplines. Data Source: 21-day CHE/HED Course File (created by the Registrar's System Team, maintained by the Office of Institutional Research) matched to Enrollment Management database (based on 21-day CHE/HED enrollment file). UNM Institutional Research: C. Bernhard
193 Table #12—SCH by Course Level & Student Status in Museum Studies
Table 12. Student Credit Hours by Course Level & Student Status Museum Studies Fall 2000 to Fall 2009 Student Course Level Status 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009
Major In Dept Freshman 1 Major in UnGr Stud 2 (100-level courses) Other Major 3 Total Credit Hours 0 0 0 0 0 0 0 0 0 0 % Major in Dept 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%
Major In Dept Sophomore 1 Major in UnGr Stud 2 (200-level courses) Other Major 3 Total Credit Hours 0 0 0 0 0 0 0 0 0 0 % Major in Dept 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%
Major In Dept Junior 1 Major in UnGr Stud 2 (300-level courses) Other Major 3 Total Credit Hours 0 0 0 0 0 0 0 0 0 0 % Major in Dept 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%
Major In Dept Senior 1 3 3 3 Major in UnGr Stud 2 3 (400-level courses) Other Major 3 6 9 3 Total Credit Hours 0 0 0 0 12 12 3 0 3 0 % Major in Dept 0.0% 0.0% 0.0% 0.0% 25.0% 25.0% 100.0% 0.0% 0.0% 0.0%
Total Major In Dept Undergraduate 1 0 0 0 0 3 3 3 0 0 0 Major in UnGr Stud 2 0 0 0 0 3 0 0 0 0 0 (100- to 400-level courses) Other Major 3 0 0 0 0 6 9 0 0 3 0 Total Credit 0 0 0 0 12 12 3 0 3 0 194 Hours % Major in Dept 0.0% 0.0% 0.0% 0.0% 25.0% 25.0% 100.0% 0.0% 0.0% 0.0%
Graduate Major In Dept 3 (500- & 600-level courses) Other Major 6 3 9 6 6 Total Credit Hours 0 0 0 6 3 9 6 9 0 % Major in Dept 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 50.0% 0.0% 0.0% 1 Student with major in department & admitted to major college 2 Student with declared major in department, but not yet admitted to major college (still in UG Studies). 3 "Other Major" are enrollments for those admitted to other academic programs and UG Studies students with declared majors in other disciplines. Data Source: 21-day CHE/HED Course File (created by the Registrar's System Team, maintained by the Office of Institutional Research) matched to Enrollment Management database (based on 21-day CHE/HED enrollment file). UNM Institutional Research: C. Bernhard
195 Table #13—SCH by Course Level & Type of Instructor in Art History
Table 13. Fall Student Credit Hours (SCH) by Course Level & Type of Instructor Fall 2000 to Fall 2009 Art History (ARTH) Freshman Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 993 0.10 0.90 1 2001 942 0.08 0.77 0.16 1 2002 927 0.16 0.84 1 2003 906 0.18 0.82 1 2004 864 0.17 0.83 1 2005 1,311 0.61 0.03 0.05 0.30 1 2006 1,263 0.02 0.56 0.42 1 2007 1,383 0.02 0.59 0.38 0.00 1 2008 1,434 1.00 1 2009 1,392 1.00 1
Suphomore Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 966 0.44 0.56 1 2001 741 0.76 0.07 0.17 1 2002 783 0.77 0.03 0.20 1 2003 834 0.34 0.11 0.55 1 2004 891 0.39 0.05 0.45 0.10 1 2005 1,002 0.74 0.11 0.15 1 2006 1,029 0.84 0.06 0.10 1 2007 1,026 0.84 0.05 0.11 1 2008 1,194 0.99 0.01 1 2009 930 1.00 1
Junior Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 168 1.00 1 2001 252 1.00 1 2002 108 1.00 1 2003 105 1.00 1 2004 15 1.00 1 2005 84 1.00 1 2006 189 1.00 1 2007 15 1.00 1 2008 111 1.00 1 2009 0
196 Senior Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 438 0.79 0.05 0.16 1 2001 411 0.76 0.04 0.20 1 2002 579 0.95 0.01 0.05 1 2003 720 0.75 0.01 0.03 0.05 0.15 1 2004 585 0.82 0.13 0.03 0.03 1 2005 786 0.93 0.04 0.03 1 2006 666 0.81 0.13 0.06 1 2007 522 0.43 0.17 0.17 0.09 0.15 1 2008 586 0.96 0.04 1 2009 633 1.00 1
Graduate Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 355 0.97 0.01 0.02 1 2001 307 0.91 0.09 1 2002 360 0.89 0.08 0.02 1 2003 273 0.88 0.01 0.01 0.07 0.03 1 2004 301 0.93 0.03 0.03 0.01 1 2005 284 0.86 0.10 0.04 1 2006 314 0.94 0.03 0.03 1 2007 280 0.84 0.03 0.05 0.03 0.04 1 2008 246 1.00 1 2009 316 1.00 1 Freshmen = 100-level courses Sophomore = 200-level courses Junior = 300-level courses Senior = 400-level courses Graduate = 500- & 600-level courses Data Source: 21-day Course Extract database and Empcount database maintained by the Office of Institutional Research. UNM Institutional Research: C. Bernhard
197 Table #14—SCH by Course Level & Type of Instructor in Art Studio
Table 14. Fall Student Credit Hours (SCH) by Course Level & Type of Instructor Fall 2000 to Fall 2009 Art Studio (ARTS) Freshman Percents Non- Fac/Staff Not Year Total Ten/Tentrack Ten in Other Contingent Teaching Total Identified SCH in Dept Dept Dept Faculty Asst 2000 1,719 0.30 0.03 0.27 0.36 0.03 1 2001 1,814 0.38 0.09 0.52 1 2002 1,648 0.32 0.04 0.06 0.58 1 2003 1,772 0.37 0.03 0.13 0.46 1 2004 1,860 0.33 0.03 0.18 0.45 1 2005 1,897 0.30 0.03 0.23 0.44 1 2006 1,989 0.02 0.10 0.21 0.67 1 2007 1,919 0.05 0.11 0.23 0.60 0.01 1 2008 1,919 1.00 0.00 1 2009 2,025 0.97 0.03 1
Suphomore Percents Non- Fac/Staff Not Year Total Ten/Tentrack Ten in Other Contingent Teaching Total Identified SCH in Dept Dept Dept Faculty Asst 2000 681 0.25 0.35 0.41 1 2001 771 0.35 0.04 0.17 0.44 1 2002 765 0.31 0.36 0.33 1 2003 693 0.18 0.38 0.45 1 2004 669 0.21 0.33 0.46 1 2005 708 0.20 0.08 0.19 0.53 1 2006 438 0.49 0.14 0.10 0.28 1 2007 480 0.39 0.10 0.09 0.42 1 2008 570 0.99 0.01 1 2009 594 1.00 1
Junior Percents Non- Fac/Staff Not Year Total Ten/Tentrack Ten in Other Contingent Teaching Total Identified SCH in Dept Dept Dept Faculty Asst 2000 852 0.49 0.02 0.20 0.29 1 2001 744 0.45 0.04 0.31 0.14 0.05 1 2002 870 0.40 0.46 0.15 1 2003 777 0.56 0.06 0.29 0.10 1 2004 792 0.69 0.13 0.14 0.04 1 2005 717 0.56 0.03 0.41 1 2006 724 0.40 0.07 0.03 0.42 0.08 1 2007 747 0.43 0.05 0.01 0.29 0.14 0.08 1 2008 624 1.00 1 2009 687 1.00 1
Senior Percents
198 Non- Fac/Staff Not Year Total Ten/Tentrack Ten in Other Contingent Teaching Total Identified SCH in Dept Dept Dept Faculty Asst 2000 462 0.76 0.16 0.08 1 2001 453 0.89 0.11 1 2002 447 0.88 0.12 1 2003 546 0.72 0.28 1 2004 594 0.75 0.09 0.14 0.03 1 2005 597 0.71 0.01 0.25 0.03 1 2006 495 0.59 0.04 0.06 0.22 0.09 1 2007 612 0.71 0.02 0.07 0.19 0.00 1 2008 507 0.99 0.01 1 2009 531 1.00 1
Graduate Percents Non- Fac/Staff Not Year Total Ten/Tentrack Ten in Other Contingent Teaching Total Identified SCH in Dept Dept Dept Faculty Asst 2000 337 0.95 0.04 0.01 1 2001 304 0.96 0.04 1 2002 306 0.92 0.06 0.02 1 2003 351 0.92 0.03 0.04 1 2004 416 0.94 0.01 0.03 0.03 1 2005 349 0.94 0.01 0.05 1 2006 333 0.93 0.05 0.01 0.02 1 2007 321 0.91 0.03 0.02 0.05 1 2008 246 1.00 1 2009 295 1.00 1 Freshmen = 100-level courses Sophomore = 200-level courses Junior = 300-level courses Senior = 400-level courses Graduate = 500- & 600-level courses
Data Source: 21-day Course Extract database and Empcount database maintained by the Office of Institutional Research. UNM Institutional Research: C. Bernhard
199 Table #15—SCH by Course Level & Type of Instructor in Museum Studies
Table 15. Fall Student Credit Hours (SCH) by Course Level & Type of Instructor Fall 2000 to Fall 2009 Museum Studies (MSST) Freshman Percents
Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 0 2001 0 2002 0 2003 0 2004 0 2005 0 2006 0 2007 0 2008 0 2009 0
Suphomore Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 0 2001 0 2002 0 2003 0 2004 0 2005 0 2006 0 2007 0 2008 0 2009 0
Junior Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 0 2001 0 2002 0 2003 0 2004 0 2005 0 2006 0 2007 0 2008 0 2009 0 200
Senior Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 0 2001 0 2002 0 2003 0 2004 12 1.00 1 2005 12 0.25 0.75 1 2006 3 1.00 1 2007 0 2008 3 1.00 1 2009 0
Graduate Percents Non- Ten Fac/Staff Not Year Total Total Ten/Tentrack in Other Contingent Teaching Identified SCH in Dept Dept Dept Faculty Asst 2000 0 2001 0 2002 0 2003 0 2004 6 1.00 1 2005 3 1.00 1 2006 9 1.00 1 2007 9 1.00 1 2008 6 1.00 1 2009 0 Freshmen = 100-level courses Sophomore = 200-level courses Junior = 300-level courses Senior = 400-level courses Graduate = 500- & 600-level courses Data Source: 21-day Course Extract database and Empcount database maintained by the Office of Institutional Research. UNM Institutional Research: C. Bernhard
201 Table #16—Total Number of Degree Recipients in Art History
Table 16. Total Number of Degree Recipients 2000-2001 to 2008-2009 Academic Years Art and Art History 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2007- 2008- Major Degree 01 02 03 04 05 06 07 08 09 Art BAFA 6 10 8 10 12 9 12 11 14 History MA 5 5 6 1 0 2 5 6 5 PHD 3 2 3 2 0 1 2 1 1 Total Degrees Awarded 14 17 17 13 12 12 19 18 20 NOTE: Information is for internal use only. Ethnicity is protected information under the Family Educational Rights and Privacy Act (FERPA), and any cells with less than 3 individuals need to be surpressed if the information is used for external purposes. Data Source: Deggrant database maintained by the Office of Institutional Research UNM Institutional Research: C. Bernhard
Table #17—Total Number of Degree Recipients in Art Studio
Table 17. Total Number of Degree Recipients 2000-2001 to 2008-2009 Academic Years Art Studio 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2007- 2008- Major Degree 01 02 03 04 05 06 07 08 09 Art Studio BA 3 1 BAFA 29 31 28 31 27 32 30 35 34 BFA 48 46 37 47 42 32 49 46 41 MFA 16 15 10 13 19 14 13 20 18 Total Degrees Awarded 93 92 75 91 88 78 95 102 93 NOTE: Information is for internal use only. Ethnicity is protected information under the Family Educational Rights and Privacy Act (FERPA), and any cells with less than 3 individuals need to be surpressed if the information is used for external purposes. Data Source: Deggrant database maintained by the Office of Institutional Research UNM Institutional Research: C. Bernhard
202 Table #18—Degree Recipients by Ethnicity and Sex in Art History
Table 18. Degree Recipients by Ethnicity and Sex 2000-2001 to 2008-2009 Academic Years Art History Bachelors of Fine Arts 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2008- Ethnicity Sex 01 02 03 04 05 06 07 2007-08 09 African Amer/Black F 1 African Amer/Black M African Amer/Black Total 0 1 0 0 0 0 0 0 0 American Indian F 1 1 American Indian M 2 1 American Indian Total 1 0 1 2 0 1 0 0 0 Asian/Pacific Islander F Asian/Pacific Islander M Asian/Pacific Islander Total 0 0 0 0 0 0 0 0 0 Hispanic F 2 4 4 4 4 Hispanic M 1 3 1 Hispanic Total 0 2 0 1 7 1 4 4 4 White, non-Hispanic F 5 6 2 6 4 6 5 5 7 White, non-Hispanic M 1 2 1 3 1 White, non-Hispanic Total 5 7 4 6 5 6 8 5 8 No Response F 2 1 1 2 1 No Response M 1 No Response Total 0 0 3 1 0 1 0 2 1 All Ethnic Groups Comb F 6 9 5 7 8 7 9 11 12 All Ethnic Groups Comb M 0 1 3 3 4 2 3 0 1 All Ethnic Groups Comb Total 6 10 8 10 12 9 12 11 13
Masters of Arts 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2008- Ethnicity Sex 01 02 03 04 05 06 07 2007-08 09 African Amer/Black F African Amer/Black M African Amer/Black Total 0 0 0 0 0 0 0 0 0 American Indian F 1 American Indian M American Indian Total 0 0 0 0 0 0 1 0 0 Asian/Pacific Islander F 1 Asian/Pacific Islander M Asian/Pacific Islander Total 0 0 0 0 0 0 1 0 0 Hispanic F 1 1 1 1 2 Hispanic M 1 1 1 1 Hispanic Total 2 1 1 0 0 1 1 1 3 White, non-Hispanic F 2 2 5 4 1 White, non-Hispanic M 1 1 1 1 White, non-Hispanic Total 3 2 5 1 0 0 2 4 2 No Response F 2 1 No Response M 1 No Response Total 0 2 0 0 0 1 0 1 0 All Ethnic Groups Comb F 3 4 6 0 0 2 4 4 3 All Ethnic Groups Comb M 2 1 0 1 0 0 1 2 2 All Ethnic Groups Comb Total 5 5 6 1 0 2 5 6 5
Ph.D. 203 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2008- Ethnicity Sex 01 02 03 04 05 06 07 2007-08 09 African Amer/Black F 1 African Amer/Black M African Amer/Black Total 1 0 0 0 0 0 0 0 0 American Indian F 1 American Indian M American Indian Total 0 0 0 0 0 1 0 0 0 Asian/Pacific Islander F Asian/Pacific Islander M Asian/Pacific Islander Total 0 0 0 0 0 0 0 0 0 Hispanic F 1 1 Hispanic M Hispanic Total 1 1 0 0 0 0 0 0 0 White, non-Hispanic F 1 1 3 2 1 White, non-Hispanic M 1 1 1 White, non-Hispanic Total 1 1 3 2 0 0 2 1 1 No Response F No Response M No Response Total 0 0 0 0 0 0 0 0 0 All Ethnic Groups Comb F 3 2 3 2 1 1 0 0 All Ethnic Groups Comb M 0 0 0 0 0 0 1 1 1 All Ethnic Groups Comb Total 3 2 3 2 0 1 2 1 5 NOTE: Information is for internal use only. Ethnicity is protected information under the Family Educational Rights and Privacy Act (FERPA), and any cells with less than 3 individuals need to be surpressed if the information is used for external purposes. Data Source: Deggrant database maintained by the Office of Institutional Research UNM Institutional Research: C. Bernhard
204 Table #19—Degree Recipients by Ethnicity and Sex in Art Studio
Table 19. Degree Recipients by Ethnicity and Sex 2000-2001 to 2008-2009 Academic Years Art Studio Bachelors of Arts 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2008- Ethnicity Sex 01 02 03 04 05 06 07 2007-08 09 African Amer/Black F African Amer/Black M African Amer/Black Total 0 0 0 0 0 0 0 0 0 American Indian F American Indian M American Indian Total 0 0 0 0 0 0 0 0 0 Asian/Pacific Islander F Asian/Pacific Islander M Asian/Pacific Islander Total 0 0 0 0 0 0 0 0 0 Hispanic F 1 Hispanic M 1 Hispanic Total 0 0 0 0 0 0 1 1 0 White, non-Hispanic F 2 0 White, non-Hispanic M White, non-Hispanic Total 0 0 0 0 0 0 2 0 0 No Response F No Response M No Response Total 0 0 0 0 0 0 0 0 0 All Ethnic Groups Comb F 0 0 0 0 0 0 2 1 0 All Ethnic Groups Comb M 0 0 0 0 0 0 1 0 0 All Ethnic Groups Comb Total 0 0 0 0 0 0 3 1 0
Bachelors of Arts of Fine Arts 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2008- Ethnicity Sex 01 02 03 04 05 06 07 2007-08 09 African Amer/Black F 1 African Amer/Black M 1 1 1 African Amer/Black Total 0 0 0 1 1 1 0 0 1 American Indian F 1 1 1 1 American Indian M 1 2 2 1 1 2 1 American Indian Total 2 0 3 2 1 1 3 1 1 Asian/Pacific Islander F 1 2 1 1 1 2 Asian/Pacific Islander M 1 1 1 Asian/Pacific Islander Total 1 2 2 0 1 1 2 2 0 Hispanic F 2 1 1 3 4 5 5 6 3 Hispanic M 3 1 1 2 2 1 4 Hispanic Total 5 2 1 4 4 7 7 7 7 White, non-Hispanic F 10 20 16 16 10 15 11 13 14 White, non-Hispanic M 9 7 5 6 6 4 4 9 8 White, non-Hispanic Total 19 27 21 22 16 19 15 22 22 No Response F 2 1 4 2 2 1 1 No Response M 1 1 1 1 2 2 No Response Total 2 0 1 2 4 3 3 3 3 All Ethnic Groups Comb F 16 23 19 21 18 23 20 22 19 All Ethnic Groups Comb M 13 8 9 10 9 9 10 13 15 All Ethnic Groups Comb Total 29 31 28 31 27 32 30 35 34
205
Bachelors of Fine Arts 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2008- Ethnicity Sex 01 02 03 04 05 06 07 2007-08 09 African Amer/Black F 1 1 1 1 African Amer/Black M 1 1 African Amer/Black Total 1 1 1 1 0 0 0 1 1 American Indian F 1 2 2 1 1 1 American Indian M 2 1 1 1 1 3 American Indian Total 0 0 3 3 3 2 2 3 1 Asian/Pacific Islander F 2 1 2 1 1 Asian/Pacific Islander M 1 1 Asian/Pacific Islander Total 2 0 0 1 1 2 1 0 2 Hispanic F 5 7 1 5 6 4 8 2 7 Hispanic M 1 3 2 4 4 1 3 3 3 Hispanic Total 6 10 3 9 10 5 11 5 10 White, non-Hispanic F 19 18 21 17 16 11 19 19 12 White, non-Hispanic M 16 12 7 12 12 8 13 14 9 White, non-Hispanic Total 35 30 28 29 28 19 32 33 21 No Response F 3 1 2 3 1 1 4 4 No Response M 1 4 1 3 2 0 2 No Response Total 4 5 2 4 0 4 3 4 6 All Ethnic Groups Comb F 30 27 25 28 25 19 30 25 26 All Ethnic Groups Comb M 18 19 12 19 17 13 19 21 15 All Ethnic Groups Comb Total 48 46 37 47 42 32 49 46 41
Masters of Fine Arts 2000- 2001- 2002- 2003- 2004- 2005- 2006- 2008- Ethnicity Sex 01 02 03 04 05 06 07 2007-08 09 African Amer/Black F 1 African Amer/Black M African Amer/Black Total 0 1 0 0 0 0 0 0 0 American Indian F 1 American Indian M 1 1 1 American Indian Total 0 1 0 0 0 0 1 1 1 Asian/Pacific Islander F 1 1 1 1 2 Asian/Pacific Islander M 1 2 Asian/Pacific Islander Total 1 2 0 0 1 0 1 2 2 Hispanic F 1 1 1 Hispanic M 1 1 1 Hispanic Total 0 0 1 1 2 0 0 1 1 White, non-Hispanic F 8 5 4 4 10 8 7 7 8 White, non-Hispanic M 6 4 4 7 5 6 4 8 4 White, non-Hispanic Total 14 9 8 11 15 14 11 15 12 No Response F 1 1 1 No Response M 1 1 1 1 2 No Response Total 1 2 1 1 1 0 0 1 2 All Ethnic Groups Comb F 9 8 5 5 12 8 8 11 9 All Ethnic Groups Comb M 7 7 5 8 7 6 5 9 9 All Ethnic Groups Comb Total 16 15 10 13 19 14 13 20 18
NOTE: Information is for internal use only. Ethnicity is protected information under the Family Educational Rights and Privacy Act (FERPA), and any cells with less than 3 individuals need to be surpressed if the information is used for external purposes.
Data Source: Deggrant database maintained by the Office of Institutional Research
UNM Institutional Research: C. Bernhard
206 Table #20—Graduate Student Applications and Admissions in Art History
Table 20. Graduate Student Applications and Admissions Fall Semesters Art & Art History (ARTH) 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Masters Applied 37 29 23 40 36 32 Admitted 15 12 8 11 11 14 Enrolled 0 0 5 4 5 5 Doctoral Applied 5 10 13 6 14 12 Admitted 1 2 7 3 3 8 Enrolled 0 0 3 0 4 Total Applied 0 0 0 0 42 39 36 46 50 44 Admitted 0 0 0 0 16 14 15 14 14 22 Enrolled 0 0 0 0 0 0 8 4 5 9 Data Source: Dataset submitted to the Peterson's Annual Survey of Graduate and Professional Institutions. Enrollment Data unavailable prior to 2006. OGS/Ric Speed
Table #21—Graduate Student Applications and Admissions in Art Studio
Table 21. Graduate Student Applications and Admissions Fall Semesters Art & Art History (ARTS) 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Masters (MFA) Applied 160 157 168 132 134 171 Admitted 21 29 19 16 20 27 Enrolled 0 0 12 13 10 20 Doctoral Applied Admitted Enrolled Total Applied 0 0 0 0 160 157 168 132 134 171 Admitted 0 0 0 0 21 29 19 16 20 27 Enrolled 0 0 0 0 0 0 12 13 10 20 Data Source: Dataset submitted to the Peterson's Annual Survey of Graduate and Professional Institutions. Enrollment Data unavailable prior to 2006. OGS/Ric Speed
207 Application & Graduation Statistics (2010) A Report by Kat Heatherington of the Graduate Program in Art & Art History
MFA 2006 2007 2008 2009 2010 Art Studio Applied 164 152 143 162 198 Admitted 20 22 27 33 28 Enrolled 13 12 12 20 17 Graduated 13 20 18 9 n/a
MA 2006 2007 2008 2009 2010 Art History Applied 25 31 29 34 40 Admitted 10 13 12 16 13 Enrolled 4 4 5 5 8 Graduated 5 6 5 3 n/a
PhD 2006 2007 2008 2009 2010 Art History Applied 10 9 13 15 16 Admitted 8 5 8 10 6 Enrolled 4 3 2 5 4 Graduated 2 1 1 1 n/a
Graduate Enrollment Patterns
Total Enrollment Per Year MA PhD MFA 2006 13 14 52 2007 18 14 49 2008 19 13 39 2009 18 16 44 2010 25 15 52
Student Enrollment by Gender Per Year Men Women MA PhD MFA MA PhD MFA 2006 6 8 23 17 8 29 2007 5 8 22 18 7 27 2008 3 5 13 17 7 26 2009 3 4 12 18 10 32 2010 2010 data not available yet 208 Student Enrollment by Ethnicity Per Year White Hispanic AfricanAmer Native Amer Asian Other MA PhD MFA MA PhD MFA MA PhD MFA MA PhD MFA MA PhD MFA MA PhD MFA 200 13 6 38 4 2 3 0 0 0 1 1 3 3 0 3 2 0 4 6 200 8 4 35 6 2 2 0 0 1 0 1 3 2 0 4 2 1 3 7 200 8 5 30 8 2 2 0 0 1 0 2 3 1 1 1 0 1 1 8 200 8 6 30 6 2 3 0 0 1 1 2 2 0 0 1 1 1 4 9 201 2010 data not available yet 0
Student Enrollment by Program and Residency Status Per Year InState OutofState International MA PhD MFA MA PhD MFA MA PhD MFA 2006 2 1 1 2007 1 3 1 2008 9 6 13 8 4 16 1 3 2 2009 11 2 2 3 3 2010 2010 data not available yet
Descriptions of Degrees
Art History: MA & PhD The art history program emphasizes the study of visual art as a means of understanding the intellectual and cultural history of humanity. The program provides a firm grounding in both western and non‐western art history within the context of a liberal arts education. Undergraduate work covers the broad range of art history while graduate work leading to both the M.A. and the Ph.D. degrees is organized into two major fields of specialization: Arts of the Americas and Art of the Modern Age. The curriculum in each area of concentration is nationally and internationally recognized.
Arts of the Americas brings together the arts of pre‐ and post‐contact cultures of North, Central, and South America. Integral fields of specialization include Mesoamerican and South American art and architecture, ancient and modern Native American arts, Spanish Colonial art and architecture, and nineteenth and twentieth century Latin American arts. Along with the study of acknowledged discontinuities in form and series brought about with European invasion, this concentration also promotes the study of continuity in the history of American art and architecture. These combined viewpoints promote a clearer understanding of art within American art traditions.
Art of the Modern Age encompasses the history of painting, sculpture, architecture, decorative art, drawing, graphic art, photography and film in Europe and the Americas from 1750 to the present. It explores the democratization and consequent growth of intellectual and stylistic pluralism 209 during a time of rapid technological, social, political, and aesthetic changes. Such contextual studies and wide‐ranging theoretical frameworks together with more traditional studies of style, iconography, and medium illuminate modern art.
MA: If you are seeking a M.A. degree you must master the general history of art in addition to your chosen area of concentration.
PhD: To receive the Ph.D. degree, you must demonstrate a general mastery of the discipline, comprehensive knowledge of your field of specialization and an ability to conduct original research.
Studio Art: MFA The MFA is a terminal degree in studio art. Its primary emphasis is on the creative aspects of an individual’s work. The M.F.A. usually requires at least three years of intensive study and research beyond the bachelor's degree. Although the formal requirements for the M.F.A. degree are in some respects comparable to doctoral degrees in other fields, the scope and objectives of the M.F.A. degree are uniquely different. As such, the M.F.A. degree represents strong creative attainment in studio art, an assured grasp of an area of concentration, a sound knowledge of critical and historical artistic thought, and demonstrated expertise in conceiving and executing a significant body of creative work. Thus, as with the doctoral degree, its attainment is not simple matter of "meeting requirements."
The M.F.A. requires a concentration on the creative aspects of the studio work culminating in a dissertation, which entails planning, installing and documenting a solo exhibition of the student's own creative work, producing a catalog, and giving an oral public presentation.
Funding, Awards and Recognition
Assistantship Awards Per Year MA PhD MFA Total Awards % of students per Semester funded 2006 13 7 44 64 81% 2007 12 8 43 63 77% 2008 15 8 31 54 76% 2009 14 6 32 52 66% 2010 10 12 44 66 72%
Hemisphere
Hemisphere: Visual Cultures of the Americas is an annual publication produced by graduate students affiliated with the Department of Art and Art History at the University of New Mexico (UNM). Hemisphere provides a forum for graduate students to present scholarship and studio practice pertaining to all aspects and time periods of the visual and material cultures of North, Central, and South America, and related world contexts. Through the production of Hemisphere students promote their educational and professional interests as they gain first‐hand experience in academic publishing. Although the inaugural issue highlighted essays, reviews, and artwork by 210 graduate students from the Department of Art and Art History at UNM, the second edition consists of work submitted by graduate students at other universities in the United States. The journal welcomes and will continue to accept submissions from authors at other institutions in and outside of the United States.
GAA Juried Show Each year the Graduate Art Association selects a juror and students throughout the MFA program submit work for consideration for the annual Juried Show. The resulting exhibition offers a selective view of our MFA students’ accomplishments as measured by these jurors, who are drawn from the larger arts community. The MFA program emphasizes the students’ own creative initiative, and requires a strong understanding of criticism and art history. The Juried Show catalog emphasizes the close relationship between the Art and Art History programs by including statements about the selected artists written by MA and PhD Art History students. Under the coordination of the Graduate Art Association, the catalogue itself is also produced by graduate students. The production effort includes design, layout, photography and text.
Featured MFA artists: 2010 – Julia Blitch, Roger Boulay, Katy Cannon, Beau Carey, May Goldman Chaltiel, Xuan Chen, Bethany Delahunt, Kathleen Hawkes, TamiLynn Giordano, Carolyn Marsden, Freja Mitchell, Christopher Ory, Daniel Richmond, Tamara Zibners, Jennifer Zona
2009 – Arturo Araujo, Julia Blitch, Angela Elmendorf, May Goldman Chaltiel, Jessica Kennedy, Jenna Kuiper, Carolyn Marsden, Freja Mitchell, Cedra Wood, Tamara Zibners
2008 – Cynthia Brinich‐Langlois, Beau Carey, Sage Chettle, Karsten Creightney, Andrew Crooks, Bret Hanson, Karl Hofmann, Deborah Jojola, Daniel Kaufmann, Jessica Kennedy, Joseph Mougel, Justin Nighbert, Cristina de los Santos, Jennifer VanHorn, Molly Wakeman, Stephen Wong, Cedra Wood
2007 – Amy Cliser Carter, Carrie Cooper, Nicole Danti, Mark Geil, Elo Gunlao, Karl Hofmann, Erin Kawamata, Jessica Kennedy, Jenna Kuiper, Joseph Mougel, Min Kim Park, Larry Bob Phillips, Robert Rainey, Cristina de los Santos, Masumi Shibata, Jennifer VanHorn, Kevin Wesley
2006 – Lea Anderson, Christine Chin, Rory Coyne, Helen Cozza, Andrew Crooks, Craig Donalson, Jessica Dunn, Whitney Durell, Karen Hammer, Bret Hanson, Karl Hofmann, Erin Kawamata, Jyl Kelley, Justin Lane, Trevor Lucero, Sara Magnusson, Daniel Miller, Joseph Mougel, Jennifer Nehrbass‐Meyers, Justin Nighbert, Min Kim Park, Jesse Pearson, Sara Pomerance, Robert Rainey, Masumi Shibata, Jennifer VanHorn, Tara Zalewsky
Friends of Art award winners 2010 – Xuan Chen, Painting 2009 – Angela Elmendorf, Sculpture 2008 – Craig Donalson, Ceramics 2007 – Joseph Mougel, Photography 2006 – Tara Zalewsky, Painting
211 Appendix Three: Resumés of Permanent Faculty Members
Justine M. Andrews, PhD Associate Professor of Art History 2002 -- University of California at Los Angeles
I. Publications A. The Cathedral of Nicosia: The Sculpture of the Western Portals and its Reception. Parartema [Annex] to Epeterida [Annual Review] of the Cyprus Research Centre, 31 (2005): 1-76. B. “The Role of Genoa in the Visual Culture of Famagusta,” in Medieval Famagusta, ed. Chris Schabel and Angel Nicholaou-Konnari. (Brill and University of Cyprus, forthcoming 2009/10) – invited for publication. (submitted October 2009) “St. Sophia and St. Nicholas: Function, Memory, and Identity in Medieval Cypriot Architecture,” Proceedings of the IV International Cyprological Congress, Nicosia, Cyprus, April 28-May 3, 2008. (submitted September 2008) “The Afterlife of a Post-Crusader Manuscript from Greece and Evidence of Late Medieval Painting Practice in Cyprus,” for submission to The Afterlife of Forms, a Festschrift in Honor of Annemarie Weyl Carr, Ashgate, 2010 (submitted December 2009) “Gothic and Byzantine in the Monumental Arts of Famagusta: diversity, permeability and power.” Medieval and Renaissance Famagusta: History and Monuments. Edited by Nicholas Coureas, Peter Edbury and Michael J.K. Walsh. (Tournhout: Brepols, forthcoming 2010). “Crossing Boundaries: Byzantine and Western Influence in a 14th century Illustrated Commentary on Job.” Under the Influence. The Concept of Influence and the Study of Illuminated Manuscripts. Edited by Alixe Bovey and John Lowden. (Turnhout: Brepols, 2008), 111-119. II. Public Lectures A. “Nicosia and Famagusta: Memory, Desire, and Identity in Fourteenth-Century Ecclesiastical Architecture,” The Drury Center in Volos, Greece, May 6, 2008. Invited lecture “Fourteenth-Century Ecclesiastical Architecture in Cyprus.” CAARI Spring Lecture Series, May 24, 2008, Nicosia, Cyprus. “Crusader Art and Architecture on Cyprus,” WSBA Archaeological Society in Akrotiri, Cyprus B. “Gothic Cyprus: Sources and Functions of Fourteenth-Century Latin Architecture,” Works-in-Progress Series, UNM Institute for Medieval Studies, February 2009. “Sculpting Cathedrals: the Rebirth of the Figure in the High Middle Ages.” OSHER Lifelong Learning Institute of UNM Department of Continuing Education. September 12, 2008. “From Contact to Coexistence: Art and the Crusades.” A Medieval Miscellany, UNM Institute for Medieval Studies, Spring Lecture Series, April 2007. “From Contact to Coexistence: Art and the Crusades (1130-1374),” The Crusades Myth and Reality. Humanities West, San Francisco, February 23-24, 2007. Invited lecture III. Conference Papers A.“The Role of Genoa in the Visual Culture of Famagusta,” Workshop on Medieval Famagusta, Nicosia, Cyprus, October 24-26, 2008. Invited participant “St. Sophia and St. Nicholas: Function, Memory, and Identity in Medieval Cypriot Architecture,” IV International Cyprological Congress, Nicosia, Cyprus, April 28-May 3, 2008. Conference presentation B. “Post-crusade and Post-colonial: Latin Architecture in Fourteenth-Century Cyprus.” College Art Association, Chicago, IL, February 2010. Conference presentation Chair: Art and Architecture of Medieval Famagusta. And Speaker: “The role of Armenia in the Visual Culture of Famagusta.” International Congress on Medieval Studies, Western Michigan University, Kalamazoo, MI May, 2009. Conference presentation “Gothic and Byzantine in the Monumental Arts of Famagusta: Diversity, Permeability, and Power,” Medieval Association of the Pacific, Annual Conference, UNM, Albuquerque, New Mexico, March 2009. Conference presentation
212 “The Afterlife of a Manuscript from Post-Crusader Greece,” The Afterlife of Forms: Symposium in Honor of Annemarie Weyl Carr, Meadows Museum, Southern Methodist University, February 23-24, 2008. Conference presentation Chair: Dialectics of Mendicant Art in Europe, Latin America and Beyond. College Art Association, New York, NY, February 2007. Conference presentation Organizer of Session: New Studies in Byzantine Illuminated Manuscripts; and Speaker: “Art in Transmission, the Copying of a Fourteenth-Century Commentary on Job.” Annual Manuscript Studies Conference, Saint Louis University, October 13-14, 2006. Invited organizer and conference presentation IV. Awards & Honors College of Fine Arts, UNM, Professional Development Grant, to present a paper at CAA Annual Conference, Chicago, February 2010. College of Fine Arts, UNM, Professional Development Grant, to co-chair session on Medieval Famagusta (Cyprus) at International Congress on Medieval Studies, Kalamazoo, Michigan, May 2009. Traditional Fulbright Scholar, six-month research fellowship in Cyprus, January-June 2008. College of Fine Arts, UNM, Professional Development Grant, to chair session on Mendicant Art, at College Art Association Annual conference, New York, February 2007. College of Fine Arts, UNM, Professional Development Grant, to chair session on Medieval Cyprus at International Congress on Medieval Studies, Kalamazoo, Michigan, May 2006. University of New Mexico, Research Allocation Committee Award, for research of Latin Architecture in Cyprus, Winter 2005/2006. University of New Mexico Teaching Allocation Subcommittee Award, for digital photography of Medieval and Islamic architecture of Spain, Summer 2005. VI. Graduate Student Committee Work A. PhD Committees Directed B. PhD Committees Served on Paul Neill, Ph.D. Art History, graduated Spring 08 Brendan Branley, Ph.D. Art History, graduated Spring 09 James Ivey, Ph.D. Art History Brett Beatty, Ph.D. Art History Tijen Tunali, Ph.D. Art History C. MA Committees Directed D. MA Committees Served On Joseph Baca, MA, Art Education E. MFA Committees Served On Roger Boulay, MFA art Xuan Chen, MFA art Jessica Kennedy, MFA Art, graduated Spring 09 Larry Bob Philips, MFA art, graduated Spring 07 Sarah Waff, MFA dance, graduated Fall 2005 G. Senior Honors Committees Joseph Baca, BFA Honors Thesis, graduated Spring 06 William Gassaway, BFA Honors Thesis, graduated Spring 07
213 Scott M. Anderson, MFA Assistant Professor of Painting M.F.A. University of Illinois at Urbana-Champaign—2003
Solo Exhibitions 2007 Guru, Kavi Gupta Gallery, Leipzig, Germany 2004 Neo Pejzago, Galerie Jean-Luc & Takako Richard, Paris, France
2009 Join or Die, Stux Gallery, New York, NY 2008 Rendezvous Point, Light & Sie Gallery, Dallas, TX Misiisto, Kavi Gupta Gallery, Chicago, IL 2005 Re Krei, Kavi Gupta Gallery, Chicago, IL Aneksi, Mark Moore Gallery, Santa Monica, CA
Group Exhibitions 2008 Wintergarten, Kavi Gupta Gallery, Berlin, Germany 2006 Apres moi, le deluge, FA Projects, London, U.K.
2010 Underground Pop, Parrish Art Museum, Southampton, NY Bunny Redux, Warhol Museum, Pittsburgh, PA Gerrero Gallery, San Francisco, CA 2009 Low Blow, Stux Gallery, New York, NY Landscape Affected, Haggerty University Gallery, University of Dallas, TX Cut, Shuffle, & Draw, Columbus State University, Columbus, GA 2008 Future Tense: Reshaping the Landscape, Neuberger Museum, Purchase, NY Wild Kingdom, Nerman Museum of Contemporary Art, Overland Park, KS Apocalypse Yesterday, Claremont Graduate University, Claremont, CA 2007 Me and my Katamari, Lisa Boyle Gallery, Chicago, IL 2006 Mutiny!, Happy Lion Gallery, Los Angeles, CA We Build the Worlds Inside Our Heads, Freight & Volume, New York, NY 2005 Strange Fictions, Tarble Art Center, Eastern Illinois University, Charleston, IL
Books & Catalogs 2010 Exhibition catalog for Underground Pop, Parrish Art Museum, Southampton, NY 2009 Exhibition catalog for Join or Die, Stux Gallery, New York, NY 2008 Exhibition catalog for Rendezvous Point, Light & Sie Gallery, Dallas, TX
Public Lectures 2010 Atlantic Lecturer, Clarmont Graduate University, Claremont, CA 2005 Art Center, Pasadena, CA
Awards & Honors 2006 Pollock-Krasner Foundation Award
214 Published Reviews 2008 Hannum, Terence, interview in feature article, Beautiful/Decay, issue “X” Genocchio, Benjamin, “Today’s Landscapes, Tomorrow’s Dystopia,” New York Times, June 1. Artner, Alan G., Chicago Tribune, March 21 2007 Bon Magazine, feature article, “Young Masters,” Fall 2007, pp. 57, 60, 64 2005 Pagel, David, “Dramatic in any language,” Los Angeles Times, April 8
Graduate Student Committee Work
Cedra Wood, M.F.A. candidate, committee member Luane Redeye, M.F.A. candidate, committee member Ana Medina, M.F.A. candidate, committee member
Linley Green, B.F.A. candidate, Honors Thesis Committee chair Erika Burleigh, B.F.A. candidate, Honors Thesis Committee member Lyric Hammonds, B.F.A. candidate, Honors Thesis Committee member
215 Susanne Anderson-Riedel, PhD Associate Professor of Art History PhD--UCLA, 2002
I. Publications A. Books Creativity and Reproduction: Engraving and the Academy in Early Nineteenth-Century France, Cambridge Scholars Publishing, 2010
B. Book Chapters and Major Articles in Journals “The Grand Prix de Gravure in light of artistic and political debate in 18th century France,” Studiolo, No. 7 (2009): 181-200.
“Les Graveurs de l’Académie de Beaux-arts : leur rôle artistique et leur statut social au debut du dix- neuvième siècle, “ article in Le Gravure: quelles problématiques pour les temps modernes? Annales du Centre Ledoux, Vol.VII, Université Paris-I Panthéon-Sorbonne (William Blake & Co., 2009).
“The Sojourn of Engravers at the French Academy in Rome. Artistic Voyage and Its Influence on Nineteenth Century Engraving,” Chapter in The European Print and Cultural Transfers in the 18th and 19th Century (Hildesheim: Olms Verlag, 2007): 271-291.
“Les Loges de Raphaël de Joseph-Charles de Meulemeester: La gravure comme outil de conservation," Nouvelles de l’Estampe, No. 2006 (May/June 2006): 29-37.
II. Public Lectures “Lithography, a voice in art, politics and advertisement,” Lecture presented to the Printmaking Area, University of New Mexico, Albuquerque, Department of Art and Art History, September 22, 2005.
“A Formative Sojourn: Artistic Training and Transgression of French 19th century engravers in Italy,” Lecture at the University Art Museum, University of New Mexico, Albuquerque, April 20, 2004
III. Conference Papers A. International Papers “Les graveurs à l’Académie des Beaux-Arts: leur rôle et leur statut aux 19e siècle.” Lecture presented at the international conference “La gravure : quelles problématique pour les temps modernes?,” organized by the University of Paris, Sorbonne and the Bibliothèque nationale de France, June 11-12, 2004 B. National Papers “The French Academy and the Graphic Arts: Training Engravers in the 19th Century.“ Lecture presented at the international conference “The Social History of Art; A Symposium in Honor of Al Boime,” University of California, Los Angeles, March 4, 2006.
IV. Awards & Honors
“Caught You Being Awesome Award”, Faculty-Mentor April 2010 Award in the Undergraduate Research & Creativity Conference
216 V. Published Reviews of Publications Raimund Rütten, “The European print and cultural transfers in the XVIIIth and XIXth century,” Kritische Berichte, Vol. 30, No. 3 (2202): 91-94.
VI. Graduate Student Committee Work
PhD Committees Served on: Christelle Gonthier, Ph.D. in French Studies
MA Committees Directed: Megan Schultz Vida Mazulis
MA Committees Served On: Josephine Lopez Sherry Sorensen Clem
MFA Committees Served On: Arturo Araujo Blake Gibson David Liegh Bret Hanson Shannon Hayes
Senior Honors Committees: Lindsey Teel (Honor’s College, European Studies) Anya Kurennaya (Honor’s College, Linguisitcs) Margaret Blonder Joann Weiss
217 Holly Barnet-Sanchez, PhD Associate Professor of Art History Associate Dean, Student Affairs and Technology, College of Fine Arts, 2005-present PhD--University of California, Los Angeles, 1993
Articles and Book Chapters Published: “Chicano/a Critical Practices: Reflections on Tomás Ybarra-Frausto’s Concept of Rasquachismo,” in Pop Art and Vernacular Cultures; Annotating Art’s Histories, ed. Kobena Mercer, Bambridge, Mass. & London: Iniva (Institute of International Visual Arts) and The MIT Press, 2007, 56-87. “Rasquachismo and Domesticana: Aspects of Chicano/a Aesthetics and the Art Criticism of Tomás Ybarra-Frausto and Amalia Mesa-Bains,” in a “Forum” in Art Journal, Winter, 2005, Vol. 64, no. 4, pp. 91-93. “Murals in Latino/a U.S.A.” essay, in The Oxford Encyclopedia of Latinos and Latinas in the United States, edited by Suzanne Oboler and Deena González, New York: Oxford University Press, 2005, Vol. 3, pp. 198-206. “Radical Mestizaje in Chicano/a Murals,” Mexican Muralism: A Hemispheric Perspective, edited by Alejandro Anreus, Leonard Folgarait, and Robin Greeley, Berkeley: University of California Press, late 2010, early 2011. Publication in process: “Give Me Life: The Dialectic of Iconography and Identity in East Los Murals,” book manuscript with co-author, Tim Drescher, due to be completed Fall 2010 for submission to University of Minnesota Press. Exhibition in Process: Curator, “The Chicano/a Visual Imaginary”, 516 Arts, Albuquerque, New Mexico, with Amalia Mesa- Bains, Pepón Osorio, and others, February – April 2011. Panel Presentations & Conference Papers: Panelist and moderator, “Chicana Badgirls; Las Hociconas, 516 Arts, Albuquerque, New Mexico, March 14, 2009. Presenter, “Meanings that Change over Time – The Public Faces of Murals at Estrada Courts Housing Project in East Los Angeles,” Panel: “What’s the Story? Contemporary Public Art & Narrative in Los Angeles, Cheri Gaulke, Chair, CAA Annual Conference, L. A. Feb 2009. Invited Speaker, Symposium, “Walls of Passion; The Murals of Los Angeles,” Fine Arts Gallery, California State University, Los Angeles, January 31, 2009. Invited Participant/Speaker, The 7th Annual Consejo Gráfico: A Conference on Latino Printmaking in the United States, University of Texas, Austin, November 20-22, 2008. Invited Presenter, “Estrada Courts – Can We now Discuss Aesthetics of Community Murals?”, annual Latin American Studies Association Conference, San Juan, Puerto Rico, March 15, 2006. Invited Participant, “Pop Art & Vernacular Cultures,” symposium sponsored by INiva, London, England, February 2-3, 2006. Presenter, “Estrada Courts – East L. A.: The Aesthetics of Visiblity versus Legibility, or Whose Murals are These? For “The Writing on the Walls: Criticism and Community Murals,” Tim W. Drescher and John Pitman Weber, Co-Chairs, CAA Annual Conference, Atlanta, February, 2005.
Graduate Student Committee Work: PhD Committees Directed: Ruth Meredith, Modern Art History and Philosophy, 2003-2006 Elizabeth Olton, Pre-Columbian Art History, 2005-2010 Dylan Miner, Chicano/a Art History, 2004-2007 218
PhD Committees Served On Theresa Avila, Latin American Art History, Fall 2007 – ongoing Tijen Tunali, Modern Art History, Spring 2007 – ongoing Jennifer Robinson, Modern Art History, 2005 – ongoing Brendan Branley, Spanish Colonial Art History – 2005-2007
MA Committees Directed Briana Oliver, 2003 – 2008 Joseph Diaz, 2003-2007
MA Committees Served On Theresa Avila, Latin American/Chicanoa Art History, 2004 – 2007 Stacey Berenguel, Latin American Art History, 2005 – 2007 Christopher Jones, Latin American/Chicanoa Art History, 2005 – 2007 Gustavo Larach, Latin American Art History, 2008 – 2010 Karen Allen, Modern Art History, 2008 – 2010 Kathy DeBlassie, 2009 – 2010
MFA Committees Served On Aaron Bass, Printmaking, 2004 – 2006? Chris Ory, Printmaking, 2008 – 2010 Monique Belitz, Painting, 2009 – 1010
Department, College, University, National Committees: Chair, Photo History Search Committee, Art and Art History, 2007-2008 Co-Chair, IFDM (Interdisciplinary Film & Digital Media Program), Fall 2006-07 Chair, IT Policy Committee, College of Fine Arts, 2005-ongoing Chair, College Curriculum Committee, CFA, 2005-ongoing Chair, CFA Scholarship Committee, 2005-ongoing Project Director, UNM, Latino Literary Imagination, Conference with Rutgers, the Nuyorican Poets Café, and the National Hispanic Cultural Center, July 2009-April 2011 Member, Pre-Columbian Search Committee, Art and Art History, 2009-2010 Member, Dean’s Policy Council, 2005-ongoing Member, College of Fine Arts Strategic Planning Committee, 2004-2005, ongoing Member, Associate Deans’ Council, UNM, 2005-2007, disbanded Member, Graduate Dean’s Advisory Council, 2005-2007, 2009-ongoing Member, OGS (Office of Graduate Studies Task Force), UNM, Fall 2007 Member, Provost Search Committee, UNM, 2007-2008 Member, Executive Committee, Latin American & Iberian Institute, Latin Am. Studies, 2007-09 Member, Dissertation Awards Committee, Association of Latin American Art, 2004-05, 2007-08
219 STEVE BARRY, MFA Professor of Sculpture MFA--Hunter College, New York City, Combined Media, 1984
SOLO EXHIBITIONS
2006 “COMMON SENSE” University of New Mexico Art Museum 2004 “P.O.D.” Donkey Gallery, Albuquerque, New Mexico
GROUP EXHIBITIONS 2009 “SCULPTURE AS ANALOGY TO LANDSCAPE” SCA Gallery
BOOKS 2010 “ LAND/ART New Mexico (contributed essay) (Radius Books):160
LECTURES ON MY WORK University of New Mexico Art Museum 2006 Center for Contemporary, Art Santa Fe 2006 Donkey Gallery 2005
ACADEMIC HONORS AND GRANTS 2006-2007 Regents Lectureship UNM 2004 Research Allocations Grant UNM
REVIEWS 2009 Diane Armitage SCULPTURE AS ANALOGY TO LANDSCAPE” THE Magazine November 2009 p.47 2007 Kruger Jeff “Steve Barry COMMON SENSE” ART LTD Magazine, January 2007 p18 2006 Armitage, Diane “Observation and Imagination” THE magazine November 2006 p. 45 Pulka Wesley” Complex hive open to many interpretations” Albuquerque Journal, September 10 2006. p. F5 2005 Carver, John:”P.O.D. Albuquerque”, ART PAPERS March/April 2005 p.55
MFA THESIS COMMITTEES Chair Katie Cannon Neal Ambrose Smith 220 Erin Forrest Justin Nighbert Nicole Dante Eloise Shapiro Guanlao Larry Bob Phillips Jamie Rourke Julianne Harvey
MFA COMMITTEES Member May Chaltiel Chris Ory Molly Wakeman Masumi Shibata Erin Kawamata Jesse Pearson Min Kim Park Sage Chettle
HONORS COMMITTEES Chair Janelle Dry Victoria DeBlassi Member Cody Schuman Krysten Sanderson Colin Gabriel Gabe Romero Brandon Bethancourt
FOREIGN STUDENT MENTORING Angela Shilling (Fulbright Scholar, Germany) 2006
221 Kirsten Pai Buick, PhD Associate Professor of Art History 1999 – PhD in The History of Art, University of Michigan
I. Publications A. Books Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject. Durham and London: Duke University Press, 2010 B. Book Chapters and Major Articles in Journals “Lifting as She Climbed: Mary Edmonia Lewis Representing and Representative,” in Common Hope, Common Sorrow: Women of the Harlem Renaissance. Edited by Amy Kirschke. Jackson: University Press of Mississippi, forthcoming 2011.
“Nagatani’s Mudra: Tape as Gesture, Metaphor, and ‘Medium’,” in Desire for Magic: Patrick Nagatani, 1976-2006. Albuquerque: The University of New Mexico, 2010.
“L’Effet de Réel: Showing (and Telling) Kara Walker,” in Kara Walker – No / Kara Walker—Yes / Kara Walker--? New York: Midmarch Art Press, 2009.
“Edmonia Lewis, photographed by Henry Rocher, c.1870,” Deborah Willis, ed. Let Your Motto Be Resistance: African American Portraits (Washington, D.C.: The National Museum of African American History and Culture; National Portrait Gallery, 2007).
“Walter Ellison” and “Archibald Motley, Jr.,” Greenwood Encyclopedia of the Great Black Migration [2 Volumes]. Editor: Steven A. Reich. Westport, Conn.: Greenwood Publishing Group, 2006.
“A Question of ‘Likeness’: Edmonia Lewis’s “The Death of Cleopatra,” Source: Notes in the History of Art 24, no. 4(Summer 2005). II. Public Lectures July 17, 2009 – “Looking Back to Go Forward: American Impressionism and Historical Traditions in Art,” Lecture held in conjunction with the exhibition “American Impressionism: Paintings from the Phillips Collection” at the New Mexico Museum of Art, Santa Fe.
March 29, 2007 – “Subverting Subversion: Henry Ossawa Tanner’s Radical Form,” Lecture held in conjunction with “Tanner: An American Legacy” Symposium at the Art Institute of Chicago, Chicago, Illinois.
November 8, 2006 – “Estranged Bedfellows: Henry Wadsworth Longfellow, Edmonia Lewis, and the Cultural Work of Hiawatha,” Lecture for James Madison University’s Honors Program. James Madison University, Harrisonburg, Virginia.
October 10, 2006 – “Writing the Woman Artist: Edmonia Lewis,” Lecture held in conjunction with the exhibition “Julia Thecla: Undiscovered Worlds” at DePaul Art Museum, DePaul University. Chicago, Illinois.
October 24 – November 28, 2005 – Six part lecture series “What is ‘American’ about American Art?” held in conjunction with the exhibition “Strokes of Genius: Masterworks from the New Britain Museum of American Art” at the Museum of Fine Arts, Santa Fe, New Mexico.
October 26, 2005 – Painting as Inquiry Series Featuring Kerry James Marshall with Kirsten P. Buick. Sponsored by Santa Fe Community College. Sixth event of a two-year series that presents nationally recognized painters, art critics, and curators in discussions about contemporary painting. Santa Fe, New Mexico.
February 12, 2005 – “Estranged Bedfellows: Henry Wadsworth Longfellow, Edmonia Lewis, and the Cultural Work of Hiawatha,” Lecture at the Detroit Institute of Arts, Detroit, Michigan.
January 27, 2005 – “Visibility and Self-Reflection in the African American and Native American Works of Mary Edmonia Lewis,” in conjunction with Kennesaw State University exhibition “African American Sculpture from the Collections of Atlanta Life Financial Group, Clark Atlanta University, Howard University, Spelman College.” Atlanta, Georgia.
January 26, 2005 – “The Qualified Venus: Colonial and NeoColonial Representations of the African Female Nude,” in conjunction with the Spelman College Museum of Fine Art’s exhibition “Engaging the Camera: African Women, Portraits and the Photographs of Hector Acebes.” Atlanta, Georgia.
III. Conference Papers April 16, 2010 – “Writing the Woman Artist: Mary Edmonia Lewis.” Conference: The James A Porter Colloquium. Howard University, Washington, D.C.
222 February 11, 2010 – “I have a King: The Struggle of Race, Memory, and Representation in Lei Yixin’s Memorial to MLK,” Conference: CAA: Session: Race and Sculpture, 1740 – Present, Session Chair, Linda Kim, Smith College. Chicago.
April 10-12, 2009 – “Narrative Structure as Secular Judgment in Thomas Crawford’s Progress of Civilization,” Conference: PCA/ACA: Session: Visual Culture and Narrativity. New Orleans, Louisiana.
March 7-8, 2008 – “At the Edge of Empire: 19th Century African American Landscape Painters in the U.S.,” Conference: Interdisciplinary Methods in Colonial Studies: Nature and Society in the Americas. Third Annual Colloquium. University of New Mexico, Albuquerque, New Mexico.
April 22, 2006 – “Organizing the Body: The Black Panther Party and a Cost / Benefit Analysis of the Self-As-Spectacle,” Conference: The James A Porter Colloquium. Howard University, Washington, D.C.
February 2005 – “Essentialism’s Last Stand: Interrogating Art History’s Investment in ‘Double Consciousness’” [Chair of Session]. Conference: College Art Association, Atlanta. IV. Awards & Honors 2006-7 – University Libraries Faculty Acknowledgment Award V. Graduate Student Committee Work PhD Committees Directed Maxine Marks Shana Klein PhD Committees Served on Theresa Avila Brett Beatty Lissa Dehring Aaron Fry Eric Castillo (American Studies) Andrea Mays (American Studies) Carmen Samora (American Studies) Rebecca Hooker (English) MA Committees Directed Gay Falk Maxine Marks Stephanie Morimoto MA Committees Served On Karen Allen Emmanuel Ortega Elysia Poon Sherri Sorensen-Clem Maria Otero Amanda Bains (American Studies) Annette Rodriguez (American Studies) Jessica Dunn (Landscape Architecture) MFA Committees Served On Theresa Buscemi May Chaltiel Karsten Creightney Luanne Redeye Molly Wakeman Cedra Wood Rudolfo Serna (Creative Writing) Senior Honors Committees Aaron Stromberg, Codie Lea Schumann-Moerschel
223 Ligia Bouton, MFA Assistant Professor of Art MFA in Visual Arts, Mason Gross School of the Arts, Rutgers, The State University of New Jersey, 2003
Major Solo Exhibitions National 2006 Hybrids, Boulder Museum of Contemporary Art, Boulder, Colorado
Local 2007 Six Photographs of People I Don’t Know, EVO Gallery, Santa Fe, New Mexico 1999 Compound, Plan B Evolving Arts, Santa Fe New Mexico
Major Group Shows International 2010 Wonder, Femlink: The International Video Collage, to be shown at various international venues 2003 The Female Avant Garde Festival, Prague, Czech Republic
National 2010 The Sitting Room, The Philadelphia Art Alliance, Philadelphia, Pennsylvania (installation commission for 4 person exhibition) 2005 The True Mirror, City Without Walls, Newark, New Jersey 2004 Rocky Mountain Biennial, Museum of Contemporary Art, Fort Collins, Colorado Tell Me a Story of a World Without Words, City Without Walls, Newark, New Jersey Video:1minute:1800 frames, City Without Walls, Newark, New Jersey 2003 Manifestations: Form and Function, Denise Bibro Fine Art, New York, New York The Female Avant Garde Festival, Prague, Czech Republic Off the Top: the Rutgers Tradition, Bill Maynes Gallery, New York, New York MFA Thesis Exhibition II, Civic Square Galleries, New Brunswick, New Jersey The Flux Mass, Johnson Chapel, Amherst College, Amherst, Massachusetts Local 2009 Pretty Is as Pretty Does, SITE Santa Fe, Santa Fe, New Mexico (commission) Altered Spaces, The New Mexico Museum of Art, Santa Fe, New Mexico (commission) 2008 Giving Shelter, 516 Arts, Albuquerque, New Mexico 2006 Biennial Southwest, Albuquerque Museum, Albuquerque, New Mexico 2005 Embodied: Seven Studies in Video, Museum of Fine Arts, Santa Fe, New Mexico Gerry Snyder, Mark Shetabi, Ligia Bouton, Evo Gallery, Santa Fe, New Mexico Motion, Santa Fe Art Institute, Santa Fe, New Mexico 2004 Three Minute Film Festival, Center for Contemporary Arts, Santa Fe, New Mexico
Public Lectures & Papers at Conferences Local 2009 Artist Lecture Series, sponsored by the New Mexico Museum of Art, Santa Fe, 224 New Mexico (upcoming) The Function and Dysfunction of Beauty, panel discussion including Rina Banerjee, Kathy Butterly, Ligia Bouton, and David Leigh, and moderated by Laura Heon, SITE Santa Fe, Santa Fe, New Mexico 2004 Dialogue Among Peers 2004 Lecture Series, sponsored by Santa Fe Council for the Arts and Center for Contemporary Arts, Santa Fe, New Mexico
Awards and Honors 2010 Grant Project Assistance, College of Fine Art, University of New Mexico for RUTA: A Bus Opera. Black Rock Arts Foundation Grant, for RUTA: A Bus Opera 2004 Fellowship Award, Vermont Studio Center, Johnson, Vermont Full Fellowship for 1 month residency. 2003 Paul Robeson Emerging Artist Award, Rutgers University A prize given to a graduating MFA student who exhibits exceptional promise. 1995 Phi Beta Kappa, Vassar College A nationwide academic honor recognizing excellence in the liberal arts and Sciences.
Published Reviews of Your Artworks (selected) Carver, Jon. “Ligia Bouton: Santa Fe.” Art Papers, upcoming March/April, 2008. Chandler, Mary Voelz, “Biennial Shows its Heart.” Rocky Mountain News, May 1, 2004. Fairfield, Douglas, “Beauty Secrets.” Pasatiempo, February 13, 2009, 32-35. Genocchio, Benjamin, “Searching for an Identity in Newark.” The New York Times, March 20, 2005, 14NJ. King, Sarah, “Ligia Bouton EVO Gallery.” Art in America, September 2008, 174. Mayfield, Dan, “What Lurks Beneath.” Albuquerque Journal, February 8, 2008, F 1-2. Sardy, Marin, “Staging a Coup: How Ligia Bouton Installs Her World.” Santa Fean Magazine, April/May, 2009. Statton, Liza. “Ligia Bouton.” THE Magazine, December/January 2007/2008, 63.
Graduate Student Committee Work Corey Dzenko - PhD candidate in History of Photography Julia Blitch – Chair, MFA candidate (Degree expected in 2011) Nicole Danti – MFA (Degree in 2008) Katy Cannon – MFA candidate (Degree expected in 2010) Krittika Ramanujan – MFA candidate (Degree expected in 2010) Xuen Chen – MFA candidate (Degree expected in 2011) Theresa Buscemi – MFA candidate (Degree expected in 2011) Codie Schumann‐Moerschel – Chair, BFA Honors Thesis (degree expected in 2010)
225 Michael Cook, MFA Professor of Art M.F.A.--The University of Oklahoma, 1978
Selected Exhibitions
Museum Window, The University Art Museum, The University of New Mexico, Albuquerque, July – September 2008. One person Michael Cook: Painting and Video, Canfield Gallery, Santa Fe, New Mexico, November-December 2004. One Person Albuquerque Now – Winter, The Albuquerque Museum of Art and History, January 24 – April 18, 2010. The University of New Mexico, SFCC, Santa Fe, New Mexico, March 26 – April 27, 2009 A Darkened Line: Art and Death, The College of Santa Fe Fine Arts Gallery, July- August 2006 The Art of Collage, Canfield Gallery, Santa Fe, June 2006. Modern and Contemporary, Canfield Gallery, August to September, 2006 Painting Matters, University Art Museum, University of New Mexico, January-April 2006 Modern and Contemporary, Canfield Gallery, Aug-September 2005 Books Reviewer for Prentice Hall Publishers. Reviewed the text: Drawing As Expression by Sandy Brooke. Credit given in the forward. I also was a silent reviewer for chapters of several other books.
Invited Public Lectures
The University of Colorado, Denver, Department of Art Drake University, Des Moines, Iowa, Department of Art.
Reviews
A Barrage of Collage, The Santa Fe New Mexican, June 2, 2006, Elizabeth Cook-Romero, Review of The Art of Collage, Canfield Gallery Michael Cook, Dirge, THE Magazine, volume 12, number 3, October 2004, page 61, critical review, Jan E. Adlmann Gallerywise, Pasatiempo, November 5-11, 2004, page 62, Elizabeth Cook-Romero Wingspread Gallery News, radio broadcast, KHFM, November 4 & 11, 2004
MFA Committees Chaired
Broad, Angela -- chair Carey, Beau -- chair Creightney, Karsten -- chair Hanson, Bret -- chair Hofmann, Karl -- chair Kennedy, Jessica -- chair Kuiper, Jenna -- chair Leigh, David -- chair Lucero, Trevor -- chair Lutz, Matthew -- chair Mercer, Rhiannon -- chair 226 Nehrbass Myers, Jennifer -- chair Wesley, Kevin –- chair Yazzie, Petersen – chair
MFA Committees Served On
Anderson, Lea Chettle, Sage Coyne, Rory Huck, Matthew Magnuson, Sara Redeye, Luanne Sonnichsen, Michael Stuckey, Tracey Tuttle, Matthew Wheeler, Alexa Wood, Cedra
Honors Thesis BFA Committees Chaired
Lyric Hammonds Erika Burleigh Julia Lambright Robert Gomez Joselyn Salaz Christina Kirkman Sara Roybal
Honors Thesis BFA Committees Served On
Christopher Pendleton Devin Kovach Barbara Shapiro
227 Dr. David Craven, PhD Chair, Department of Art & Art History, and Distinguished Professor of Art History PhD---The University of North Carolina-Chapel Hill (1979)
Publications (2005-2010)—[In all, ten monographs over the last 30 years] A. Books and/or Catalogues 1. Art and Revolution in Latin America, 1910-1990 (Yale University Press, 2006). 2. Mexican Modern: Masters of the 20th Century, co-authored with Luis Martin Lozano (Santa Fe: Museum of New Mexico Press, 2006). 3. Dialectical Conversions: Donald Kuspit’s Art Criticism, co-edited with Brian Winkenweder (Liverpool University Press, 2010).
B. Book Chapters in Monographs 1. Reading Abstract Expressionism, ed. E. Landau (Yale U. Press, 2005): 510-526. 2. Cosmopolitan Modernisms, ed. Kobena Mercer (MIT, 2005): 146-168. 3. Discrepant Abstraction, ed. Kobena Mercer (MIT, 2006): 30-51. 4. Latin American Posters: Public Aesthetics & Mass Politics, ed. R. Davidson (Santa Fe: Museum of New Mexico Press, 2006): 15-18. 5. Abstract Expressionism: An International Language, ed. J. Marter (New Brunswick: Rutgers University Press, 2007): 67-81. 6. Value Art Politics, ed. Jonathan Harris (Liverpool University, 2007): 219-244. 7. Globalization and Contemporary Art, ed. Jonathan Harris (NY: Blackwell, 2010)
International Public Lectures 1. “Louise Nevelson as Cosmopolitan Bricoleur,” The Louise Blouin Foundation, London, England, June 12, 2009. 2. “New Documents about the Connections between Fri(e)da Kahlo and Hannah Höch,” Research Seminar, University of Edinburgh, Scotland, March 5, 2009. 3. “Fri(e)da Kahlo & Hannah Höch: A Trans-Atlantic Dialogue in the Arts,” Centre of Latin American Studies, University of Cambridge, England, February 23, 2009. 4. “Prometheusbilder von José Clemente Orozco und Peter Paul Rubens. Der Transatlantische Bilddiskurs gegen den Krieg und das Imperium,” Stiftung Brandenburger Tor, Max Liebermann Haus, Berlin, Germany, July 5, 2007. 5. “Prometheusbilder aus die Amerikas,” Kunsthistorischen Institut, Frei Universität Berlin, July 19, 2007. 6. “Hannah Höch und Fri(e)da Kahlo: Ein transatlantischer Bildaustausch,” Berlinische Galerie der Moderne Kunst, Berlin, Germany, June 24, 2007. 7. “The Political Engagement of an Apolitical Man: Thomas Mann & Anti-fascism in the Americas,” Ustav svetovej literatury, Slovenskej akademie vied (The Slovakian National Academy of Sciences, Bratislava, Slovakia), 8th June, 2007. 8. “Social Critique in the Images of Frida Kahlo & Her Central European Lineage,” Fakulta socialnich studíí Masarykovy uníverzíty v Brně (Department of Sociology, Masaryk University, Brno, The Czech Republic), May 16, 2007. 9. “Nicaragua as the World Capital of Muralism during the Sandinista Revolution of the 1980s,” Helsingin yliopisto (University of Helsinki), Finland, May 4, 2007. 10. “El mural por Jesús Guerrero Galván con el tema de Pan-americanismo,” Instituto de Investigaciones Estéticas, UNAM, Mexico City, October 11, 2006. 11. “Pablo OHiggins: El tema de trabajo y arte como trabajo,” Museo de la Ciudad, Mexico City, July 14, 2006. 12. “Meyer Schapiro y la izquierda en la historia del arte,” Instituto de Investigaciones Estéticas, UNAM, Mexico, May 15 & 16, 2005 – [Un ciclo de dos conferencias.]
228 International Conference Papers 1. Panel Discussant on the topic of “Do We Live in a Neo-Baroque Period?” Tate Gallery Liverpool, England, May 15, 2010. 2. “Neo-Baroque Tendencies in Contemporary Art,” University of Liverpool, England, May 14, 2010. 3. “Sandino’s Shadow in Nicaragua & Sculpture of Cardenal,” Estéticas del des(h)echo XXX Coloquio Internacional de Historia del Arte, Oct. 10, 2006, Mexico City. 4. “Rethinking Art History after 9/11: Wölfflin as Anti-militarist,” National Conference of the AAH (Art Historians of Great Britain) Leeds, U.K., April 6, 2006. 5. “Pablo O’Higgins como Internationalista de ‘nuestra América’,” Museo Antigua Colegio de San Ildefonso, Mexico City, February 10, 2005. Selected National Lectures and Conference Papers 1. “Cuban Posters: Revolutionary Art or a Revolution in Art?” University of Puget Sound, Washington, April 26, 2010. 2. “Joan Mitchell as Dissident During the Cold War,”Tulane University, April 10, 2010. 3. “The Mexican Revolution and the Mural Movement on the 100th Anniversary,” The Sheldon Museum of Art, The University of Nebraska—Lincoln, January 12, 2010. 4. “Fri(e)da Kahlo and Berlin Dada: A Trans-Atlantic Dialogue,” The 2009 McLeod Riggins Lecture in the Fine Arts, UNC—Chapel Hill, November 2, 2009. 5. “The Cuban Revolution at 50: Revolutionary Art or a Revolution in Art,” Ackland Art Museum, UNC—Chapel Hill, November 1, 2009. 6. “Dark Memory: Rudolf Baranik-Art-History,” Santa Fe Art Institute, April 6, 2009. [Paper plus panel discussion with Lucy Lippard, Ali Dahrouch, May Stevens] 7. “The Latin American City,” National Convention of the CAA, Dallas, Feb. 20, 2008 8. Keynote Address: “Rural Revolutionaries & Urban Vanguards,” Symposium on Arte Neoconcretista, New York University, History Dept., November 14, 2007. 9. “Thomas Mann as ‘National Security Threat’ in the McCarthy Period,” Cooper Union, New York City, November 12, 2007. 10. “Public Art Museums & Popular Mobilization in the Streets,” National Hispanic Cultural Center, Albuquerque, November 4, 2006.
Awards and Honors 2007 Rudolf Arnheim Professor of Art History, Humboldt University, Berlin 2007 Made Distinguished Professor of Art History at UNM 2007 Keynote Address at NYU Symposium on Arte Neoconcretista 2009 McLeod Riggins Lecture at the University of North Carolina-Chapel Hill 2009 Visiting Fellow, Trinity College, Cambridge University
Graduate Committees in Art History Served On Since 2000 I. Doctoral Committees Directed or Currently Directing 2004—Andrée Flageollé, Fashion Fights the War: Photos of Louise Dahl-Wolfe 2006—Ruth Meredith, From Material to Meaning: Hermeneutic Engagement Theresa Avila, The Prints of the Taller de Gráfica Popular Tijen Tunali, Globalization and The Biennials of Venice, Istanbul, Havana Brett Beatty, Robert Rauschenberg’s ROCCI Series César Estrada, Print Portfolios of Carlos Mérida Gustavo Larach, Modern Art from Honduras Johanna Wild, Globalization and Contemporary Art: Case Studies
II. Doctoral Committees Served On: A Selected List 2000—Florencia Bazzano-Nelson, Marta Traba’s Art Criticism 2004—Teresa Eckmann, National Identity & Mexican Figurative Art
229 2005—Lara Evans, Native American Performance Art 2006—Paul Niell, Spanish Colonial Architecture in Cuba 2007—Dylan Miner, Aztlán as Utopic Space in Chicano Art 2011—Corey Dzenko, Performance Art & Photography
IV. Masters Thesis Committees Directed 2000—Heather van Horn, Luis Camnitzer: Critical Reality 2000—Bill Kelly, Analysis of a Peruvian Princess 2002—Andrea Quijada, Coatlicue: Feminist Constructions of Chicana Art 2002—Diane Reed, Modern Art History in Sweden 2005—Patrick Schaefer, State Patronage of Rivera’s Mural: Post-Revisionism 2005—Theresa Avila, Images of Zapata 2005—Brenna Drury, Three Women Artists: Belli, Galindo, Cardinal-Schuler 2006—Christopher Jones, Chagoya & Reverse Modernism 2007—Shana Ketchum Heap of Birds, Locating the Native Artist 2007—Stacey Berenguel, Raúl Martínez’s Critique of Homophobia in Cuba 2009—César Estrada, Carlos Mérida’s Estampas del Popol Vuh 2009—Josephine López, Goya’s Sueño de la Rasón in the Public Sphere 2010—Gustavo Larach, Central American Art: Armando Morales, et. al 2010—Karen Allen, Magdalena Abakanowicz: In Her Space 2010—Maria Otero, The Murals of Guayasamín 2010—Hilary Ellenshaw, Diego Rivera’s Murals in the Palacio Nacional Stairway
IV. Masters Thesis Committees Served On: A Selected List 2001—Joanne Corrubba, Haida Argillite Carvings 2001—Feliza Medrano, The Mulata in Cuban Tobacco Art 2001—María Rivera-Tuñon, Art Institutions in Monterrey Mexico 2002—Kimberly Cleveland, The Open Air Schools in Mexico 2002—Sara Marion, The Portraits of Seydou Keita 2003—Richard Perce, The Theological Influence of Islamic Art on a Mission Church 2003—Leah Cluff, The Tamarind Prints of Jaune Quick-to-See Smith 2006—Suzanne McLeod, Arthur Shilling: First Nation Art in Canada 2008—Roland Rodríguez, The Charro in Art 2008—Lisa Dehring, Native American Art in the US 2009—Shana Klein, Aboriginal Art in the Western Imagination 2009—Susanna Stoll, A Colonial Art Museum in Guatemala 2009—Magdelane Salazar, Colonial Screen Painting in Mexico
230 Kathryne Cyman, MA and MFA in Arita Assistant Professor of Ceramics MFA--Equivalent in Japan, Arita Program, 1996
Kathryne grew up in Michigan and traveled west to study Fine Arts at Arizona State University. She received a BFA in Ceramics in 1984. Kathryne considered handmade pottery an art form, even though ceramic sculpture was the direction in the arts at the time. Functional ceramics was only considered art if broken shards were arranged expressively on the top of a pedestal. She wanted to think of herself as a potter and life with clay seemed like a good one. Kathryne relocated to New Mexico in the mid 80’s, where she felt a connection to the land and the art in process upon holding a pueblo pot.
Kathryne was introduced to the Arita, Japan Method of creating porcelain vessels in 1988 through the UNM Art Education program. The unique course was taught by Professor Jim Srubek, who studied under Sensei Manji Inoue of Arita, Japan. This art emphasized a track of study, the use of handmade tools and the potter’s wheel spinning clockwise. Kathryne appreciated the refreshing regard for functional form and the emphasis on creative process. Kathryne then decided to study this porcelain method as it was traditionally practiced in Japan.
She received a masters Degree in Art education in 1996 plus the equivalent of an MFA in the Arita Method of Porcelain. She was a teaching assistant from 1996 to 2001. When Professor Srubek retired, Kathryne was selected by Manji Inoue to continue to teach the Japanese porcelain method and to maintain the international and intercultural relationship with Arita, Japan. Kathryne has been a part time instructor in the Art Education program since 2001. Beginning fall of 2010, she will be teaching in the UNM Department of Art and Art History as an Assistant Professor. The University of New Mexico is the only higher education institution with an authorized faculty to teach this art from outside of Japan.
Kathryne has traveled to Japan four times. In 1996, with a group of students and Professor Srubek she took part in a ceramic exposition. In 1997, she was selected by Manji Inoue to study in Takeo, Japan as an artist-in-residence. In 2004 and 2009 she led a group of her students to Arita as guests of Sensei Manji Inoue who today holds the title of an Important Intangible Cultural Property of Japan.
When teaching, studying and working within the 400 year old Arita process, Kathryne is inspired by the shape of land and color of the light in New Mexico to create porcelain that has a connection to the past yet reflects a present aesthetic.
231 Constance DeJong, MFA Professor of Art University of New Mexico, MFA 1980 and MA 1975
Solo Exhibitions: International: Developing commissioned large-scale sculpture, Taiwan, China, 2010 Monumental sculpture commission, Chengdu, China, 2010 Local: Charlotte Jackson Fine Art, Santa Fe, New Mexico, “ Shift” (2008) Richard Levy Gallery, Albuquerque, New Mexico (2008) Museum of Fine Arts, Museum of New Mexico, Santa Fe, “Constellations” (2006-07) Richard Levy Gallery, Albuquerque, New Mexico, “Arc” (2005) Albuquerque Museum, New Mexico, 2003-2004: “Constance DeJong: Sculpture and Drawings, A Retrospective”
Group Shows: International: Miami Art Basil through Charlotte Jackson Fine Art and Richard Levy Gallery, (2010,2009, 2008,2007, 2006) National: The Albright-Knox Art Gallery, Buffalo, New York, “Works on paper” (2008) The Albright-Knox Art Gallery, Buffalo, New York, “The Natalie and Irving Forman Collection” (2005), Catalog Tucson Museum of Art, Arizona, "Paint on Metal" (2005), Catalog Local: Charlotte Jackson Fine Art, Santa Fe, New Mexico, “Primary Intentions” (2009) Charlotte Jackson Fine Art, Santa Fe, New Mexico, “ Off the Wall” (2007) James Kelly Contemporary, Santa Fe, New Mexico, “Site Unseen IV” (2006)
Books: Arden Reed, Constance DeJong: Metal (University of New Mexico Press, 2003)
Awards and Honors: Creative Work Grant, University of New Mexico, Albuquerque (1997-1998) Outstanding Teacher of the Year, University of New Mexico, Albuquerque (1994)
Published Reviews of Artwork: Douglas Fairfield, “Constance DeJong: Shift” Pasatiempo (10/9/2008) Rinchen Lhamo “Constance DeJong: Shift” THE Magazine (November 2008): 47 Kim Russo,“ Struck by the Sublime” Journal Santa Fe (10/17/08): S8 Wendy Aaker, “ Spin on Albuquerque” Trend, Spring/Summer 2008 p 143-44 Dan Mayfield, “Sculptor's Meticulous Sense of Order Conceals Fire Hidden Within” Albuquerque Journal, (June 8, 2008). Kathryn M. Davis, “Constellation” THE Magazine (April 2007) Tom Collins, “Shadows and Lite” Journal North (February 2, 2007) Arin McKenna, “Aglow: Exhibit looks for patterns in light,” Winterlife (2006), supplement of Santa Fe New Mexican 232 Paul Weideman, “A gallery of galaxies” Pasatiempo (December 15, 2006) Laura Addison, “The Stars in Our Midst” El Palacio (Winter 2006) Ellen Berkovitch, “Museum of Fine Arts Constellation” The Santa Fean (December 2006) Pulka, Wesley, “DeJong's Copper Arcs Inspiring” Albuquerque Journal (May 22, 2005): F5 Sasse, Julie, "Paint on Metal" Exhibition Catalog (Tucson Museum of Art, 2005).
MFA Committees Chaired: Angela Elmendorf
MFA Committees Served On: Angela Elmendorf Molly Wakeman Jennifer Zona Monique Belitz Nicole Danti Justin Neighbert Whitney Durell
BFA Committees Chaired: Ashlie Maxwell Sabra Sowell Karen Davidson Kathleen Denooyer
233 Bill Gilbert, MFA
2000- Director, Land Arts of the American West Program 2004‐ Lannan Endowed Chair 2009‐ Senior Associate Dean for Research
MFA‐‐ University of Montana, Missoula, 1978
Selected One Person Exhibitions 2010 Art + Environment Center, Nevada Art Museum, Reno, NV Mesaros Gallery, West Virginia University, Morgantown, WV 2009 University Art Museum, University of New Mexico, Albuquerque, NM 2005 Omniart, Art Basel Miami, FL Robert Nichols Gallery, Santa Fe, NM
Selected Group Exhibitions 2009 Second Site, 516 Gallery, Albuquerque, NM UNM Faculty, Santa Fe Community College, Santa Fe, NM Mapping a Green Future, Center for Contemporary Art, Santa Fe, NM 2008 Giving Shelter, 516 Gallery, Albuquerque, NM 2007 Currently West, Koumi‐Machi Kougen Museum of Art, Nagano, Japan Weather Report: Art & Climate Change, Boulder Museum of Contemporary Art, Boulder, CO 2006 Green, 516 Gallery, Albuquerque, NM Drift, Bronx River Art Center, Bronx, NY Landminds, Center for Contemporary Art, Santa Fe, NM CAMP: Art and Sustainability, Hyde Memorial State Park, Santa Fe, NM
Publications 2010 Gilbert, Bill, Introduction, LAND/ART (Santa Fe, NM: Radius Books) 2009 Gilbert, Bill & Taylor, Chris, ed. Land Arts of the American West (Austin: University of Texas Press)
Published Reviews 2010 Sanchez, Casey, “Axis of Easels,” Pasatiempo, The New Mexican (July 2‐8), pp 56‐57 Craggs, Mathew, “Map Quest Bill Gilbert,” Reno News & Review (June 17) 2009 Brown, Glen, 500 Ceramic Sculptures: Contemporary Practice, Singular Works (Lark Books) p. 377 Sardy, Marin, “Down to Earth”, Art Ltd (September 2009) Kamerick, Megan, “LAND/ART lifts Albuquerque to a new tier in art World” (July 31) p. 6 Armitage, Diane, “Land/Art New Mexico: A collaboration Exploring Land‐ Based Art,” THE Magazine (August) p. 61 Mayfield, Dan, “Indoor spaces join the rush to outdoors,” Albuquerque Journal (July 26) p. F3 King Sarah, “The Earth Sublime,” Art in America (June 2009) Fairfield, Douglas, “LAND/ART ho!,” The New Mexican (June 26) 234 Fischer, Zane, “Finally Landing,” Santa Fe Reporter (May 6) Jusinski, Charlotte, “Our Neighbor to the South,“ Santa Fe Reporter (March 25) p. 25 Kamerick, Megan, “Land Art Lifts Albuquerque to a New Tier in Art World,” New Mexico Business Weekly (July 31, 2009) 2008 Ross, Alex, “Giving Shelter,” THE Magazine (April 2008) 2006 Ganstrom, Linda, “International Ceramics: Cross Cultural Perspectives,” Explorations and Navigations: The Resonance of Place, NCECA Journal, Vol XXVII, pp. 136‐138 2005 Fox, William, “Land Arts of the American West,” Sculpture Magazine (October) p. 80 Elizabeth Cook Romero, “Anagama,” Pasa Tiempo, The New Mexican (June 17)
Curator 2009 LAND/ART, 25 institutions in Albuquerque and Santa Fe, NM Dispersal/Return: Land Arts of the American West 20002006, University Art Museum, University of New Mexico, Albuquerque, NM 2006 LandMinds, Center for Contemporary Art, Santa Fe NM
Grants 2009 McCune Foundation, LAND/ART documentary RAC Grant, University of New Mexico 2000‐10 Lannan Foundation, Land Arts of the American West Program, University of New Mexico
Public Lectures 2010 LAND/ART, Collected Works, Santa Fe, NM 2009 Land Art & Contemporary American Ceramics, Portland Museum of Craft, Portland, OR Land Arts of the American West, New Mexico Museum of Fine Art, Santa Fe, NM Land Arts of the American West, University Art Museum, University of Mexico, Albuquerque, NM LAND/ART Symposium, Albuquerque Museum, Albuquerque, NM 2008 Land Arts of the American West, California College of Arts, San Francisco, CA Land Arts of the American West, Art & Environment Center, Nevada Museum of Art, Reno, 2006 International Ceramics: Cross Cultural Perspectives, Explorations and Navigations: The Resonance of Place, National Council of Educators in the Ceramics Arts, Portland, OR
Graduate Committees Sage Chettle Craig Donalson (Chair) Angela Elmendorf Lauren Greenwald Cynthia Brinich‐Langlois Justin Nighbert Ben Johnsen Joseph Mougel Jennifer Van Horn Jessica Dunn
235 Ray Hernández-Durán, PhD Assistant Professor of Art History Ph.D.--University of Chicago (2005)
I. Publications A. Books in Progress -"El origen del arte entre nosotros": Politics, History, and Art in Nineteenth-Century Mexico. [Manuscript under review at Ashgate Press]
B. Book Chapters and Major Articles in Journals -"The Politics of Colonial Canon Formation in Nineteenth-Century Mexico: A Conservative Dialogue." In Nineteenth Century Studies: The Interdisciplinary Journal of the Nineteenth Century Studies Association. David Hanson, ed., Nineteenth Century Studies Association ( forthcoming 2011). -"Modern Museum Practice in Nineteenth-Century Mexico: The Academy of San Carlos and la antigua escuela Mexicana," Nineteenth-Century Art Worldwide: A Journal of Nineteenth- Century Visual Culture, Volume 9, Issue 1 (Spring 2010): 1-15. -“Maravilla Americana: The Virgin of Guadalupe and the Ideal Spectator.” In Religion as Art: Guadalupe, Orishas, and Sufi, Steven Loza, ed. (Albuquerque: University of New Mexico Press, 2009): 87–106. -“El encuentro de Cortés y Moctezuma: The Betrothal of Two Worlds in Eighteenth-Century New Spain." In Women and Art in Early Modern Latin America, Kellen K. McIntyre & Richard Phillips, ed. (Netherlands: Brill Press, 2007): 181–206. -"The Encounter as Intersection: History and Identity in Eighteenth-Century New Spain," Miradas disidentes: Género y sexo en la historia del arte, Roberto Dallal, ed. (Mexico City: Instituto de Investigaciones Estéticas, U.N.A.M, 2007): 203–215.
II. Public Lectures -"The Language of Line in Late Colonial Visual Culture: Nostalgia, Politics, and the Equestrian Portrait of Viceroy don Bernardo de Gálvez (1796)," Texas Tech University, March 30, 2010. -"Creative License versus Social Responsibility: Identity and History in Contemporary Latino/a Art," Texas Tech University, March 29, 2010. -"Marks of Authority: The Language of Line in Ibero-American Colonial Visual Culture," St. Mary's University, Maryland, November 20, 2008. -"Late Colonial Painting in New Spain: Visualizing a Politics of Resistance," St. Mary's University, Maryland, November 20, 2008. -"Visual Culture and Colonial Art: New Applications, New Conclusions," Southern Methodist University, Texas, March 2007. -"An American Encounter: Identity Politics and History Painting in Eighteenth-Century New Spain," University of Arizona, November 4, 2005.
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III. Conference Papers A. International Papers -"The Politics of Colonial Canon Formation in Nineteenth-Century Mexico"; Session: Centering the Margins of Nineteenth-Century Art; L'Association d'art des universités du Canada, University of Alberta, Edmonton, Canada, October 22–24, 2009. -"The 'Encounter' as Intersection: The Multivalent Nature of Identity in Eighteenth-Century New Spain"; Session: Anger at Power, XXIX Coloquio internacional, Puebla, Mexico; Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, Mexico City, October 2005. B. National Papers -"The Equestrian Portrait of Viceroy, Bernardo de Gálvez: A Tale of Two Horses in Late Eighteenth-Century Mexico City"; Symposium: The Politics of Taste in Eighteenth and Nineteenth-Century Latin America, Meadows Art Museum, Southern Methodist University, Dallas, Texas; September 17, 2010. -Respondent for session: Tradition and Innovation in Northern New Spain: Revisiting Eighteenth-Century New Mexico; Chair: Cristina Cruz González, The American Society for Eighteenth Century Studies annual conference, Albuquerque, New Mexico, March 17–21, 2010. -"Viceregal Portraiture and the Calligraphic Mark: The Language of Line in Late Colonial Visual Culture"; Session: Mexican Art and Iconography, Rocky Mountain Council for Latin American Studies, 56th Annual conference, Santa Fe, New Mexico, March 7, 2009. -"Performing Images: The Spanish Viceregal City and Public Spectacle"; Session: The Latin American City, College Art Association, Dallas, Texas, February 21, 2008.
IV. Grants and Awards -Summer 2007: Teaching Allocations Subcommittee Grant, University of New Mexico. -2006–2007: New Mexico Humanities Council Grant and National Endowment for the Humanities Grant (NEH) -2006–2007: P.L.A.C.E. Community Arts Grant, P.L.A.C.E. Program, College of Fine Arts, University of New Mexico
V. Published Reviews of Your Publications -"El Encuentro de Cortés y Moctezuma: The Betrothal of Two Worlds in Eighteenth-Century New Spain" in Woman and Art in Early Modern Latin America. Reviewed by Delia Cosentino, Ph.D. (DePaul University) for H-Net Book Review. H-Atlantic-net.msu.edu, February 2008.
VII. Graduate Student Committee Work A. PhD Committees Directed: 6 B. PhD Committees Served on: 2 C. MA Committees Directed: 6 D. MA Committees Served On: 10 E. MFA Committees Served On: 17 G. Senior Honors Committees: 12
237 KATHLEEN JESSE, MFA Associate Chair and Associate Professor
MFA--University of California, Berkeley, 1998
TEACHING 2000- 2010 University of New Mexico, Associate Professor 2008-2010 Associate Chair, Dept. of art and Art History
SOLO EXHIBITIONS 2004 War Paintings for the Nursery Greenwood Chebiths Gallery, Laguna Beach 2004 University Museum, Albuquerque, NM
GROUP EXHIBITIONS 2006 University Museum, Painting Faculty Exhibition. University of New Mexico 2007 Adam Whitney Gallery, Omaha, Nebraska Greenwood Gallery, Laguna Beach, CA 2008 Adam Whitney Gallery, Omaha, Nebraska Greenwood Gallery, Laguna Beach, CA 2009 Faculty Exhibition, Santa Fe Community College’s School of Art and Art History
LECTURES 2010 Lecture at UNM Health Sciences to the Graduate Occupational Therapist class concerning disability, rehabilitation and making art
GRADUATE COMMITTEES 2009-10 Beau Carey Monique Belitz Xuan Chen
HONOR THESIS, CHAIR 2009-10 Christopher Pendleton Tina Tahir Frederick White Vanessa Alvarado
HONOR THESIS, MEMBER 2009-10 Molly O'Meary Erika Burleigh
238 Shaurya Kumar, MFA Assistant Professor Art (Printmaking) M.F.A. (Concentration in Printmaking), University of Tennessee, Knoxville, 2007
I. Major Solo Exhibitions A. International B. National (selected)
• 2010 The Lost Museum: The Fate of World’s Greatest Lost Treasures, Schneider Museum of Art, OR Masterworks: Visualizations of Binary Degradation, Charleston Heights Art Center, Las Vegas, Neveda • 2009 The Lost Museum: The Fate of World’s Greatest Lost Treasures, University of Arkansas, Fayetteville • 2008 The Lost Museum: The Fate of World’s Greatest Lost Treasures, Los Angeles Center for Digital Arts, Los Angeles, CA
II. Major Group Shows A. International (selected)
• 2010 Frans Masereel Centrum, Kasterlee, Belgium Snakes & Ladders, Chaap - Vadodara, Gujarat, India From all Directions, Proyecto´ace, Buenos Aires, Argentina • 2009 The Stream of International Prints’, Alvaro siza Hall, Seoul, Korea Pixel Fusion, Rajabhat Pibulsongkram Universities, Thailand 8th Lessedra World Art Print Annual Mini Print 2009, Sofia, Bulgaria Are you looking at me?, University of West England, U.K. • 2008 Printmaking Today, Dedalo Center for Contemporary Art, Abruzzo, Italy Ganjifa, Chaap - Vadodara, Gujarat, INDIA; University of Adelaide, Australia; Grafikens Hus, Sweden; Hörnan Gallery, Sweden; Zayed University, Dubai; College of Fine Art & Design, U.A.E.; multiple venues in South Africa; Finland; Japan & Mauritius • 2006 14th Seoul Space International Print Biennial, Seoul Museum of Art, Seoul, Korea VII Bharat Bhavan International Biennial for Prints, Bharat Bhavan, Bhopal, India
B. National (selected) • 2010 Survey of Contemporary Prints, East Carolina University, Greenville, NC 2010 XXVI Lagrange National Biennial, Lagrange Art Museum, GA Transforming Technology, Philagrafhika, Philadelphia, PA Exhibition of Contemporary Indian Art of the Diaspora, Visual Arts Center, New Jersey; Twelve Gates Gallery, Philadelphia, PA; The Guild Art Gallery, NY
239 IV. Public Lectures & Papers at Conferences
A. International B. National • 2-D Digital Hybrids, College Art Association Conference, Chicago, IL, 2010 • Migratory Adaptations: Mingling Cultures, Nostalgic Hearts, 2009 Southern Graphics Council Conference, Columbia College, Chicago, IL
V. Awards and Honors • Institute of Culture and Society Fellowship 2010, Bowling Green State University, OH (~$23,000.00) • Scholars’ Assistance Program, Faculty Research Grant, Bowling Green State University, 2010 ($1438.00) • Markem-Imaje International Art Competition, 2008, Second Prize, FRANCE
VI. Published Reviews of Your Artworks • 2009 Grabowski, Beth & Fick, Bill, Printmaking: A Complete Guide to Processes and Materials (Book is an international survey of contemporary printmaking published by Prentice, Inc., New Jersey), p. 37 Martin, Becca, “Artist Explores Destruction: Lost Art Lost Again in Shaurya Kumar’s Fictional ‘Museum’,” Northwest Arkansas Times, p. 2C
VII. Graduate Student Committee Work MFA Committees Served On Member: M.F.A. Thesis Committee for Katie Christensen (printmaking), BGSU, 2009-11 Member: M.F.A Thesis Committee for Brandon Biggs (painting), BGSU, 2009-11
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CHRISTOPHER MEAD, PhD Regents’ Professor of Architecture and Professor of Art History PhD--Art History, University of Pennsylvania, 1986
Books 1. Editor, with an introduction to, The Architecture of Robert Venturi (Albuquerque: University of New Mexico, 1989) 2. Houses by Bart Prince: An American Architecture for the Continuous Present (Albuquerque: University of New Mexico, 1991) 3. Charles Garnier’s Paris Opera: Architectural Empathy and the Renaissance of French Classicism (New York/Cambridge, Mass.: The Architectural History Foundation/MIT Press, 1991) 4. Architecture of Bart Prince: A Pragmatics of Place (New York/London: W.W.Norton, 1999); revised edition (W.W. Norton, 2010) 5. Roadcut: The Architecture of Antoine Predock (Albuquerque: University of New Mexico Press, scheduled publication 2011) 6. Making Modern Paris: Victor Baltard’s Central Markets and the Urban Practice of Architecture (University Park: Penn State Press, scheduled publication 2012)
Invited Public Lectures (since 2005) “Staging the City,” Department of Art History, University of California, Riverside, 2005 “Albuquerque, City of Modernity,” Albuquerque Tricentennial Lecture, Meem Lecture Series, School of Architecture and Planning, University of New Mexico, 2005 “A Matter of Place: Modern Japanese Museums,” New Mexico Museum of Art, Santa Fe, 2010
Conference Papers (since 2005) “Housing the City: Victor Baltard and the Central Markets of Paris,” Keynote Speaker, The Fifth Savannah Symposium: Building in the Public Realm, Savannah College of Arts and Design, Savannah, Georgia, and Department of the History of Art, Northwestern University, Evanston, Illinois, 2007 “The Architecture of Bart Prince: A Pragmatics of Place,” Design DC: Leading Design Conference, American Institute of Architects, Washington, D.C., and Savannah College of Art and Design, Savannah, Georgia, 2007 “Strategic Planning as a Creative Process,” Presenter, Annual Conference, International Council of Fine Arts Deans, Charleston, South Carolina, 2007 Awards and Honors (since 2005) Presidential Teaching Fellow, University of New Mexico, 2004-2006 Distinguished Member, National Society of Collegiate Scholars, 2005 President’s Award, Bravos Awards Recipient, Arts Alliance, Albuquerque, 2009 Regents’ Professor, University of New Mexico, 2009-2012
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Reviews
The Architecture of Robert Venturi: Progressive Architecture; Choice; Sage Urban Studies; Midwest Book Review; Macmillan Book Club Charles Garnier’s Paris Opera: Architectural Empathy and the Renaissance of French Classicism: Journal of the Society of Architectural Historians; The London Times Literary Supplement; Modernism/modernity; The New York Times; Architectural Science Review; Society of Architectural Historians Great Britain Newsletter; Choice; MBC Architectural Press; Architecture; Interior design; Architecture of Bart Prince: A Pragmatics of Place: The Albuquerque Journal; Weekly Alibi; The New Mexican; Building Design; Interiors; New Mexico Magazine; Pasatiempo
Graduate Committees
I do not on short notice have a total tally, but over the last 30 years I have both directed and served on many Ph.D. and M.A committees, served on many M.F.A committees, both directed and served on many M. Arch committees, and have both directed and served on multiple Seniors Honors committees.
242 ANDREA POLLI, MFA Mesa del Sol Chair of Digital Media MFA - The School of the Art Institute of Chicago, Chicago IL, Time Arts, 1992
I. Major Solo Exhibitions 2008: April Ground Truth, The ATLAS Center, University of Colorado, Boulder 2007: January-March Atmospherics/Weather Works, a retrospective at the Beall Center for Art + Technology, Irvine, California
II. Major Group Shows A. International 2010: April Hello, Weather! in In Context: Public Art Ecology, Khoj, New Delhi India 2009: Dec-May 2010 Sonic Antarctica in Polar Expeditions, Verbeke Foundation, Berlin 2009: October Cloud Car in Environment 2.0 at LICA Peter Scott Gallery, Lancaster, UK 2009: September-October Sonic Antarctica in (In) Habitable, the Maison Européenne de la Photographie (Museum of Photography), Paris France 2009: May Sonic Antarctica in Futuresonic Cube Gallery, Manchester UK 2009: April-May Sonic Antarctica in Den Frie Udstillingsbygning, Copenhagen Denmark 2009: February-May N. in Ecomedia, Sala Parpalló, Valencia, Spain 2009: Feb Sonic Antarctica in Transmediale 09, The House of World Cultures, Berlin 2008: Oct-Dec Sonic Antarctica in Version Beta, Centre pour l'image Contemporaine, Geneva 2008: October-November Sonic Antarctica in Atmos, MIC Toi Rerehiko, Auckland NZ 2008: Feb-March N. in Melting Ice / A Hot Topic, Salle du Quai Antoine Ier, Monaco 2007: November Queensbridge Wind Power in Unsafe Distance, Stone Bell House, Prague 2007: October-January N. in Ökomedien/Ecomedia at The Edith Russ Site for Media Art, Oldenburg Germany 2007: October-January N. in Envisioning Change, BOZAR Centre for Fine Arts, Brussels
B. National 2009: Sept-Oct Airlight in Free as Air and Water, Cooper Union NYC 2009: August-October Queensbridge Wind Power in HUMAN=LANDSCAPE, Firehouse Gallery, Burlington VT 2009: August Sonic Antarctica in Polar Identity at WORKS Gallery, San Jose CA 2009: June-July N. in Tone and Temperament at AC [Institute Direct Chapel], NYC 2009: June-July Hello, Weather! in X, Y, Z, and U Outpost Contemporary Art, LA 2009: January-April Hello, Weather! Queens International 4, The Queens Museum of Art, NYC 2008: Oct-April 2009 90degreessouth in Coming to You Live, Art in General, Bloomberg NYC 2008: May-October N. in Feeling the Heat, Deutsche Bank Art, NYC 2008: April-September N. in Melting Ice / A Hot Topic: Envisioning Change, The Field Museum, Chicago IL 2008: March-April N. in E.P.A., Exitart, NYC 2008: March-April Queensbridge Wind Power in Feedback, Eyebeam, New York NY
243 C. Local 2009: October-November Cloud Car and Hello, Weather! in Mapping a Green Future, the Center for Contemporary Art, Santa Fe, NM
IV. Public Lectures & Papers at Conferences A. International 2009: Keynote: The Leonardo Education and Art Forum (LEAF) the 2009 Inter-Society for Electronic Arts (ISEA) Festival, Belfast Ireland B. National 2010: Keynote: Media Ecology and Natural Environments, The Eleventh Annual Convention of the Media Ecology Association The University of Maine
V. Awards and Honors 2009: The New York Foundation for the Arts (NYFA) Artist's Fellowship 2008: Meet the Composer, MetLife Creative Connections program 2008: Cox Family Visiting Artist's Fellowship University of Colorado, Boulder CO 2008: The Queens Council on the Arts Individual Artist Support New York NY 2007: US National Science Foundation (NSF) Artist’s and Writers Program in Antarctica
VI. Published Reviews of Your Artworks Seed Magazine Cold Truth by Catrinel Bartolomeu December 10, 2008 Neural N. Electronic Music CD review Nov 1, 2008 The Villager Listening In: Electronic Musicians Take a Pulse of Urban Life by Stacey Coburn Vol. 78 No. 20 October 15-21, 2008 Checkerspot: A Canadian Wildlife Federation Magazine The Art of Climate Change by Bruce Gillespie Vol. 4 Fall/Winter, 2008/2009 L'Uomo Vogue (Italian Edition) Art: The Creative Fight Versus Global Warming by Donato Rahmani July, 2008 ARTnews Global Warning June, 2008 National Public Radio (NPR) Studio 360, first airing nationally April 19+20, 2008 In These Times The New Cartographers by Jessica Clark, February 29, 2008 The Wire CD Review: N., Issue 287 January, 2008 Dam: Design, Architecture and Art Magazine Warning: Art! Arts in Climate Crisis no. 11 May/June, 2007 The New York Times Looking for Inspiration in the Melting Ice review by Claire Dederer in September 23, 2007 WNYC The Brian Lehrer Show Presenting Sound-seeker March 29, 2007 The LATimes An Eye and Ear on the Earth by Shana Ting Lipton Jan 18, 2007 Art Monthly Site Gallery Exhibition Review by David Barrett No, 287 June, 2005 BBC: Derby Blast Sights and Sounds at the Q-Arts Gallery Arts Feature by Chris Martin August 26, 2005 NY Arts Magazine Dark Nature: Part 1 by Leah Oates September/October, 2005
244 Adrienne Salinger, MFA Regents’ Professor of Photography MFA, School of the Art Institute of Chicago, 1987
SELECTED GROUP EXHIBITIONS
2009 “The Thin Tissue of Likeness,” SCA Contemporary Art, Albuquerque, New Mexico
2008 “The Valley: Six Albuquerque Photographers,” The Marion Center, College of Santa Fe, New Mexico
“Judicial Notice," Bernalillo County Metropolitan Courthouse, Albuquerque, New Mexico
Photo LA, The 17th Annual International Photographic Art Exposition, Santa Monica, California (catalog)
2007 "Kissy-Kissy, An Embrace of 11 Photographers from The City That Works & The Land of Enchantment." Dean Jensen Gallery, Milwaukee, Wisconsin
Schneider Gallery Chicago, Chicago, Illinois
Photo LA, The 67th Annual International Photographic Art Exposition, Santa Monica, California (catalog)
"Eye to I," 516 Arts, Albuquerque, New Mexico (catalogue)
2006-07 "Judicial Notice," Bernalillo County Metropolitan Courthouse, Albuquerque, New Mexico
2005 Looking Back At the Present: Photography and New Media, University of New Mexico, Albuquerque, New Mexico
MONOGRAPH 2008 MiddleAged Men, Nazraeli Press (monograph - 48 plates)
PhD Dissertation about my work
Jason Reid, PhD candidate, Ryerson University, Toronto, Ontario. His doctoral dissertation deals with teen room culture in 20th century America. My book, “In My Room” is featured prominently in his work. Jason Reid interviewed me extensively for his dissertation.
245 REVIEWS Modrak, Rebekkah, History of Photography (to be published by Routledge, Fall 2010) Wiseman, Carter, A Place For the Arts: The MacDowell Colony, 1907-2007, The MacDowell Colony. Pentak, Stephen and Lauer, David A, Design Basics, Thomson Wadsworth, 2008 Salem, Nancy, "Finding The Soul Through Self Portraits," The Albuquerque Tribune, February 16, 2007 Salem, Nancy "On the Walls of Justice, The Albuquerque Tribune, September 8, 2006 Crist, Steve and Hitchcock, Barbara, The Polaroid Book: Selections From the Polaroid Collections of Photography, Taschen, 2005
AWARDS & FELLOWSHIPS
2007--CFA Creative Grant, University of New Mexico
VISITING ARTIST
Visiting Artist, September 2008, Mills College
VII. Graduate Student Committee Work MFA Committees Chaired MFA Committees Served On BFA Committees Chaired BFA Committees Served On Honors Committees
DEPARTMENT OF ART AND ART HISTORY
Graduate Committee on Studies – CHAIR 2005 - present
P. Lauren Kuei- Photography (begins Fall 2010) Stephanie Brunia- Photography (begins Fall 2010) Freja Mitchell- Photography Roger Boulay - Photography Kate Hawkes- Photography Jeff Willis- Photography (on leave) Xuan Chen- Painting/Drawing Cristina de Los Santos- Painting/Drawing Jonathan Sandmel- Painting/Drawing Karl Hofmann- Painting/Drawing Danny Kaufmann- Photography
246 Julia Sapir- Photography Carrie Cooper-Photography Damon Sauer- Photography Jesse Pearson- Photography Dan Miller- Photography Megan Jacobs- Photography Danielle Ferriera- 3-D Robert Rainey- Photography Jesse Pearson- Photography Dan Miller- Photography Sam McFarlane- Photography (deceased)
Graduate Committee on Studies – MEMBER 2005 - present Julia Blitch- Painting/Drawing Carolyn Marsden- Photography Tammy Zibners- Photography Mark Geil- Phoyography Joseph Mougel- Photography Andrew Crooks- Photography Erin Forrest- 3D Alison Carey- Photography Jyl Kelley- Photography Christine Chin- Photography Larry Bob Phillips- Painting/Drawing Tricia O’Keefe- Printmaking
Honors Committee- CHAIR
Nathan Bancroft Hunter Lewis
UNIVERSITY OF NEW MEXICO committee service
Faculty Dispute Resolution Training, Fall 2009 Academic Freedom and Tenure Committee 2009-2011 University Ethics Committee, 2009
247 JIM STONE, MFA Professor of Art M.F.A. -- Rhode Island School of Design, 1975
Solo and Two-Person Exhibitions: McComas Gallery, Mississippi State University, Starkville, Mississippi, January 25 – February 19, 2010 James D. Phelan Award in Photography. SF Camerawork, San Francisco, California, June 4-August, 22, 2009 Spiva Art Center, Joplin Missouri. March 6 – May 3, 2009 Idiom Savant. Baldwin Gallery, Middle Tennessee State University, Murfreesboro, Tennessee, January 20-February, 26, 2009 Northeastern University, Boston, Massachusetts, Department of Art and Art History, December, 2006 Idiom Savant. Desmond Lee Gallery,Washington University, St. Louis, Missouri, October, 2005,
Group Exhibitions: Polaroid in Peril! •Musée de l’Elysée, Lausanne, Switzerland, March 5-June 6, 2010 •Espace Van Gogh, Arles, France, July 3-September 19, 2010 The New Collectors, MV Photo Gallery NYC, New York, March 16 – May 7, 2010 BC Space: Mything in Action, Grand Central Art Gallery, California State University, Fullerton, California, February 6-April 11, 2010 Pinup Show, Sol Mednick Gallery, University of the Arts, Philadelphia, March 4–7, 2010 Out of the Box: Photography Portfolios from the Permanent Collection, DeCordova Sculpture Park and Museum, Lincoln, Massachusetts, October 24, 2009–October, 2010 Faculty Exhibit, Penland Gallery, Penland, North Carolina, May 25 – June 5, 2009 Penland School of Crafts: Helping People Live Creative Lives, Sparta Teapot Museum of Craft and Design Gallery, Sparta, North Carolina, April 2-July 18, 2009 Faculty Exhibition, Visual Arts Gallery, Santa Fe Community College, Santa Fe, New Mexico, March 26 – April 27, 2009 Artists Books from the Collections of the Art Department, Mullins Library, University of Arkansas, Fayetteville, Arkansas, March 2-25, 2009 For Artists, By Artists, Yuma Art Center, Yuma, Arizona, February 27–April 10, 2009 Before and After, Ost Gallery, Moscow, Russia, January 13–31, 2009 Is That Supposed to be Funny? Penland Gallery, Penland, NC, July 29–September 21, 2008 Night of 1000 Drawings. Dinnerware Artspace, Tucson, Arizona, February 11-16, 2008 Millions Taken Daily, Photographs from Everyone and Everywhere, University of Maine Museum of Art, Bangor, Maine, July–October, 2007 Art in the Honor of Animals. Galerie Züger, Santa Fe, New Mexico. May, 2007 Seeing Ourselves: Masterpieces of American Photography. A George Eastman House traveling exhibition. •New York State Museum, Albany, New York, February 12–May 9, 2010 •FortWayne Museum of Art, FortWayne, Indiana, October, 2009-January, 2010 •Paine Art Center, Oshkosh,Wisconsin, June-October, 2009 •Philbrook Museum of Art, Tulsa, Oklahoma, January - April, 2009 •Paul and Lulu Hilliard University Art Museum, Lafayette, Louisiana, September-November, 2008 •Wallace State Community College, Hanceville, Alabama, July-August, 2008 •Mississippi Museum of Art, Jackson, Mississippi, April-June, 2008 •Zanesville Art Center, Zanesville, Ohio, February-April, 2008 •Columbia Museum of Art, Columbia, South Carolina, September, 2007-January, 2008
248 •Monterey Museum of Art, Monterey, California, May-July, 2007 •Pensacola Museum of Art, Pensacola, Florida, March-April, 2007 Water on the Edge: Six Photographers. University of North Texas, Denton, Texas. March–May, 2007 Bytes. Dinnerware Contemporary Arts, Tucson, Arizona. January–February, 2007 Seeing Ourselves: American Faces. George Eastman House, Rochester, New York, April-July, 2006 Edward Weston: A Photographer’s Love of Life. George Eastman House, Rochester, New York, April-September, 2005 Looking Back at the Present: Photography and New Media. University of New Mexico Art Museum, Albuquerque, New Mexico, June–September, 2005 Heartfelt. Florida State University Museum of Fine Arts, Tallahassee, Forida, October–November, 2005
Books: A Short Course in Digital Photography, 1st Edition. London, Barbara and Jim Stone. Upper Saddle River, New Jersey: Prentice Hall, 2010. 220 pages. Photography, the Essential Way, 1st Edition. London, Barbara, Jim Stone, and John Upton. Upper Saddle River, New Jersey: Prentice Hall, 2008. 334 pages. London and Upton’s names remain on the book for marketing reasons. Photography, 10th Edition. London, Barbara, Jim Stone, and John Upton. Upper Saddle River, New Jersey: Prentice Hall, 2011. 406 pages. 9th Edition, 2008. 8th Edition, 2005. Comprehensive photography manual, co- authored with Barbara London and John Upton, both retired from this book in 2001. It is used as the principal text in over 800 colleges and universities, available in two Chinese and one Korean translation. Why My Photographs are Good, A One Picture Book (#29).Tucson, Arizona: Nazraeli Press, 2005 A Short Course in Photography, 7th Edition. London, Barbara and Jim Stone. Upper Saddle River, New Jersey: Prentice Hall, 2009. 6th Edition, 2006. Integrates digital imaging with traditional photography, co-authored with Barbara London, retired from this book in 1995. It is used as the principal text in over 600 colleges and universities.
Lectures and Papers presented: 2010 Maine MediaWorkshops, Rockport, Maine: Public Lecture, July 6, Mississippi State University, Starkville, Mississippi: Visiting Artist, April 8-9. Public Lecture, April 9 2009 Missouri Southern State University, Joplin, Missouri: Public Lecture, March 7, 2009 2008 Anderson Ranch Arts Center, Snowmass Village, Colorado: Lecture, July 22, 2008 Society for Photographic Education National Conference, Denver, Colorado. Panel Moderator: The Democratization of the Photographic Book, with Darryl Curran, Barbara Houghton, Elaine Gittens, and Michael Peven, March 15, 2006 Northeastern University, Boston, Massachusetts: Public Lecture, December 5 Photographic Resource Center, Boston, Massachusetts: Invited Nominator, PRC/POV: Photography Now and the Next 30 Years. 30th Anniversary Exhibition, November, 2006-January, 2007. University of Kentucky, Lexington, Kentucky: Visiting Artist and Public Lecture, April 5-7 Society for Photographic Education National Conference, Chicago, Illinois. Seminar: Publishing the Photographic Book: A Primer, with Darius Himes and Joanna Hurley, March 23 New Mexico State University, Las Cruces, New Mexico, Photography Lecture Series: Lecture, Historiostomy: Eviscerating the History of Photography, February 13 2005 Exploring the Creative Edge Conference, Santa Fe Center for Photography, Santa Fe, New Mexico: Lecture, May 8 Savannah College of Art and Design, Savannah, Georgia: Visiting Artist and Lecture, May 11 Dong Gang International Photography Festival, Yeongwol, Korea: Lecture, July 24 Pingyao International Photography Festival, Pingyao, China: Lecture and Symposium on American
249 Photographic Education, September 18 Society for Photographic Education SWRegional Conference, Las Cruces, New Mexico: Portfolio Review, November 10-11
Awards and Honors: James D. Phelan Art Award in Photography, The San Francisco Foundation, 2009 University of New Mexico: Teaching Allocation Subcommittee Grant, 2007 University of New Mexico: CFA Research and CreativeWork Grant, 2006 University of New Mexico: Research Allocations Committee Grant, 2006 Published works and reviews: Daniels, Kelly. Starkville Daily News, Starkville, Mississippi, April 9, 2010 p. A-6. “Renowned Photographer to speak at MSU Tonight.” Publio: Culture at the Boiling Point. Boston, Massachusetts, Number 4, 2009. Photograph. Fraction Magazine. Online http://www.fractionmag.com/ Issue 6, March, 2009. Portfolio. Image: the Magazine of George Eastman House. Winter 2006/2007, Rochester, New York. “Acquisition Portfolio” George Eastman House 2006 Wrap-Up. Museum Annual Report, 2007 Image: the Magazine of George Eastman House. Spring 2005, Rochester, New York. “Weston and the Post-Modernists” MFA Committees: Julie Anand (Chair), Colin Blakeley (Chair), Bradish,William Bradish, Alison Carey, Christine CHin (Chair), Christopher Colville (Chair), Andrew Crooks (Chair), Kate Crowe, Dennis DeHart, Leta Evaskus, Kristen Fecker, Kristen, Danielle Ferreira, Are Flagan, Mark Geil, Goodwin, Mary Goodwin (Chair), Lauren Greenwald (Chair), Christopher Grinnell, Daniel Kaufmann, Glenn Kawabata, Erin Kawamata, Jyl Kelley, Justin Lane, John Mann (Chair), Daniel Miller, Joseph Mougel, Min Kim Park, Kathleen Robbins, Julia Sapir, Harald Smyer, Ian van Coller, JeffreyWillis. Undergraduate Honors Committees: Marie-Claire Bozant, Brent Johnson (Chair), Teah King, Maxwell Krivitzky (Chair), Paho Mann (Chair), Leigh Merrill, Wes Meyer (Chair), Monica Padilla, James Summers. Faculty mentor for UNM Regent Scholar Steven Ruder, Fall 2005 to 2009.
250 Joyce M. Szabo, PhD Regents’ Professor of Art History PhD--Art History, University of New Mexico, 1983
Books and Monographs: Fort Marion Art: The Arthur and Shifra Silberman Collection. Western Legacies Series, National Cowboy and Western Heritage Museum, Oklahoma City. Norman: University of Oklahoma Press, 2007. A Life in Balance: The Art of Conrad House. Exhibition catalogue. Jonson Gallery, University of New Mexico, 2006. Howling Wolf and the History of Ledger Art. Albuquerque: University of New Mexico Press, 1994. "Howling Wolf: An Autobiography of a Plains Warrior-Artist." Exhibition catalogue, Oberlin College, Allen Memorial Art Museum Bulletin 46:1 (1992) entire volume.
Forthcoming Book: Imprisoned Art. To be published March 2011 by The School for Advanced Research, Santa Fe and the Autry Center of the West. Currently in copyediting stage.
Editor and Contributing Author: Painters, Patrons, and Identity: Essays in Native American Art to Honor J. J. Brody, editor and contributing author, Albuquerque: University of New Mexico Press, 2001; “Introduction,” pp. 1-7, and chapter entitled “From General Souvenir to Personal Memento: Fort Marion Drawings and the Significance of Books,” pp. 49-70.
Articles: “Shared and Unique Traditions and Practices.” 4000-word Introductory essay in The Berg Encyclopedia of World Dress and Fashion, vol. 3, The United States and Canada, spring 2010. “Clothing, Identity, and Creativity: The Importance of Embroidered Arts of the Plateau, Great Basin, and Plains in the William Healey Collection of Gauntlets.” Essay for exhibition catalogue, The William Healey Collection of Gauntlets. Georgia Museum of Art, University of Georgia, Athens, 2007. “Art from Fort Marion, The Silberman Collection.” Persimmon Hill 35:3 (Autumn 2007) 11-14. “Real Western Wear: Beaded Gauntlets from the William P. Healey Collection,” Ornament 31, 2 (2007):36-37. “Architecture: Traditional Native American Forms,” The American Midwest: An Interpretive Encyclopedia (Bloomington: Indiana University Press, 2007):532-535. Review of Susan C. Power, Art of the Cherokee: Prehistory to the Present in The North Carolina Historical Review 54, 4 (October 2007):424-425. Review of Art of the Warriors: Rock Art of the American Plains by James Keyser. New Mexico Historical Review 81:2 (2006):218-219. “Native American Art History: Questions of the Canon,” pp. 69-87 in Essays on Native Modernism: Complexity and Contradiction in American Indian Art. Washington, DC: National Museum of the American Indian, 2006.
251 Recent Exhibitions Curated: “Art from Fort Marion: The Silberman Collection.” National Cowboy and Western Heritage Museum, Oklahoma City, Fall 2007; University Art Museum, University of New Mexico, Albuquerque, Fall 2008. “A Life in Balance: The Arts of Conrad House.” Jonson Gallery, University of New Mexico, January 20-March 10, 2006. Co-curator of “North by Southwest: Bering Sea Region Cultures, Collections and Collaborations,” Maxwell Museum of Anthropology, University of New Mexico, Spring 2007-2009.
Select Papers Presented: “Fort Marion Art: Visual Communication and Contact Zones in a Florida Prison.” Paper presented at The Native American Literature Symposium, Albuquerque, March 6, 2010. “Collecting and Being Collected: Native American Art from Fort Marion.” Paper presented at University Art Museum, University of New Mexico, September 9, 2008. “Art and Gender among the Southern Cheyenne.” Paper presented at Oberlin College, October 16, 2008. “Kiowa Narratives in Fort Marion Art.” Paper presented at Panhandle-Plains Museum Canyon, Texas, April 26, 2008. “Etahdleuh and Zotom: ‘Telling Stories the Kiowa Way.’” Paper presented at The Trout Gallery, Dickinson College, Carlisle, Pennsylvania, October 20, 2007. “Collecting Native America: The Silbermans and Native American Art.” Paper presented at Western History Association Annual Meeting, Oklahoma City, October 5, 2007. “A Life in Balance: The Art of Conrad House.” Paper presented at the Jonson Gallery, University of New Mexico, March 7, 2006. “Conrad House’s Protection: Responding to Tragedy.” Paper presented at Native American Art Studies Association Biennial Conference, Scottsdale, AZ, October 29, 2005. “Prison Art in Florida by Native American Inmates.” Paper presented at Art and Literary Production in Sugamo Prison under American Occupation, 1945-1952. Symposium held at Princeton University, October 21, 2005. “Conrad House: Living Life Is an Art.” Sixteenth Annual Oscar Howe Memorial Lecture. University of South Dakota, Vermillion, September 22, 2005. “Native American Art History: Questions of the Canon.” Native Modernism Symposium, the Art of George Morrison and Allan Houser, National Museum of the American Indian, Smithsonian Institution, May 7, 2005. “Modernism and Native American Art.” Paper presented at University Art Museum, University of New Mexico, April 19, 2005. “Plains Drawings from Hampton Institute and Carlisle Indian School” Paper presented at Hood Museum of Art, Dartmouth College, February 26, 2005.
Recent Awards: Regents’ Professor of Art History, University of New Mexico, 2009-2012. Appointed William H. Morton Distinguished Fellow, Dartmouth College, for Fall 2010. Oscar Howe Lecturer, The Oscar Howe Memorial Association and The Institute of American Indian Studies, The University of South Dakota, 2005
252 Graduate Student Committee Work: A. PhD Committees Directed - Lara Evans, Suzanne McLeod, and Aaron Fry Co-chair, Jane Sinclair, American Studies B. PhD Committees Served On - Elizabeth Olton, Dorothy Larson, Anthropology, and Judith Stauber, Communication and Journalism C. MA Committees Directed - Shana Klein, Lissa Dehring, Suzanne McLeod, John George, John Hinson, Elysia Poon, Dragana Damljanonvich, and Catherine Baudoin D. MA Committees Served On - Cesar Estrada E. MFA Committees Served On - Katy Canon, Cedra Wood. Jenna Kuiper, Andrew Crooks, Christine Chin, Craig Donalson, and Danny Kaufmann
253 Claudia X. Valdes, MFA Assistant Professor of Electronic Arts MFA--University of California, Berkeley, 2001
MAJOR SOLO EXHIBITIONS (selected) International 2007, SAM Gallery, Instituto Chileno Norteamericano, Santiago, Chile, Operación Deisy [2 person exhibition]
National 2009, Lawrimore Project, Seattle, WA, TEN MILLION DEGREES [5,000 ft2 solo exhibition] [catalog]
MAJOR GROUP SHOWS (selected) International 2007, The National Centre for Contemporary Art, Moscow, Russia, VIDI_Festival ’06 2006, La Sala Naranja, Valencia, Spain, Val 06 International Video Festival 2006, Clermont-Ferrand, France, Videoformes 2006 ::XXI° International Demonstration of Video Art and New Media 2006, Akademie der Künste, Berlin, Germany, Transmediale 06: Reality Addicts
National 2008, Mills College Art Museum, Oakland, CA, We Interrupt Your Program [catalog] 2007, Charles B. Wang Center, SUNY Stony Brook, Karma of War 2006, Pace University Digital Gallery, New York, NY, Satellite, Valencia 2006, Exit Art, New York, New York, The Studio Visit
MAJOR PERFORMANCES (selected) International 2010, NETWERK Center for Contemporary Art, Belgium, Jornada del Muerto
National 2009, Seattle Art Museum, Seattle, WA, Decibel International Festival of Electronic Music, Visual Art, and New Media
Local 2010, University of New Mexico, 39th Annual John Donald Robb Composers’ Symposium, Jornada del Muerto
PUBLIC LECTURES & PAPERS AT CONFERENCES (selected) International 2007, re:place 2007 :: Second International Conference on the Histories of Media, Art, Science and Technology, Berlin, Germany, November 15-18, 2007 2007, Mutamorphosis: Challenging Arts and Sciences, Prague, Czech Republic, Nov. 8-10, 2007 2005, Refresh! First International Conference on the Histories of Media Art, Science and Technology, Banff New Media Institute, Canada, September 28 - October 3, 2005
National 2008, Artist Lecture, San Francisco Art Institute, Seeing & Cognition 2008, Artist Lecture: Mills College Art Museum, Oakland, CA, We Interrupt Your Program 2007, The 21st Annual Conference of the Society for Literature, Science, and the Arts: CODE,
254 Portland, ME, November 1-4, 2007 2007, 95th Annual College Art Association Conference, New York, NY, Panelist, “Can Geeks be Humanists?”, New Media Caucus, February 15, 2007 2006, Artist Lecture, University of South Florida, Tampa, FL 2006, Artist Lecture, Mills College, Oakland, CA 2005, The Nineteenth Annual Conference of the Society for Literature, Science, and the Arts: Emergent Systems, Cognitive Environments, Chicago, IL, November 10 – 13, 2005
Local 2008, Artist Lecture, College of Fine Arts, University of New Mexico, NM, 3rd Annual Research Colloquium 2007, New Mexico Media Industries Conference III, Albuquerque, NM, Panelist, “Perspectives on Digital Media & Education”, February 2, 2007 2007, Artist Lecture, College of Fine Arts, University of New Mexico, NM, 2ndAnnual Research Colloquium
AWARDS AND HONORS (selected) 2009, Regent’s Speaker Endowment, University of New Mexico 2008, Scholarship, Santa Fe Art Institute, NM 2007, Artist Award, Puffin Foundation, Ltd. 2006, Creative Capital Foundation Professional Development Retreat, Santa Fe Art Institute, NM 2006, Honorable Mention, Transmediale 06, Germany 2005, Scholarship, New Media Institute, The Banff Centre, Canada
PUBLISHED REVIEWS OF ARTWORK (selected) • Rhizome.org, “It’s Getting Hot in Here”, by Marisa Olson, March 5, 2009 • Seattle Weekly, “I Saw This: Over and Over-Exposed”, by Adriana Grant, February 24, 2009 • translinguistic other blog, “This is the Way The World Ends: Claudia X. Valdes at Lawrimore Project”, by Emily Pothast, February 18, 2009 • Networked Performance blog by Turbulence, “Revelation 2213”, by Jo-Anne Green, February • Human Futures: Art in an Age of Uncertainty, F.A.C.T. UK & Liverpool University Press, edited by Andy Miah, 2008 • Frieze Magazine, Issue 115, “We Interrupt Your Program”, by Julian Myers, May 2008 • Leonardo Online/Leonardo Reviews, “We Interrupt Your Program”, by Meredith Tromble, April 2008 • KPFA, Against the Grain, radio interview, January 22, 2008 • Las Últimas Noticias, “Explosión atómic obsesiona a joven artista Chilena”, Rodrigo Castillo, August 2, 2007 • Paula, "La Cultura del Miedo", Sofia Beuchat & Ximena Heinsen, August 2007 • La Nación, "Rancho nuclear y terremoto amenazan con destruir sala de arte", Sebastián Labra, July 30, 2007
GRADUATE STUDENT COMMITTEE WORK MFA Committees Served On 2010, Christopher Ory 2010, May Chaltiel 2008, Kevin Wesley 2007, Carrie Cooper
Honors Committees 2008, Kyle Doering 2007, Brandon Bethancourt
255 Robin Ward, MFA Assistant Professor of Art MFA -- San Francisco Art Institute, 2004
I. Major Solo Exhibitions A. International Solo Show (upcoming), Center for Contemporary Arts, Andratx, Mallorca Spain, 2011
B. National Solo Show (upcoming), Ethel Blum Gallery, College of the Atlantic, Maine, 2011 Artists Go Lightly, Temporary Autonomous Museum, San Francisco, CA, 2007 The Deluge, Lisa Dent Gallery, San Francisco, CA, 2006 Snow Blind Water Drop, sixspace gallery, Los Angeles, CA, 2006 Otherkin, Lisa Dent Gallery, San Francisco, CA, 2005
C. Local Motels and Motion on the Mother Road: A People’s Survey of Route 66 (curated, upcoming), The Governor’s Gallery, Santa Fe, NM, January-March, 2011
II. Major Group Shows A. International Object Inutile, Musée de Préhistoire, Quinson, France, 2009 Interspecies/Intertext, Center for Gender Research, Uppsala University, Sweden, 2009
B. National The Fine Art of Drawing, Museum of Fine Art, Florida State, Tallahassee, FL, Fall 2008 Building Bridges, University of Maryland Baltimore County, Baltimore, MD, April 2008 Artists Go Lightly, Temporary Autonomous Museum, San Francisco, CA, 2007 Perspectives on San Francisco Character, The Urbanist, SPUR, 2007 Aqua Art Fair Wynwood, Featured Artist, Lisa Dent Gallery, Miami FL, 2007 Objects of Desire, sixspace gallery, Los Angeles, CA, 2006 The World Domination of Painting (and Drawing), Ego Park Gallery, Oakland, CA, 2006 The Excitable Gift (4-person collaborative), Lisa Dent Gallery, San Francisco, CA, 2006 Aqua Art Fair, Featured Artist, Lisa Dent Gallery, Miami, FL Close Calls, Headlands Center for the Arts, Sausalito, CA, 2005 Marking Traces, 33 Grand, Oakland, CA, 2005 Monster Drawing Rally, Southern Exposure, San Francisco, CA, 2005 Aqua Art Fair, Featured Artist, Lisa Dent Gallery, Miami, FL, 2005 That’s So Queer, Crucible Steel Gallery, San Francisco, CA, 2005 Conversations with the Wall, Root Division, San Francisco, CA, 2005
C. Local You Know How I Feel (collaboration) Center for Contemporary Arts, Munoz Waxman Gallery, Santa Fe, NM, October 2008 Giving Shelter, 516 Arts, Albuquerque, NM, March 2008
256 IV. Public Lectures & Papers at Conferences A. International Panelist, Meet Animal Meat, Uppsala University, Sweden, May 2009 B. National Panelist, Building Bridges, University of Maryland Baltimore, April 2008
V. Awards and Honors 2011 Residency, Center for Contemporary Arts, Andratx, Spain 2009 University of New Mexico Creative Research Grant 2007 Helene Wurlitzer Foundation Residency 2007 Louis Comfort Tiffany Biennial Award Nominee 2002-2004 San Francisco Art Institute Fellowship
VI. Published Reviews Santa Fe Reporter, “You know how I feel,” Charlotte Jusinski (October 22, 2008): 40. Albuquerque Journal/Santa Fe North, “Feeling It,” Kim Russo (October 24, 2008): S8. THE Magazine, “Giving Shelter,” Alex Ross (April, 2008). Current TV, “Artists Go Lightly,” Eight-Minute Documentary, Apryl Berney, Sept, 2007. San Francisco Bay Guardian, “Artists Go Lightly,” Katie Kurtz (July 2007). Interview: The Deluge, KQED Gallery Crawl, Mark Taylor & Marie K. Lee (Oct. 2006). Ultimate Guide to San Francisco, 7x7 Magazine, Featured Artist (Fall 2006): 95. 7x7 Magazine, Featured Artist, The Deluge (September 2006): 216. Flavorpill, “Robin Ward: The Deluge,” Brianna M. Smith, Issue 231 (October, 2006). East Bay Express, "The World Domination of Painting/Drawing," Jakki Spicer (Nov. 2006). Art in America, Mark Van Proyen, “Robin Ward at Lisa Dent” (October 2005): 189. Art on Paper, Laura Janku, “Otherkin at Lisa Dent” (May/June 2005): 80-81. Artweek, Jordan Essoe, “Robin Ward at Lisa Dent Gallery” (April 2005): 16-17. San Francisco Bay Guardian, Clark Buckner, “Otherkin” (Feb. 2005): 75. Contra Costa Times, Robert Taylor “PaperCuts” (July 2004) 42. Artweek, DeWitt Cheng, “New California Masters” (June 2004) 13.
VII. Student Committee Work MFA Committees Served On Jessica Kennedy, MFA 2008 BFA Honors Committees Served On: Alberto Gutierrez, Robert Gomez, Christopher Pendleton, Julia Lambright, Michael Padilla, Molly O’Meara, Zane White
257 BAOCHI ZHANG, MFA Associate Professor MFA--Florida State University, 1990
Solo Exhibitions
2009 “New Works”, Genssen Art Space, Beijing, China (catalog) 2008 “Ahmadi & Zhang: Looking Back”, Pacific Northwest College of Art, Portland, OR 2007 “Post-Social Realism --- Portraits”, Xi’an Academy of Fine Arts, Xi’an, China 2005 “New Works”, University Gallery, Beijing Capital Normal University, Beijing, China
Group Exhibitions
2010 “Artists from Northeastern China”, Da Wang Arts Center, Shen Zhen, China (catalog) 2009 “Faculty Show”, Xi’an Academy of Fine Arts, Xi’an, China 2008 “Cold Current”, Genssen Art Space, Beijing, China “New Acquisitions”, University Art Museum, the University of New Mexico, NM “Art and Technology”, Xi’an Academy of Fine Arts, Xi’an, China (catalog) 2007 “14th Annual Realism Invitational”, Klaudia Marr Gallery, Santa Fe, NM “Mass and Individual”, Xi’an Academy of Fine Arts, Xi’an , China 2006 “13th Annual Realism Invitational”, Klaudia Marr Gallery, Santa Fe, NM “Across the Divide”, Reed Whipple Culture Center Gallery, Las Vegas, NV Lycoming College Art Gallery, PA “Painting Matters”, University of New Mexico Art Museum, Albuquerque, NM
Guest Professorship
2007, 2008, 2009, 2010, Xi’an Academy of Fine Arts, China
Lectures and Panels
2008 Pacific Northwest College of Art, Portland, OR 2006 Xi’an Academy of Fine Arts Xi’an Jiao Tung University 2005 Beijing Capital Normal University Xiu Zhou Normal University
Reviews Lui Yichun, “The Exhibitions of “Art and Technology”, Journal of Tianjin Academy of Fine Arts, 2008/2 Kara Kelley Hallmark, “Encyclopedia of Asian American Artists” (NY: Greenwood Press, 2007).
Graduate Student Committee Work Beau Carey, Liz McDonald, and Trevor Lucero
258 Catherine Zuromskis, PhD Assistant Professor of Art History PhD--Visual & Cultural Studies, University of Rochester, 2007
I. Publications A. Books • The Social Life of Snapshot Photography, manuscript completed, proposal currently under consideration at University of Minnesota Press. B. Book Chapters and Major Articles in Journals • “Excursions Beyond the Frame” (book review essay on John Tagg’s The Disciplinary Frame: Photographic Truths and the Capture of Meaning, 2009), forthcoming in Criticism (2010). • “On Snapshot Photography: Rethinking Photographic Power from the Family Album to Abu Graihb,” Photography: Theoretical Snapshots, Andrea Noble, Jonathan Long, and Ed Welch, eds., Routlege, 2009. • “’Ordinary Pictures’ and Accidental Masterpieces: Snapshot Photography in the Modern Art Museum,” Art Journal (summer 2008). • “Outside Art: Exhibiting Snapshot Photography,” (exhibition review essay on The Art of the American Snapshot, National Gallery of Art, 2007) American Quarterly (summer 2008). • “Prurient Pictures and Popular Film: The Crisis of Pornographic Representation,” The Velvet Light Trap 59 (spring 2007).
II. Public Lectures • "Warhol's Photography at the Intersection of Art and Life." Andy Warhol Photographs, a symposium in conjunction with the exhibition, “Andy Warhol: Through a Glass Starkly,” George Segal Gallery, Montclair State University, Montclair, NJ, October 2009. • “Rethinking Regionalism, or What’s New Mexican about Photography: New Mexico?” University of New Mexico Art Museum, Albuquerque, NM, October 2008.
III. Conference Papers A. International Papers • “Imitation of Life: Intimacy and Superficiality in the Photographs of Annie Leibovitz.” Feeling Photography, Toronto Photo Seminar, University of Toronto, October 2009. • “On Snapshot Photography: Rethinking Photographic Power in Public and Private Spheres,” Thinking Photography (Again), The Photo Group at University of Durham, Durham, UK, July 2005. B. National Papers • “Other Pictures: The ‘Artless Authenticity’ of Vernacular Photography,” College Art Association Annual Conference, Dallas, TX, 2008. • “Toward a New Ontology of the Photographic Image: Materiality and Photographic Practice in the Digital Age,” Materializing Photography, The Institute of Historical Research, London, UK, December 2007.
259 • “Picturing the American Dream: The Hegemony of the Snapshot in One Hour Photo,” American Studies Association Annual Meeting, Washington, DC, November 2005. • “White Walls and Local Color: James Turrell’s ‘LA Look,” Symposium on the History of Art, presented by The Frick Collection and The Institute of Fine Arts of New York University, New York, NY April 2005.
IV. Awards & Honors • Career Development Grant, College of Fine Arts, University of New Mexico, 2009/2010. Funds to support participation in the Futures of American Studies Summer Institute at Dartmouth College in June of 2010. • Postdoctoral Faculty Fellowship: Syracuse University Humanities Center, Syracuse University, Syracuse, NY, 2006 (declined) • Research Grant: Susan B. Anthony Institute for Gender and Women’s Studies, University of Rochester, Rochester, NY, 2005. • Henry Luce Foundation for American Art Dissertation Research Grant: University of Rochester, Rochester, NY, fall 2005. • Alisa Mellon Bruce Pre-Doctoral Fellowship for Travel Abroad for Historians of American Art: Center for Advanced Studies in the Visual Arts, National Gallery of Art, Washington DC, 2005.
V. Published Reviews of Your Publications None
VI. Graduate Student Committee Work A. PhD Committees Directed • Corey Dzenko B. PhD Committees Served on C. MA Committees Directed • Sara Hagerty D. MA Committees Served On • Stephanie Morimoto • Megan Schultz • Maxine Marks • Karen Allen E. MFA Committees Served On • Freja Mitchell • Carolyn Marsden • P. Lauren Kuei • Bethany Delahunt G. Senior Honors Committees • Lyric Hammond • Kristianna Smith • Hunter Lewis
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