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FALL 2005 OFFERINGS
ART HISTORY OFFERINGS

ART HISTORY 101 INTRODUCTION TO ART
Section .001 L. André TR 3:30-4:45 WOOD 101
Section .002 D. Miner MWF 10:00-10:50 CA 2018
Section .003 Staff TR 9:30-10:45 CA 1020
Section .615 J. Brody TR 12:30-1:45 JC 120
Section .430 Staff TR 3:30-6:00 UNM WEST*

NEW CONTENT! This section of AH101 will introduce students to a wide variety of images and issues in the broad field of visual culture. Students will study images in several contexts, including: fine art, cinema/tv, advertising, journalism, science, and popular culture. Students will learn basic techniques and interpretive tactics to understand better how images are used to convey meanings, and, in turn, how images function in constructing collective and individual histories and identities. The course will emphasize contemporary American images, however, historical precedents will figure in the presentation of material. No prerequisites. Appropriate for undergraduate students at all levels and in any field of study. This may be your favorite class ever. Questions? Email: lmandre@unm.edu. Special fee $18.

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. Special fee $18.
* This extended university course meets from October 17 th to December 17 th. Please call UNM West at 925-8669 for more information.

ART HISTORY 201 HISTORY OF ART I
Section .001 J. Andrews TR 12:30-1:45 CA 2018
Section .002 Staff TR 5:30-6:45 CA 1020

This course is the first half of a survey of Art History. We will cover a vast amount of material beginning in the Ancient Near East, continuing through Egypt , Ancient Greece and Rome . The second half of the semester will explore the Art of the Middle Ages including the rise of the Byzantine and Islamic Empires. Although the course will follow a chronological framework, attention will be given to the specific themes of images of kingship/rulership; the devotional image; text and image; and architecture. Course requirements will include several short written assignments based on the readings, two exams, and a final paper. Special fee $18.

A survey of art in its historical context covering prehistoric, Ancient Egypt, Ancient Near East, Native American, Precolumbian, Greek, Etruscan, Roman, Early Christian, Early Medieval, Byzantine, Islamic, Icelandic, medieval India, Romanesque. Special fee $18.

ART HISTORY 250.001 MODERN ART
Instructor: D. Craven TR 11:00-12:15 CA 2018

This is a survey of the visual arts and avant-garde movements in Europe , Latin America , and the United States from Neoclassicism and Romanticism through Surrealism, Mexican Muralism, and Magical Realism. Special fee $18.

ART HISTORY 261.001 WORLD ARCHITECTURE I: ANCIENT AND INDIGENOUS CULTURES
Instructor: C. Mead TR 9:30-10:45 CA 2018

AOA ARCH 261.001. A survey of the architectural traditions of ancient or indigenous Old and New World Cultures from circa 3000 BC to circa 1000 AD. Using case studies of particular sites, cities, and buildings, lectures will introduce critical tools of architectural analysis and identify the technological, formal, and
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functional characteristics of the built environment in representative cultures. Special fee $18.

ART HISTORY 402.001 NATIVE AMERICAN ART I
Instructor: J. Szabo TR 11:00-12:15 CA 1020

AOA ANTH 401.001. The first part of a two-semester survey of archaeological, historic, and contemporary art of the native peoples of North America; the regions to be covered include the Arctic, Northwest Coast, California, the Subarctic, Woodlands, and the Mississippi Valley. Classroom lectures will use slides; there will be assigned readings. A research paper will also be required. Periodic slide reviews will be scheduled. Special fee $18.

ART HISTORY 407.001 MUSEUM PRACTICES
Instructor: J. Szabo ARRANGED ARRANGED

AOA ANTH 402.001; MUS ST 407.001. History, philosophy, and purposes of museums. Techniques and problems of museum administration, education, collection, exhibition, conservation and public relations. Special fee $18.

ART HISTORY 412.001 PRE-COLUMBIAN ART: SOUTH AMERICA
Instructor: J. Ahlfeldt TR 2:00-3:15 CA 1020

On the desert coast of Peru in 2400 B.C., Andean peoples built massive ceremonial centers of a scale and complexity on par with that of the contemporaneous pyramids and ziggurats of ancient Egypt and Mesopotamia . These early South American civilizations initiated designs in architecture, textiles, ceramics, metallurgy, and landscape design upon which Andean cultures continued to innovate for three thousand years, culminating with the striking conceptual designs of the Inka empire in the sixteenth century. This lecture course surveys these pre-Columbian Andean artistic traditions in terms of their production, reception, and modes of communication. We will consider the effect of religion, politics, climate, trade, economy, and technology on the development of these arts and will explore the interdisciplinary contributions that art history, archaeology, anthropology have made to the study of the arts of the Andes . Special fee $18.

ART HISTORY 415.001 MODERN NATIVE AMERICAN ART
Instructor: J. Szabo TR 2:00-3:15 CA 1019

Native American art from the late 19th century through the present will be examined through various readings, guest speakers, and classroom discussions that will underscore the great diversity of expression in Native American art, both in what some would term more traditional media as well as work in such other modes such as installation art, photography, printmaking and performance. Historical background will be explored as well as continuing critical issues including the impact of stereotypes and the marketplace. How Native artists engage with modernism and postmodernism, for example, will illustrate the varying manners in which artists make aesthetic choices and the impact those choices have on the history of Native American art. Special fee $18.

ART HISTORY 427.001 CONTEMPORARY PHOTO
Instructor: L. André TR 2:00-3:15 CA 2018

REVISED CONTENT! This course, formerly known as “Photo since 1950,” is designed to offer upper-level undergraduate and graduate students an in-depth opportunity to study photographic imagery produced since approximately 1980. We will emphasize how and why artists and other producers are creating and deploying images in this (mostly) digital, post-modern, identity-based, (mostly) politically-conservative, mixed-media, agitprop, consumer-driven, commodity-loving, disillusioned, disenfranchised, disadvantaged, diseased, violence-plagued, perverse, etc., world in which we live. What fun!!! Emphasis on the positive: let’s become active, creative, and inspired by the intellectual and physical labor of these people. Appropriate for upper-level undergraduate and graduate students in art, art history, media arts, gender studies, area studies, or any field in which your take on contemporary socio/political issues really matters and can make a difference. No prerequisites. Bring your passion. I can’t wait for this class. Questions? Email: lmandre@unm.edu. Special fee $18.

ART HISTORY 429.001 TOPICS/ART OF MEDIEVAL SPAIN
Instructor: J. Andrews TR 11:00-12:15 CA 1018

This course will explore issues surrounding the diverse visual culture of Spain from the late Roman period through 1492. We will examine imagery from the Visigoths, the Christian Kingdoms , Umayyad Andalusia, the Taifa and Nasrid periods in Andalusia . We will question the idea of influence between these cultures and consider the problems and challenges inherent in studying art produced in multi-cultural regions. Course requirements include several short written assignments based on the readings, a final paper and presentation.

Special fee $18.

ART HISTORY 429.002 TOPICS/MAYA CERAMICS
Instructor: J. Ahlfeldt TR 11:00-12:15 CA 1019

In Mexico and Central America between AD 600 and 900, the scribes and painters of the royal courts of the ancient Maya produced a tradition of polychrome vase painting so refined that scholars have compared it to that of Greek vase painting. This corpus of vases presents scenes of royal court life, mythological narratives, and historical scenes of ballgames, ruler accession, and warfare that offer great insight to ancient Maya culture. This corpus, however, is also an artistic tradition in its own right and this course considers it as such, examining its canons of representation, its contexts of production and use, as well as its relationship to previous traditions of Mesoamerican ceramics. We will make field trips to local private and museum collections and will participate in a few studio sessions to learn ancient Maya methods of ceramic production. Special fee $18.
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ART HISTORY 429.003 TOPICS/SECULAR COLONIAL
Instructor: R. Hernández-Durán T R 12:30-1:45 CA 1019

This course will deal with non-religious arts produced in New Spain during the period identified by Spanish viceregal rule in the Americas , specifically from 1540 to 1821. The objective of this course will be to move the discussion of Colonial art from its typical representation as a predominantly, if not solely, religious corpus to a more expanded view of Colonial society as one that embraced and produced myriad secular genres and materials, such as: civil architecture, ephemeral structures, furnishings, portraiture, still life, landscape, genre scenes, allegorical images, and other subjects unique to the Americas. Course requirements will include: a midterm exam, a final exam, and a final presentation in class. Special Fee $18.

ART HISTORY 429.005 TOPICS/AFRICAN AMERICAN ART
Instructor: K. Buick TR 3:30-4:45 CA 1019

TW AF AM 397.005. The purpose of this class is threefold: to provide an overview of American artists of African descent; to contextualize their creativity within the wider framework of U.S. art and culture; and finally, to consider critically some of the problems involved in even attempting such an endeavor. What, for example, are the benefits and pitfalls of assigning race to any creative practice? How have art historians and critics, museums and galleries, treated African American artists (and here we must not assume that all critics and institutions are white). Why does the Harlem Renaissance remain so popular? Film will also be an important element of the class, didactically, for example, to illustrate the middle passage or certain significant documentaries about movements or individual artists. We will also look at films about African Americans as well as films by them. The parameters of the class will be dictated by our text, Sharon F. Patton’s African-American Art (please note the hyphen). As a result, the class will span from slavery to the early 1990s, a period characterized by Patton as the “evolution of a black aesthetic.” Finally, we will end the class by discussing controversial issues in the representation of African Americans, beginning with the Met’s 1969 exhibition “Harlem on My Mind;” followed by the checkered career of former Whitney curator and current Director of the Studio Museum in Harlem, Thelma Golden; and concluding with the images created by the artist Kara Walker. Special fee $18.

ART HISTORY 429.006 ASIAN ART
Instructor: S. Anderson-Riedel TR 12:30-1:45 CA 1018

This lecture class investigates the history of Japanese art from its beginning in prehistory through the 19th century. Emphasis is placed on the development of Buddhist art and its relationship with the culture. Required: Art History 101. Special fee $18.

ART HISTORY 429.009 NATIONAL IDENTITY AND VISUAL CULTURE IN LATIN AMERICA : MEXICO , CUBA , AND PUERTO RICO
Instructor: T. Eckmann R 5:30-8:00 ZIMM 102

TW LT AM 400.009. In the late 1940s, Puerto Rico ’s first elected governor, Luis Muñoz Marín, initiated a program of cultural nationalism. The Graphic Arts Workshop of the División de Educación de la Comunidad (DivEdCo), created in support of this project, gave birth to a rich tradition of graphic art developed over the next three decades. Leading Puerto Rican artists Lorenzo Homar, Antonio Martorell, Rafael Tufiño, and others affirmed national identity in their work while in part drawing inspiration from Works Progress Administration (WPA) artists Edwin Rosskam, Ben Shahn, and Robert Gwathmey. Furthermore, the Puerto Rican graphics movement found a model in Mexico ’s Taller de Gráfica Popular (TGP), which was committed to keeping the ideals of the Mexican Revolution alive and helping the Mexican people "to defend and enrich their national culture" through the graphic arts. The TGP’s political art contrasts with the romantic, commercial calendario production of the 1950s and 60s in Mexico , with cromolithograph artist Jesús de la Helguera as a leading example. In Cuba , a powerful poster tradition developed from the 1960s that gave visual definition to the principles of the Cuban Revolution, while embracing artistic experimentation and international artistic currents. Eduardo Muñoz Bachs, Felix Beltán, Raúl Martínez, Rene Mederos, and Daysi García are just a few of the artists who propelled Cuban poster production. The Sam L. Slick Collection of Latin American and Iberian Posters held at UNM’s Center for Southwest Research will serve as the basis for this class. Students will become familiar with the iconography of Latin American posters, focusing on Mexico , Cuba , and Puerto Rico . Students will examine how national identity is represented in the posters in relation to recent cultural studies scholarship and historical context. Undergraduates enrolled in the class must attend lectures, read approximately 100 pages a week and submit written responses to questions on the readings via WebCT, complete a mid-term take-home essay, 10-page term paper, and in-class final exam. In addition to the undergraduate requirements, graduate students will have additional readings, increase the length of their research paper by 5 pages (15 total), and conduct a 20 minute class presentation based on their research paper. Special fee $18.

ART HISTORY 429.010 PATRONIZING WOMEN: Taste and Collecting in the 19th and 20th Century
Instructor: K. Buick W 10:00-12:50 CA 1018

TW WM ST 479.004. We will begin this seminar by exploring the history of the idea of “taste” as a “feminine faculty.” A legacy of the Scottish Enlightenment, “taste” connoted (in the words of Lori Merish in Sentimental Materialism) “a particular, expressly feminine, political faculty, associated with female bodily weakness (and, indirectly, with the ‘natural’ emotions of motherhood): not an expression of direct force or enactment of political will (‘power over’ an object), it connotes an act of will that turns against itself, sublimating ‘power over’ or direct use of an object into the imperative to ‘care for’ or preserve it.” As a class, we will focus on four American women whose “taste” and collecting (care for and preservation of art objects) helped to shape and to define the aesthetics of European and U.S. modernism from the nineteenth century to the present: Louisine Havemeyer, Mabel Dodge, Gertrude Stein, and Peggy Guggenheim. Dividing our examination of them into four-week segments, we will read the autobiographies of each woman, examine museum publications that feature their collections, and analyze scholarly articles and books written about them. There are two options for individual projects: one, the student can choose one of the four women to write about; two, the student has the option to introduce us to a woman of their choosing who collected art and can be drawn, for example, from the students’ work in Native American, Latino, or Latin American art. Given the normalization of “taste” as “feminine,” we will investigate how these women used this construct as an agent for risk, change, and power. Special fee $18.

ART HISTORY 450.001 SPANISH COLONIAL ART 1521-1700: Sixteenth-Century Spanish Colonial Art: The Caribbean , The Philippines , and Everything In-Between
Instructor: R. Hernández-Durán TR 9:30-10:45 CA 1019

Any discussion of Spanish Colonial activities in the Western Hemisphere must begin, not with the Spanish conquest of the Mexican empire, but with the initial settlements constructed, following Columbus ' accidental arrival in the Caribbean . These principal sites are Santo Domingo , Cuba , and Puerto Rico . These island settlements functioned as points of entry into the mainland territories and departure to Spain . Early explorations of the mainland, leading to the conquest, missionary activities, and the earliest foundations of the viceroyalties of New Spain and Peru , must also include a discussion of Spain 's movement across the Pacific and into the Philippines , which became a part of New Spain . Spain's extension across the Atlantic, from the Caribbean throughout the Americas, and across the Pacific to Asia, were accompanied by parallel movements of goods, peoples, and various cultural expressions, representing the beginning of our contemporary global economy and cultural environment. This modern, global aspect of Spanish Colonialism will be discussed, along with more detailed considerations of the first urban settlements, missionary programs, the foundation of the viceregal political system, and the active trade route that linked Acapulco to Manila . Course requirements will include: a midterm exam, four writing exercises, a final exam, and a final research project. Special fee $18.

ART HISTORY 463.001 MODERN ARCHITECTURE
Instructor: E. Bastea TR 12:30-1:45 MH 102

AOA ARCH 463.001. The aim of the course is to expose you to the main architectural currents from the late 19th century to the 1960s, and provide you with an overview of the historical and cultural context that supported these currents. We will examine both primary sources (writings by the architects themselves) and secondary sources (writings by critics and historians), in our attempt to understand both the history and the relevance of the major architectural works of the period. To a lesser extent, we will review representative urban designs, both proposed and realized, and will consider issues of power and gender, as they influence the making and the interpretation of the built environment. Course textbooks: Alan Colquhoun, Modern Architecture, 2002 and Kenneth Frampton, Modern Architecture: A critical history, 3rd edition, 1992. Special fee $18.

ART HISTORY 464.001 EUROPEAN ART 1750-1848
Instructor: S. Anderson-Riedel TR 9:30-10:45 CA 1018

The course examines the artistic development in France and Europe from 1750 to 1830. Paris was the center of European cultural and artistic life during the late eighteenth and early nineteenth centuries and will be the main focus of our discussion. Historical events such as the French Revolutions of 1789 and 1830 as well as the fall of the monarchy and empire respectively in 1792 and 1815 had strong repercussions for artistic production and will structure our investigation of the arts during this era. Art criticism, the discussion of literature, philosophy, and scientific developments will further guide our investigation. The class will examine the public display of the works of art as well as debate the influence of art patronage on the artistic creation. Finally, the works of art will be discussed in terms of style and iconography and they will be considered in the context of literary and scientific developments as well as in the light of contemporary political and social debates. Special fee $18.

ART HISTORY 485.001 SEMINAR IN MUSEUM METHODS
Instructor: K. Bakker MW 2:00-3:15 DSH 228

AOA ANTH 485.001; MUS ST 485.001. Theoretical and practical work in specific museum problems. Special fee $18.

ART HISTORY 486 PRACTICUM/ MUSEUM METHODS
Section .036 G. Bawden ARR ARR ARR
Section .068 L. Bahm ARR ARR ARR
Section .082 J. Szabo ARR ARR ARR

AOA ANTH 486; MUS ST 486. Practicum in museum methods and management. This course is restricted and to register requires the permission of the instructor. Special fee $18.

ART HISTORY 488.001 MEXICAN ARTS
Instructor: H. Barnet-Sánchez TR 12:30-1:45 CA 1020

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. Special fee $18.

ART HISTORY 500.001 PHILOSOPHY AND METHODS OF ART HISTORY
Instructor: D. Craven M 2:00-4:50 CA 1018

This graduate seminar entails a stringent historiographic survey of the key contemporary methods for visual analysis within the discipline. Problems addressed include the competing types of formalism available, as well as an assessment of the promise embodied by such methodological stances as those based in Feminism, the Social History of Art, Structuralism, Psychoanalysis, Semiotics, Iconography, and Post-Structuralism. Particular focus will also be given to the current problems of Eurocentrism and Orientalism, along with the relative success experienced by Post-Colonial Theory in doing sharper critiques of them. Required: Reserve Readings and The Third Text Reader. Open to graduate students in art history. Others must have the permission of the instructor. Special fee $18.

ART HISTORY 502.001 NATIVE AMERICAN ART I
See Art History 402.001. AOA ANTH 501.001. Special fee $18.

ART HISTORY 507.001 MUSEUM PRACTICES
See Art History 407.001. Special fee $18.

ART HISTORY 512.001 PRE-COLUMBIAN ART: SOUTH AMERICA
See Art History 412.001. Special fee $18.

ART HISTORY 515.001 MODERN NATIVE AMERICAN ART
See Art History 415.001. Special fee $18.

ART HISTORY 527.001 CONTEMPORARY PHOTOGRAPHY
See Art History 427.001. Special fee $18.

ART HISTORY 529.001 TOPICS/ART OF MEDIEVAL SPAIN
See Art History 429.001. Special fee $18.

ART HISTORY 529.002 TOPICS/MAYA CERAMICS
See Art History 429.002. Special fee $18.

ART HISTORY 529.003 TOPICS/ SECULAR COLONIAL
See Art History 429.003. Special fee $18.

ART HISTORY 529.004 TOPICS/ MEDIEVAL MANUSCRIPTS AND PALEOGRAPHY
Instructor: T. Graham W 1600-1830 HUM 309

TW HIST 668.004, ENGL 448.004, ENG 548.004, ENGL 448.004, COMP L 480.004, COMP L 580.004. This course will provide a comprehensive introduction to the culture of medieval manuscript production and the evolution of western European scripts. Before the invention of printing in the fifteenth century, historical and literary texts were transmitted in handwritten format, each manuscript being a unique artifact. Through this course, participants will familiarize themselves with the entire process of manuscript production, which began with the preparation of parchment from animal skins and continued through the stages of writing, decorating, illustrating, correcting, and glossing the text to end with the binding of the completed codex. The course will include a survey of Latin scripts from the fifth to the fifteenth century. Participants will learn how to read and transcribe those scripts accurately, and will also receive instruction in medieval conventions of abbreviation and punctuation. Some sessions will be dedicated to the study of individual illuminated manuscripts that have had a major cultural impact - including illuminated manuscripts of which there are full-color facsimiles in Zimmerman Library. The overall aim of the course is to provide a solid grounding in the fundamentals of manuscript study that will serve those whose researches require them to engage with medieval manuscripts, whether from a historical, art historical, or textual perspective. A working knowledge of Latin will be an advantage but is not a requirement. Special fee $18.

ART HISTORY 529.005 TOPICS/AFRICAN AMERICAN ART
See Art History 429.005. Special fee $18.

ART HISTORY 529.009 NATIONAL IDENTITY AND VISUAL CULTURE IN LATIN AMERICA : MEXICO , CUBA , AND PUERTO RICO
TW LT AM 500.009. See Art History 429.009.

ART HISTORY 550.001 SPANISH COLONIAL ART
See Art History 450.001. Special fee $18.

ART HISTORY 559.001 SEMINAR/NATIVE AMERICAN ART
Instructor: Staff W 1:00-3:50 CA 1018

AOA ANTH 509.001. Course content and requirements to be announced. Special fee $18.

ART HISTORY 563.001 MODERN ARCHITECTURE
See Art History 463.001. AOA ARCH 563.001. Special fee $18.

ART HISTORY 564.001 EUROPEAN ART 1750-1848
See Art History 464.001. Special fee $18.

ART HISTORY 567.001 WORLD ARCHITECTURE I
See Art History 467.001. AOA ARCH 541.001. Special fee $18.

ART HISTORY 582.008 SEMINAR: EUROPEAN CAPITALS IN THE 19 th CENTURY
Instructor: E. Bastea T 4:00-6:30 VASS 107

TW ARCH 412/512.008, HIST 300/500.008. In this seminar, we will focus on the architecture and urban design of 19th-century Paris , London , and Athens , within the broader context of broader 19th-century urban issues.  We will analyze the programmatic requirements that governments placed on capital cities, the use of specific architectural styles to express the political ideologies of each regime, and the degrees of physical change effected on the urban fabric of each city.  By concentrating on architecture and urban design, we can throw some new light on the complex forces shaping capital cities: government, social agendas, colonial or nationalist objectives, and modernity.  Our aim is to see the city both through the eyes of those in power, and through the eyes of those who inherit it and use it.  Students will complete 3 short papers based on the reading (2-3 pages) and a longer research paper (10-15 pages).  No prerequisites.  You may e-mail Professor Bastea (ebastea@unm.edu) for additional information. Special fee $18.

ART HISTORY 582.010 SEMINAR: PATRONIZING WOMEN
See Art History 482.004. AOA WM ST 479.004. Special fee $18.

ART HISTORY 585.001 SEMINAR IN MUSEUM METHODS
See Art History 485.001. AOA ANTH 585.001; MUS ST 585.001. Special fee $18.

ART HISTORY 586 PRACTICUM/ MUSEUM METHODS
Section .036 G. Bawden
Section .082 J. Szabo

See Art History 486. AOA ANTH 586; MUS ST 586. This course is restricted and to register requires the permission of the instructor. Special fee $18.

ART HISTORY 588.001 MEXICAN ARTS
See Art History 488.001.Special fee $18.

Instructor section numbers for Problems, Tutorials, Thesis, Final Project, Dissertation:

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