Dear UCI Friends of Art History: I hope everyone had a wonderful summer! Classes resumed
on September 27th when we welcomed new faculty member Jamie Nisbet, a specialist in
Contemporary art, and new Art History majors and welcomed back Amy Powell from her year
on the East Coast.
Our FOAH scholarly focus this year is on Asian art. Each of our quarterly gatherings will
feature a short presentation by one of our Asian art faculty members. Please mark your
calendars as we invite you to join us at the following events.
·
An Art History salon at the home of LaVonne and Brian Smith on November 1st.
LaVonne has generously offered to launch the FOAH 2012-13 by treating us to dinner and a
talk on Japanese art by Professor Bert Winther-Tamaki, our new Chair of the Department of
Art History.
·
A late afternoon gathering on March 13th, as we visit the gorgeous home of Warren and
Susan Lortie overlooking the bay. Warren will take us on a tour of their art collection, and
Professor Alka Patel will lead us in a conversation about art from India.
·
A wine-tasting at the Newport Beach Winery on May 3rd. Loren Blackwood will be our
host as we enjoy this hidden jewel, and listen to Professor Roberta Wue speak on Chinese art.
·
You are also invited to attend a one-day symposium which will explore the relationship
between the senses, the body, and art in the Middle Ages and the Renaissance. This event,
entitled, “The Senses in Medieval and Early Modern Visual Culture,” is tentatively planned
for January 25 by Professors Lyle Massey and Doron Bauer.
Since FOAH’s inception last December, UCI Friends of Art History members have provided
grants for two museum internships (one at OCMA and one at the Laguna Art Museum) as well
as to one summer intern in the Department of Art History. We plan to expand the opportunities available to our students this year by providing additional grants for internships as well
as developing a research fund for Art History majors to complete a project with the assistance
of a faculty member.
Thank you all very much for your past generosity. I am very grateful for your interest in our
students and your support of Art History at UCI. I look forward to an enjoyable and
inspirational year with our Friends of Art History!
Best
Cécile Whiting
*Please see the back page of this newsletter for additional membership information.
Hiring UCI Interns
Lavonne Smith
FOAH Member and UCI Alumnus
We launched CareerSmith, an executive recruiting corporation in 1998. The focus of the
company is on the engineering construction
industry nationally and internationally. As
the business grew we needed good writers and
well-organized staff members to handle the
large amounts of data gathering, research about
companies and information about various engineering/construction projects and technical requirements, as well writing up various
progress reports, the candidate appraisals, and
documentation, etc. Also there was the usual
database management and marketing materials to design and mail out. For the most part
I worked to train and supervise the interns. I
found them to be smart, organized, and hard
workers. Often they came up with good ideas
to handle/format data better, and one was
quite adept at creating marketing materials.
“Japan, with
its civilization so
different from ours that it
might be that of another planet,
is represented at the
Centennial by a display so novel
and attractive as to be an unfailing
source of interest to all visitors of
whatever other nationality.”
International Exhibition,
Philadelphia, 1876
-- Walter Smith, The Masterpieces
of the Centennial
Having recently graduated from UCI, I thought UCI
might be a perfect place to look for top humanities students. Over the next 10 years we hired about 12 maybe 14 students who were able to work up to 20 hours a
week and almost all stayed with CareerSmith for a year,
and several stayed on for two years. One became a full
time employee. We went to two weddings of interns.
I think they were very beneficial in helping us grow
CareerSmith and working with us gave them a modest salary ($12 starting, $14 second year), extremely
flexible working hours, as well as excellent experience
in the skills needed to work in a professional industry.
DS
emons, Dragons, and Eagles:
pectacular Japanese Bronzes at the
Worlds Fairs
Presented by Professor Bert Winther-Tamaki at A
FOAH Salon at the home of Lavonne Smith
November 1, 2012
Japanese bronze casters created large, extravagant incense burners,
figurines, and vases for the great world’s fairs in Paris, London,
Philadelphia and Chicago in the 1870s - 1890s. They were commissioned
by officials of the Meiji government of Japan, catering to Victorian taste
in brilliant initiatives of cultural diplomacy. And indeed, these bronzes
astonished European and American audiences for their exotic motifs and
what some declared was the world’s finest bronze workmanship.
faculty publications
Amy Powell
Depositions: Scenes from the Late Medieval Church and the Modern Museum
Zone Books / MIT Press 2012
From late medieval reenactments of the Deposition from the
Cross to Sol Lewitt’s Buried Cube, Depositions is about taking down
images and about images that anticipate being taken down. Foretelling
their own depositions, as well as their re-elevations in contexts far from
those in which they were made, the images studied in this book reveal
themselves to be untimely—no truer to their first appearance than to
their reappearances.
In Depositions, Amy Powell makes the case that late medieval
paintings and ritual reenactments of the Deposition from the Cross
not only picture the deposition of Christ (the imago Dei) but also
allegorize the deposition of the image as such and, in so doing,
prefigure the lowering of “dead images” during the Protestant
Reformation. Late medieval pre-figurations of Reformation iconoclasm
anticipate, in turn, the repeated “deaths” of art since the advent of
photography: that is the premise of the vignettes devoted to
twentieth-century works of art that conclude each chapter of this book.
In these vignettes, images that once stood in late medieval
churches now find themselves among works of art from the more recent
past with which they share certain formal characteristics. These surreal
encounters compel us to reckon with affinities between images from
different times and places. Turning pseudomorphosis—formal
resemblance where there is no similarity of artistic intent—on its head,
Powell explores what happens to our understanding of historically and
conceptually distant works of art when they turn out to look alike.
Our Newest Faculty Member!
James Nisbet
I am currently at work on a book
manuscript entitled Senses of Ecology in the Art of the 1960s and 1970s. As
framed by Allan Kaprow’s invention of the
gallery Environment in the late 1950s
and concluding with Walter De Maria’s
The Lightning Field of the late 1970s,
the book offers the first comprehensive
investigation of ecological art practices as realized in a range of media including sculpture, gallery installation,
performance, photography, film, and
video. My analysis of such practices reveals
the many “senses of ecology” that arose
during this period in a couple respects.
First, it tracks the internal
transformations that occurred within
ecological thinking throughout the social
and intellectual development of the environmental movement.
Second, it argues for the man
ner in which works of art provide an
empirical
interface
for
grasping
ecological concepts such as wholeness and
temporal continuity that are often too abstract or complex to be understood merely
on their own terms. The first two decades
of modern environmentalism is a period
that is still much romanticized but poorly
assessed. Senses of Ecology responds to this
condition by evaluating the social turns and
artistic breadth of these years in light of their
important insights and, in many cases, naïve
oversights, regarding ecological politics of the late twentieth century.
Walter De Maria’s The Lightning Field (1977)
Upcoming Conference:
The Senses in Medieval and Early Modern Visual Culture
Sixth Annual Symposium of the Group for the Study of Early Cultures at UCI
Co-sponsored by the UCI Humanities Center and the Department of Art History
Art historians Doron Bauer and Lyle Massey will host a one-day symposium at UCI (tentatively
scheduled for January 25, 2013), which will explore the relationship between the senses, the body and art
in the Middle Ages and the Renaissance.
First named by Aristotle in De anima, the five senses (sight, touch,
hearing, taste, smell) have long been symbolically linked both to the skills
required to produce art and to the enjoyment of or response to it. While
sight is generally the sense most closely associated with artistic
production and consumption, in fact, the other senses are constantly
invoked throughout the medieval and early modern periods. In the
Middle Ages, sensory experiences were understood as the precondition for faith. Tasting Christ’s body during the Eucharist, smelling
the fragrance of incense in churches, hearing Gregorian chants,
seeing the light pouring in through stained glass windows, and
coming into physical contact with relics were all considered integral to religious experience. In the Renaissance, the sense of sight
was thought to be the primary conduit of knowledge (Leonardo da
Vinci called sight, for instance, the “prince of mathematics”), but
the other, “bodily” senses were also accorded important roles in
taste, judgment and social responses to the arts. In this one-day
conference, local and international scholars will address questions
concerning the senses and visual culture form a variety of historical
perspectives. Internationally renowned French medievalist, Eric Palazzo,
will deliver the symposium’s keynote address.
To know the road ahead, ask those coming back.
-Chinese proverb
UNDERGRADUATE ART HISTORY AWARDS
Since she retired in 2008, Professor Sally Stein has generously funded an annual award for the best graduating
senior in Art History. Each year at our spring celebration of graduating majors, the Department of Art History
gives the Sally Stein Award to one of our talented seniors. The following students have received this award:
2012 Jessica Bisely
2011 Emily Kuhlmann
2010 Jasmine Vasandani
2009 Tiffany Lam
Professor Stein, who received her Ph.D. at Yale University, specialized in the history of photography with a particular interest in American photography of the New Deal era. Professor Stein was also known to our students
for being a rigorous and demanding teacher of the Practicum, a required seminar in which our majors study the
history and methods of the discipline of Art History.
When Professor Anna Gonosová retired in 2011 after teaching for thirty years at UCI, she established an award
to recognize an outstanding major in Art History. Recipients of the Anna Gonosová Award have included:
2012 Hanna Guthrie
2011 Colette Johnson
Professor Gonosová received her Ph.D. at Harvard University and worked on the categories and modes of decorative art and its impact on the iconographic and visual meaning of the built environment of the Late Roman and
Early Byzantine periods. She was devoted to the undergraduates at UCI, serving as the Director of Undergraduate Studies for many years and spending much time with students in office hours encouraging them to pursue
internships and to study abroad.
GRADUATE AWARDS
Irvine Museum Fellowship
The Irvine Museum is dedicated to the study and exhibition of California art of the Impressionist Period (18901930). Since 2006 the Irvine Museum has supported one graduate student in Visual Studies each summer with a
stipend of $5,000. The student consults with James Swinden, Museum President, and Jean Stern, Executive Director,
to determine a research project linked to the museum’s exhibitions or collected works. Using the resources of the
museum, the student writes a paper under the direction of Professor Whiting to be presented to the museum for its
use in internal research materials or external publications. Recipients of this award are as follows:
2012 Kayleigh Perkov
2011 Anna Kryczka, “California’s Tourist and Domestic Idyll: The Printed and Painted Surfaces of Landscape Architecture”
2010 Christina Spiker, “Alson Skinner Clark and Aestheticisim”
2009 Kim Beil, “Charles Fletcher Lummis: Cultural editor of the Arroyo Seco”
2008 Thomas Stubblefield, “Making Movies/Making Art: The California Impressionists and Hollywood”
2007 Mary Trent, “Jessie Arms Botke and Floral Painting”
2006 Mark Cunningham, “Winds of Change: Representations of Urban and Industrial Scenes in Southern California of the 1920s and 1930s”
Kim Beil
I began researching the California Impressionists for the Irvine
Museum’s
Summer
Fellowship
program in 2009 and was
immediately
struck
by
the
frequency with which one name came
up in critical writing about their
lives. Although he was not a painter and his work isn’t included in the
museum’s collection, Charles Fletcher
Lummis’ name and influence seemed
to be everywhere in connection
with the artists for whom the Irvine
Museum’s collection is best known.
I had previously only thought of
Lummis as an early photographer of
the American southwest, a renegade
adventurer who lived in the Isleta
Pueblo in New Mexico and printed
thousands of cyanotypes from his
own glass plate negatives to sell to
tourists and collectors. That he was
also an important force in the growing city of Los Angeles from the late
nineteenth through early twentieth
centuries suddenly made this man’s
highly individual vision of the western and southwestern United States
into something invested with much
more cultural power.
I was inspired by this understudied aspect of Lummis’ influence. My
research for the Irvine Museum on
Mr. Lummis culminated in an essay focused on his role as a cultural
arbiter and benefactor and how his
work as a writer, magazine editor,
and cultural commentator touched
the lives of some of the most important artists in the Irvine Museum
collection.
Lummis spent his childhood in
New England and pursued an
undergraduate degree at Harvard.
His rebellious nature and growing
disillusionment with Boston society often rendered him at odds with
campus politics. He left Harvard
just shy of earning his degree and
headed west on an epic walk across
the country to Los Angeles, where a
job was waiting for him at the fledgling Los Angeles Daily Times. His ardent support for California, and the
break it represented from the challenges of life in the East—natural and
societal—led Lummis to accept the
position of editor of a new magazine,
founded in 1898, Land of Sunshine.
The nationally-distributed magazine,
renamed Out West in 1902, gave
Lummis great influence over public
representations of Southern California, as well as the visual artists and
writers whose work he commissioned
for publication in the magazine. Many
of these artists lived and worked in
the Arroyo Seco, the area connecting
downtown Los Angeles with Pasadena. In Lummis’ time, this region was
a community of like-minded individuals, many of whom were influential
in the Arts and Crafts movement in
Southern California and vigorously
advocated for a return to an idyllic
pre-industrial way of life. The artists
in the community, including the
painters Elmer and Marion Wachtel, Granville Redmond, Fernand
Lundgren, and William Lees Judson, spent ample time outdoors and
prized hand-made objects crafted
from indigenous materials.
These new pioneers often gathered at
Lummis’ home, El Alisal, for parties
or to toast visiting cultural dignitaries, as Lummis counted Theodore
Roosevelt, John Muir, and William
Keith among his many notable acquaintances. The exchange of ideas
at Lummis’ home represented an
important forum for the founding of
Southern California artistic identity
in the early twentieth century.
His fervent support of the region, its
history, and an emerging Southern
Californian way of life was motivated by a deeply personal interest
in this new American frontier. His
central role in the community of
artists along the Arroyo Seco helped
ensure that the visual representation
of these ideals would gain a large audience, thus cementing the lasting
image of Southern California as “the
land of sunshine.”
Did you know?
Rebecca Westerman
Hendrickson, UCI ’08
graduate, Dalai Lama Scholar
and designer of the Peace Flag
Project in Aldrich Park is one
of two full-time staffers at
the Center for Living
Peace.
Internships
Art History students share their
intership experiences
Emilie Martin
UCI Art History Summer Intern
I had the wonderful opportunity to work closely with the UCI
Department of Art History as the first FOAH summer intern this past
summer. I gained valuable experience in both research and office
duties during my time there.
Having just returned from an archival research internship in
Florence, Italy in the spring, I thought I knew most of what there is to
know about conducting art history research. I soon learned, however,
that modern research resources in Irvine differ greatly from those at the
Archivio di Stato in Florence while working with Professors Bridget
Cooks, Bert Winther-Tamaki and Cécile Whiting. I was pleased to discover that the knowledge I gained abroad of working a card catalog system and microfilm and the hours spent scanning nearly illegible handwritten manuscripts was put to good use at UCI while navigating the
university’s online and library resources, utilizing Google, and perusing
shelf after shelf of periodicals.
I had the pleasure of working with Cecilia Flanagan on the FOAH newsletter, further developing the internship
database and creating posters for upcoming classes in the Department of Art History. I also learned how to put
together a faculty website, which honed my Photoshop and InDesign skills. I notice that these skill sets are becoming increasingly valuable as I look for job openings in the field of art history. I am so grateful that I was given
the opportunity to extend my education at UCI outside of the classroom and into the practical career world.
This internship not only prepared me for a future job in art history but opened doors and led me to
opportunities I would not have otherwise been exposed to if I not had been on campus during the summer! I
was asked to join the board for the Art History Undergraduate Association as Vice President and to pursue my
own research through an independent study course as a result of working in the department. I look forward to
the fall quarter and the opportunity to mentor new art history students who will one day have as much enthusiasm for the UCI Department of Art History as I do.
讀萬卷書不如行萬里路
Reading ten thousands of books is not as useful as travelling ten thousand miles.
-Chinese proverb
Art History Undergraduate
Association
The mission of the Art History Undergraduate Association (“AHUA”) is to build a community
of professors, faculty, alumni, community, and students that share a common interest and passion for
art. We kicked off the 2012-13 school year recently with our first annual “Night at the Gateway” on
October 17. Students, faculty, and FOAH members gathered to eat, drink, and be merry as we laid
out the plan for the year; by all accounts, the party was a huge success. On October 24, we organized
a workshop for Art History majors to introduce them to the Undergraduate Research Opportunity
Program (“UROP”). On October 26, we journeyed to the Getty Center with Professor Patel, where we
had a private tour with a Getty Center researcher, followed by a day of exploring the Center. November 30, private tour arranged by Professor Patel at LACMA with the curator of the Asian Art Exhibits.
Other events include study abroad and social media workshops, informal monthly gatherings with a
faculty member, and volunteering at local art venues together.
Introducing the 2012-2013 AHUA Board Members
Heidi Gonzalez, President
I came to UCI as a Business Economics major but decided to change direction and
become an Art History major when I realized that I could see myself working and in
the art world and enjoying it. My main interest is Modern European Art, especially
the Dada art movement. After graduation I hope to find a job in an art gallery and to
become an art advisor. My goals for AHUA are to build a tight knit community of
professors, faculty, alumni and students that share a common interest and passion
for art.
Emilie Martin, Vice President
As vice president of AHUA my duties are to create and manage the Art
History Honor Society, help students gain wisdom and experience for after graduation and help students feel comfortable communicating with faculty, alumni and
other students so they can utilize every aspect of our incredible
department!
Ashley Chen, Director of Communications
My dream is to teach art history at a college level and to open my own art
gallery. My aspiration for AHUA is to organize more events that will
allow professors, faculty members, and students to not only share their
appreciation for art, but to do so in an art filled environment. Pictures
may be worth thousands of words, but our words will lead thousands of
people to such pictures. Let AHUA be the guide to this year’s Grand Tour!
Tessa Frey, Director of Operations
As art history major I am very passionate about the role that
visual culture plays in history and society. My goal is to bring this
passion to UCI students, art history majors and non-majors alike, and
create a community that is excited about art and culture. I am looking
forward to what AHUA will accomplish this school year!
Alum
ni Sp
otlig
ht
Lindsey Westbrook, 1997
The path from my UCI art history degree in 1997 to my
current job as managing editor at California College of
the Arts was a winding one, but at every stop along the
way, I can honestly say I was exactly where I wanted to be.
I had a fantastic experience in the UCI program, and
I look back especially fondly on my courses with Linda Bauer (who was also my thesis advisor), Dickran Tashjian, George Bauer, and Sally Stein. Outside
of my studies, I DJed and served on the management
team at KUCI. Little did I know that all of these interests would come into play later on in my career.
After graduating, I entered UC Berkeley’s art history program on the Berkeley Fellowship. I was also interning at a record company and at the local weekly. It
was an exciting time to be circulating in San Francisco’s arts and entertainment culture, as the dot-com
boom was pumping all kinds of money into the Bay
Area. My first job after receiving my MA was as an editor at an (ill-fated) internet startup. It was a fun ride;
from the Porsche they gave away for new-employee referrals to the ridiculously lavish post-IPO Christmas
party. But I knew the party couldn’t last, and in 2000 I
joined HighTone Records, an independent music label,
doing PR and radio promotion. Who knew a UCI art
history degree could lead to a rock and roll lifestyle!
Academia wasn’t for me, but I loved art and writing
and intently pursued a freelance career. For six years,
starting in 1998, I wrote the weekly “Critic’s Choice”
art review column for the San Francisco Bay Guardian, and I added a second art review column in 2000
for the East Bay Express. Visiting multiple museum
and gallery exhibits every week and attending music
shows nearly as often, I can definitely say I was fully immersed in the contemporary cultural moment.
The advent of iTunes eventually changed the music
business, and it was curtains for HighTone and oth-
er independent labels. Having seen that chapter to
a close, I rejoined the art world with a position in the
Publications Department at the San Francisco Museum of Modern Art. It was an honor to work for such
a high profile, well-respected institution. My position involved editing exhibition catalogues and gallery
signage, corresponding with hundreds of museums
and galleries around the world, and managing a significant budget for acquiring image rights and hiring
photographers. It also prepared me for my next job,
as managing editor at California College of the Arts.
In 2007 CCA was celebrating its centennial, dramatically
expanding, and establishing itself as one of the nation’s
leading art schools. It was the perfect time for me to
come on board and bring museum-level editorial standards to the institution. The job allowed me to plunge
once again into the scrappy world of contemporary
culture, and it brought me back into an academic environment; this time as a professional working with other
staff, the academic programs, PR, marketing, the website team, and hundreds of faculty, students, and alumni.
My CCA connections have also opened numerous doors
to international freelance writing and editing jobs. Just
in the last year I’ve worked for publications in Milan,
Istanbul, the Czech Republic, and Mexico City. Bilingual
projects have become my special interest, as they allow
for all kinds of geeky introspection about language, translations, and the global transmission of visual culture.
Some people think of art history as quite specialized. But in fact it touches on nearly every aspect of
culture, all the regions of the globe, and every period of human history. My degree trained me in
writing, research, and critical thinking—skills
that have been crucial at every step of my career.
Richard Diebenkorn at OCMA
May 10, 2012
Clockwise from top left: Bert Winther-Tamaki, Lisa Cavin, Jessica
Bisely, Christopher Gillett, Grace
Kook-Anderson; Group Photo; Susan Piazza and Matt Holzmann;
Lisa Cavin and Grace Kook-Anderson; Lewis Cabrera and Carol
Seitz; Group Photo.
FOAH Events 2012
Student Awards
May 23, 2012
“A nation’s
treasure is in
its scholars.”
-Chinese proverb
Clockwise from top left: Doron Bauer, Bert
Winther-Tamaki and Hanna Guthrie; Emma
Bryning, Tessa Frey and Cécile Whiting; Anna
Gonosová and Bert Winther-Tamaki; Roberta
Wue and Tania Reza; Doron Bauer and Anna
Gonosová; group photo around Shanna Kennedy-Quigley; Michelle Maasz.
Spring
Lecture
Professor James D. Herbert
March 10, 2012
Impressionism: The Profound Surface
Clockwise from top: Jim Herbert and Elizabeth Starr; Jim Herbert and Loren Blackwood; Lavonne Smith and Polly Stanbridge;
Paul Flanagan and Sandy Loughlin; Carol
Seitz and Jene Meece; George and Linda
Bauer.
A big thank you to Signe Dunne and Brett Trauthen for being the first FOAH members to renew
their membership for the 2012-13 school year.
Signe, one of Corona Del Mar High School’s greatest assets, was also one of the first community
members to join FOAH upon its inception and
graciously volunteered to help us set up and clean
up our first event. We are so grateful to Signe and
Brett for their support!
Many thanks to
Evelina Pencheva for
her beautiful photos of our
Friends of Art History this
past year. You can see more
of her work at:
http://photoenigmatic.
com/
Thank you to Cecilia Flanagan and
Emilie Martin for putting together
the Friends of Art History newsletter. Thank you Cécile Whiting and
Caroline McGuire for editing this
edition.
friends of
art history
The mission of
Friends of Art History (FOAH)
To develop a coterie of art historians, connoisseurs, alumni, and community members that
gather to share their interest in Art History and take advantage of the numerous opportunities
the
proximity
of a world-class
University
and Department
Artcommunity
History provide.
As athat
Friend
To develop
a coterie
of art historians,
connoisseurs,
alumni,ofand
members
of Art History,
gather
to share you
theirwill:
interest in Art History and take advantage of the numerous opportunities
the proximity of a world-class University and Department of Art History provide. As a Friend
Art History,
•Learn
of
you will:more about Art History, current events including museum exhibits,
lectures, gallery receptions, and new faculty publications
•Attend
an occasional
History
class at
UCI including museum exhibits,
•Learn more
about ArtArt
History,
current
events
•Enjoy
socializing
with otherand
FOAH
gallery receptions,
newmembers
faculty publications
lectures,
•Share
ideas,
talents,
and
inspiration
for
improving
the opportunities available to •Attend an occasional Art History class at
UCI
Art History
students
such
as establishing
scholarships to help our students take •Enjoy
socializing
with
other
FOAH members
unpaid
internships
in
museums
•Share ideas, talents, and inspiration for improving the opportunities available
to Art History students such as establishing scholarships to help our students
take unpaid internships in museums
w?
o
n
k
u
o
y
d
i
D
Lindsey Westbrook, our
featured alumnus,
graduated AO, Alumni Official,
from the Campuswide Honors Program (CHP) in 1997. She
completed all of the required coursework for the CHP, maintained the
appropriate GPA, and submitted an
approved honors thesis.
Three cheers for an impressive
accomplishment!
FOAH Membership Information
The base membership for the 2012-13 school year is $65 per individual. We are adding several new
categories this year as follows:
_______$65 for an individual membership
_______$130 for a couples membership
_______$250 for a family membership
We welcome donations of any amount above and beyond the membership fee. Checks should be made
out to the UCI Foundation.
To make a gift to FOAH:
Visit https://ua-web.uadv.uci.edu/eGiving/ and designate your gift to go to the Art History Department in the School of Humanities. If you would like to specify where you would like your gift specifically directed (see below), please make a note in the comments. For example:
Please direct my FOAH gift towards:
·
Grants for Art History majors which will allow them to take unpaid internships
·
A research fund for Art History majors who undertake an in-depth project with a faculty member and need help to visit a museum or archive in order to complete their research.
·
A FOAH guest lecturer, an art specialist invited from outside the university to speak to our
group as well as to the larger academic community.
You may also contact Cecilia Flanagan if you prefer to send a check (made out to the UCI Foundation) at:
Cecilia Flanagan, Undergraduate Coordinator
Department of Art History
2000 Humanities Gateway
University of California, Irvine, CA 92697-2785
(949) 824-5386
Fax (949) 824-2464
http://www.hnet.uci.edu/arthistory/
c.flanagan@uci.edu