Art History & Visual Arts

Overview | Requirements | Courses | Faculty


The mission of the department of Art History and Visual Arts (AHVA) is to educate students in the richness and complexity of the visual arts. Visual literacy is essential for informed participation and innovation within local and global cultures. Combining the disciplines of media production and critical studies, studio art, and art history, AHVA equips students to explore critically the interplay of culture, history, theory, analysis, and practice.

We offer a broad range of courses in the history of Asian and Western art, visual culture, architecture, photography, media production and critical studies, and studio classes in drawing, painting, sculpture, printmaking, book arts, video, and digital media. The curriculum prepares students to become professional artists, art historians, media practitioners, critical scholars, and educators. Graduates have pursued a variety of professional activities, including: exhibitions and screenings in museums, galleries and film festivals; curatorial work and education in museums, libraries, archives, and other non-profit institutions. Students regularly attend graduate programs in fine arts, media production and critical studies and art history. By the nature of the subject, study of the visual arts requires close personal collaboration between students and faculty. Students should consult with their advisors frequently to determine their individual interests and goals, to assess the level of their artistic or scholarly abilities, and to plan in


MAJOR: Eleven or twelve courses (44 or 48 units, depending on the emphasis) chosen in consultation with the major advisor.

Emphasis in Studio Art: Minimum of 48 units, chosen in consultation with the major advisor. Three beginning courses: S102, S103 and S105; Two of the following intermediate courses: S203, S210, S216 or 217; Two of the following Advanced Projects courses: S310, S320, or S330; and S490 Senior Seminar; One course, in Media Arts and Culture (Criticism or Production); Two Art History courses -H180 and H389. The sequencing of courses is crucial: students should take beginning and intermediate courses in the Frosh and Sophomore years; 300 level courses (Advanced Projects) in their junior year; and S490 (Senior Seminar) and any elective studio courses in the senior year. You may not take a required 100 level course as a Senior. In addition, the two Art History courses (H180 and H389), and one 300 level Advanced Projects course must be completed before the start of the senior year. S101, 104 and 106 may only be taken as electives and do not count as required beginning courses.

Emphasis in Media Arts and Culture: Minimum of 48 units. AHVA’s Media Arts & Culture Program fosters critical, historical, and practical exploration of audiovisual culture, with students producing senior comprehensives capstone work in either media production or critical media. All students, regardless of their project choice, are expected to push the boundaries of media scholarship, project form, and modes of audiovisual communication.

A minimum of twelve courses (48 units) are required for the MAC emphasis with students moving fairly freely between courses in production and those more focused on media history and critical analysis. Of the twelve required courses, students must take: at least three of the four 100-level gateway courses (ArtM 140, 143, 145, and/or 146), at least three (4-unit) 200-level courses, and the junior and senior seminars (ArtM 390 and 490). In addition, majors must complete one ArtH (Art History) and one ArtS (Studio) course.

All production comprehensives students must have taken ArtM 140 and either 242 or 355 by the end of junior year, along with 220 if producing fiction. In addition to ArtM 390, critical media comprehensives students must have taken at least two critical or historical media studies courses at the 200- or 300-level before the end of junior year.

Students may take relevant courses offered in other Occidental departments such as Theater, Music, CTSJ, or ECLS, which can be applied to the major upon approval of their faculty advisor. Eligible students may apply to study abroad in the Fall semester of Junior Year. Students may enroll for 2-unit internships through the Career Development Center. Occidental College also has a cross-registration agreement with Art Center College of Design, which offers various technical courses in media software.


Emphasis in History of Art: A minimum of 48 units, including three survey-level courses (H160, H170, and H180; one of these may be replaced by a 200-level elective in the same area) or equivalent; at least one course above 300 in two of these areas: Asian, Early Western, and twentieth century (either H387 or H389); the Seminar in Art History (H390); and the Senior Seminar (H490); two additional art history courses above the 100 level, of which at least one is at the 300 level; at least two courses (8 units) in Media Arts and Culture and/or Studio Art. In consultation with the advisor, a student may substitute a course outside the department (such as history, literature, politics, or philosophy, preferably related to the topic area of the senior thesis) for one of the art history electives.

Combined Emphasis: Students may declare a combined emphasis in art history and studio art: A minimum of 48 units, including four introductory courses two each in studio art (chosen from ARTS 101, 102, 103, 105, 106) and art history (chosen from ARTH 160, 170, 180); and six courses above the 100-level, three each in studio art and art history, including at least one 300-level course in each area; the Senior Seminar in studio art (ARTS490) or art history (ARTH490). Similar combined emphases between Art History and Media Arts and Culture or between Studio Art and Media Arts and Culture may be proposed in consultation with the faculty advisor.


Emphasis in Studio Art: Five courses (20 units) in the department including any four studio courses and one art history course. Studio courses must be selected from more than one professor.

Emphasis in Media Arts and Culture: Five Art M courses (20 units).

Emphasis in History of Art: Five art history courses (20 units) including at least one from Western art and one from Asian art; at least three must be 200-level courses or above.

WRITING REQUIREMENT: All students majoring in the department must successfully complete discipline-relevant writing within the context of the Junior Seminar for their specific area of emphasis (Studio Art - Art S390, Art History ¬Art H395, Media Arts and Culture - Art M390). For further information see page 40 and consult the department chair or your major advisor.

HONORS: A student with an overall GPA of at least 3.2 overall and 3.5 in the major who has demonstrated excellence in departmental courses must submit a proposal for an honors project for consideration before April 1 of the junior year. For further information, please see the Honors section of the catalog and consult the department chair.


Studio Art

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S101 - Drawing Fundamentals

Working with a variety of drawing materials-charcoal, pencil, ink, gouache, and acrylic paint-students investigate a fundamental aesthetic and visual vocabulary. Beginning with exercises in mark-making, then working through a formal study of basic visual elements and simple subject matter, students develop a working understanding of two-dimensional composition.

S102 - Painting Fundamentals

Beginning with a familiarization of paint, gesture and mark, then working through a formal study of basic visual elements (line, shape, form, light, space, and color) and simple subject matter (still life, landscape, the figure, abstraction), students develop a basic understanding of image construction and two-dimensional composition.

S103 - Sculpture I

The aim of this course is to introduce the conceptual, technical and critical tools necessary to begin a vibrant contemporary sculpture practice. The class consists of a combination of technical seminars, in-class fabrication, critiques, field trips, informal lectures in contemporary art history, readings, and a series of short papers. Emphasis will be placed on the student's ability to make, understand, discuss and write about sculpture in a substantive way.

S105 - Basic Printmaking

Through a series of projects, students develop an understanding of the unique properties of relief and intaglio printmaking. Students are introduced to different print media to gain awareness of how process influences changes in visual communication.

S107 - Digital Photography

The aim of the Digital Photography Course is to develop the conceptual, technical and historical tools to develop a critical photography practice. The course will consist of a combination of technical seminars, critiques, class readings, field trips, lab time and lectures in photographic history and contemporary art practice. The course will provide a technical introduction in the fundamentals of digital photography, including camera operation, file management, image processing, Photoshop, printing techniques and image presentation. Additionally, students will develop the critical skills needed to discuss photographs, productively participate in critiques, and generally situate their photographic production within a larger cultural and historical construct. Emphasis will be placed on student's ability to make, understand and discuss photographs in a substantive way. Lectures, critiques and personal consultations will stress the interdependent concerns of technique and content. Underscoring the course's outcomes of visual literacy are the centrality of photography to the historical development of modernity and the crucial role of digital photography in our image-centric globalized world. Throughout the course, students will be encouraged to integrate the breadth of their liberal arts studies in their image making.

S203 - Intermediate Scupture

Intermediate study in sculpture, including developing theoretical, historical, and critical understanding of materials and media. Emphasis may change from year to year. Prerequisite: Art S103 or permission of instructor.

S209 - Photography Against the Grain

This course is a conceptual art class that takes photography as its subject. Using a wide range of photographs and photographic practices, the class will consider how photographs are instrumental in forming our notions of self, family, work, and nation. We will also grapple with the difference between analogue and digital photography, and photography’s relation to the physical world. The class will read key photography essays that will challenge you to think critically about the role of photography in contemporary culture and modernity, historiography and science. We will use a broad range of art techniques like drawing, painting, printmaking, sculpture, digital alteration and even craft techniques to remake and rework photographs to reveal hidden truths, or create new meanings. Unlike some classes where you learn art techniques first, here you will be expected to adopt techniques and generate art from a set of ideas that arise from our readings, discussions, experiments, and field trips. Prerequisite: Any studio art course.

S210 - Intermediate Painting

Intermediate study in painting, including developing theoretical, historical, and critical understanding of materials and media. Emphasis may change from year to year. Prerequisite: Art S102.

S215 - Silkscreen Printmaking

This is an introduction to the fine art of silkscreen printmaking. Students learn the historical, theoretical and critical understanding of the process with an emphasis on developing their artistic voice by completing specific assignments.

S216 - Lithography

An introduction to the process of lithography, which entails the printing from a drawn image on limestone. Course emphasis will be on the drawing and how the medium allows for evolving the visual image over time. Prerequisite: one course in studio art.

S217 - Photo Processes in Printmaking

An introduction to new combined photo and drawing processes in printmaking including photo-sensitive emulsion on copper plates, solar etching and paper plate lithography. This course will explore how photography can influence the many approaches to contemporary printmaking. Students should have an interest in creating photo images and some familiarity with Photoshop software. Prerequisite: Art S105.

S290 - Art Outside the Bounds: Wanlass Artists in Residence

Students will work with prominent visiting artists who will be working on campus as Wanlass Artists in Residence. The emphasis of the course will vary with the Artist in Residence’s practice area, which will vary. Work may include installation, performance or social practice. Readings and conceptual ideas specific to the Artist's chosen medium and project will be explored; students will work with the artists to create individual and collaborative projects.

S310 - Advanced Projects in Painting and Drawing

Advanced study in painting and drawing, including developing a theoretical, historical and critical understanding of materials and media. Specific focus may vary from year to year. Prerequisite: Art S102 and Art S210, or permission of instructor.

S320 - Advanced Projects in Interdisciplinary Arts

This course invites students with art experience from across the College, including visual arts, music, theater, creative writing, etc., to pursue self-directed interdisciplinary art projects. Video installation, sound art, performance art, site-specific art, and collaborative projects will be the focus of the class. The class meets once a week for seminars and critical feedback, along with out of class visits to contemporary art and performance venues. Prerequisite: any two AHVA, Music, Theater, or Creative Writing courses, and permission of instructor.

S325 - Papermaking/Artists' Books

Advanced course in papermaking with emphasis on the creative potential of handmade paper. Projects include colored pulp painting, cast paper and sheet forming, with a major focus on making three handmade paper artists' books. Prerequisite: one course in studio art.

S327 - Book Arts/Letterpress Printing

This class is an introduction to the historical art of letterpress printing using design elements with text and image. Students will complete a collaborative artist book with hand binding and original imagery using typographic design, hand typesetting, and letterpress printing.
2 units

S328 - Book Arts: The Handprinted Book

Students will advance their knowledge of letterpress printing by planning, designing and producing a handprinted artist book. Elements covered: narrative, sequencing, page layout and design, type as graphic, innovative image-making methods for the Vandercook and structure of the book, . Theoretical readings and research conducted in Special Collections will support the students' projects and focus on 20th and 21st Century artist book design and production. Prerequisite: ARTS 327 or permission of instructor
2 units


S330 - Advanced Printmaking

Advanced study in printmaking, including developing a theoretical, historical and critical understanding of photo-based materials and media including images on pronto plates and monotypes.

S380 - Providing Context: Practices of Making, Writing, and Curating Art

This class is designed to introduce students to the practice of writing about and curating contemporary art. Guided by influential texts from sources as varied as blogs, podcasts, magazines, TV shows, zines, vlogs, and, of course, books, we will explore the shifting roles of the contemporary artist, art writer, and curator in today's diverse and globalized art world. Students will put theory into practice by engaging in their own writing about contemporary art in Los Angeles, with the goal of creating an expansive critical space for their thoughts to flourish. Additionally, we will investigate conventional and alternative curatorial practices that question the cultural, political, economic, regional, and social contexts shaping the exhibition of contemporary art. Students will mount their own exhibitions designed to question the boundaries of the "white cube gallery", pushing art into surprising public and private spaces. ! Coursework will include multiple arts writing assignments, regular visits to a variety of arts venues, and individual and collaborative curatorial projects Prerequisites: Major in AHVA or permission of the instructor
2 units

S397 - Independent Study in Studio Art

Prerequisite: permission of department.
2 or 4 units

S490 - Studio Senior Seminar

Group critiques of individual projects in student's choice of medium. Discussion of techniques, exhibition problems, self-evaluation, and current art movements, in the context of the history of art. Prerequisites: At least junior standing and ARTS 102, ARTS 103, ARTS 105, ARTS 203, ARTS 210; and ARTS 216 or ARTS 217

S499 - Honors Research in Studio Art

Prerequisite: permission of department.

Media Arts and Culture

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M110 - Introduction to Digital Design

This 2-unit course focuses on the fundamental processes and tools involved in digital design for the media arts: color, resolution, image manipulation, compositing, typography, vector graphics, basic Web design, project workflow, and output/finishing formats. Students will become familiar with the interfaces of essential software platforms including Photoshop, Illustrator, and Dreamweaver and will apply concepts and techniques to various assignments. This course satisfies the Introduction to Digital Design prerequisite required for many courses at Art Center College of Design. Prerequisite: Instructor permission required
2 units

M140 - Introduction to Film and New Media

Basics in film and video making. Students explore and compare traditional and contemporary approaches to the motion picture, experimental film, and video art through the development of a series of production assignments and a final project. Class will be comprised of discussions of theoretical readings, screenings, technical demonstrations and critiques. Prerequisite: permission of instructor.

M143 - Introduction to Visual and Critical Studies

This course introduces students to key concepts and methodologies for the critical analysis and interpretation of a broad range of media forms across the visual field - including film, television, social media, photography, games, advertising, etc. - and the cultural, historical and ideological forces that govern them. Drawing from select case studies in media and visual culture, the course emphasizes critical reading, discussion, and writing, with forays into digital scholarship. Should be completed by the end of the sophomore year for AHVA Media Arts and Culture majors. 

M145 - Introduction to Digital Media and Culture

Born Digital, Growing Up Digital, Teaching Digital Natives, Understanding the Digital Generation ... these are just some of the titles in a veritable explosion of guidebooks on how thinking, learning, and doing have changed in a world transformed by digital, networked, and social media. In this course, we take a critical look at the theories and prophesies on the "Net Gen"; we explore and assess new digital possibilities for communicating, teaching, and learning; and we think critically, contextually, and historically about the ways in which new media forms and practices shape identity, community, sociality, creativity, privacy, civic engagement, and everyday life. Class projects will enable students to experiment with and gain practical experience applying a range of media 2.0 technologies to their own academic work. Should be completed by the end of the sophomore year for AHVA Media Arts and Culture majors. 


M146 - Aesthetics of the Cinema

This course breaks down the aesthetic components of film and examines each element's function in the production of meaning in a text. The course underscores the fact that cinema's aesthetic language is not solely generated by Hollywood. It is a fluid system, highly contingent upon cultural, temporal, technological, and economic considerations. Selected international and alternative cinema movements will be examined for their enduring influences upon the global audiovisual aesthetic lexicon. Should be completed by the end of the sophomore year for AHVA Media Arts and Culture majors. 

M220 - Narrative Practices

This course focuses on theory, form, and practice of audiovisual, time-based storytelling. Students will become versed in the format and syntax of screenwriting and will explore the potentials of storytelling, manipulation of time, space, and point of view, character development, and narrative theory through a series of writing exercises and the crafting of short screenplays. Prerequisite: permission of instructor.

M240 - Sound Theory and Design

Despite a preoccupation with visual analysis of film, video, and new media, these forms are in fact audiovisual, with sound exerting enormous influence on our perceptions of content, story, and reality. This course will historically, critically, and practically explore the emergence and evolution of audiovisual, time-based media. Sample topics will include early global aesthetic debates on the arrival of synchronized sound in cinema; sound and genre films; sound design and documentary; soundscapes and immersive new media; music and the moving image; as well as and techniques in sound recording and editing. Weekly readings and screenings will be complemented by short audio-visual projects, critical writing, and a final paper/project. Prerequisite: Art M 140.

M241 - The Politics and Poetics of Documentary Film

What are the ethical responsibilities of a documentary filmmaker in relation to the history of atrocity such as the Holocaust and the Rape of Nanjing in WWII? What gives documentary films their unique voice in representing undocumented and underrepresented social groups including migrant laborers, racialized sexual minorities, and war widows? What are the types of documentaries that forge interethnic, intercultural, and intergenerational understanding? How can the blurring of boundaries between fiction and nonfiction inquiry serve progressive purposes in the public sphere? This course studies the history of the documentary film and its various modes through the key issues in social and political representation. Prerequisite: Art M146 or 243, or permission of instructor.

M242 - Projects in Documentary Video

The course will explore a variety of approaches to documentary video, including both narrative and experimental forms. Hands-on projects will be supplemented by discussions of theoretical readings, screenings, and technical workshops. Art M140 or prior experience with media production or community-engaged field research is encouraged.

M244 - Topics in Media Representation

This intermediate topical course of varying emphases focuses on representations of difference, while underscoring the connections between race, class, gender, and sexual identity. Through screenings and key texts from film and media studies, cultural studies, gender studies, and visual culture studies, students will learn critical methodologies for analyzing a range of media forms and the complex relationship between authors and spectators.

M246 - Topics in Film History

Classical and Post-Classical American Cinema (1930s to 1960s). A survey course on American independent cinema and Hollywood studio productions from the emergence of sound cinema and the fortification of business models and generic conventions in the studio system up through the social, political, and civil rumblings of the early 1960's. Topics include genre theory; gender, race, and class in American cinema and society; independent and experimental counter-cinemas operating outside the Hollywood model; censorship; and the evolution of film genres. The course will draw upon Occidental's location in Los Angeles as a source of research, screening, and programming opportunities. Prerequisite:  M146 or 243.

American Cinema (1970s to the Present). A survey course on American independent cinema and Hollywood studio productions from the late 1970s to the present. Topics include the response of independent and experimental cinemas to Hollywood's hegemony; the cultural significance of American cinema; the global success of American films and their impact upon production, stardom, distribution, and exhibition; the aesthetics of film image, sound, and narration; and the effects of new digital technologies on spectacle, and spectatorship. The course will draw upon Occidental's location in Los Angeles as a source of research, screening, and programming opportunities. Prerequisite: M146 or 243.

Modernity and the Rise of Cinematic Visuality. Many have argued that the history of modernity has been, above all, a history of visualization. In this course, we will examine a diverse range of nineteenth and early twentieth century visual practices, technologies, and experiences—including train rides, panoramas, urban spaces, assembly lines, medical photographs, amusement parks, side shows, optical toys, and more—that helped shape the "modern observer" by altering both the perception and understanding of time and space, public and private, work and leisure, the normal and deviant, and the individual and collective. Through a combination of critical readings and screenings, we will ask how such practices of looking not only influenced early cinematic form and content, but also how they continue to inflect postmodern media culture, from television to the internet.

M248 - Topics in Global Media

A survey course on the global language of film and media. Screenings and readings will cover a range of national contexts, examining questions of national identity, national cinema, alternative cinema, Third cinema, experimental ethnography, diaspora, postcoloniality, globalization, and transnationality. The course will take advantage of the international and intercultural makeup of Los Angeles as a means of exploring media and accessing practitioners who are working across national boundaries.

M250 - Topics in Media Theory and Practice

This hybrid media theory and practice course directly engages the interrelationship between discursive and creative production. Classes will include screenings, lectures, discussion, and hands-on experiences in producing and collaborating on digital media projects.
Spring 2015
Remix Media and Culture Jamming
Remix, Mash-up, Collage, Assemblage, Bricolage ... the reuse and repurposing of cultural objects, images, and sounds in works of art and activism has (at least) a century-old legacy that is realized most fully within the interchangeable world of binary code and digital technology. This course takes a critical look at the history of remix culture along with the gamut of aesthetic, political, and social concerns addressed by remix artists and musicians and the reception (and even appropriation) of their work by the corporate entertainment industry. It also explores issues around copyright and fair use in the sampling of both commercial and independently-produced works, as well as the opportunities for dissemination created by social media. Students will produce three remix projects over the course of the semester.

M255 - Media, Bodies, and Space

This course examines the history, theory, and practice of integrating time-based media into three-dimensional space. This is a theory/practice course: students will study the history of video and audio installation and attendant theories around interactivity, virtuality, and site specificity, while experimenting with different methods of troubling the passive relationship of viewer to screen in traditional cinema. Through hands-on exercises, students will develop sensitivity to three-dimensional space, explore the relationship of the human body to aural and visual environments, and create a series of linear and non-linear narratives that take into account viewers in motion. The class will culminate in the production of a media object and/or installation that demonstrates a careful consideration of form and content in relation to space. Prerequisite: ARTM 140.

M260 - Topics in Digital Culture

This intermediate topical course addresses new and evolving issues around digital technologies and networked publics, examining their social, cultural, political, and global ramifications both on- and off-line. Coursework will engage digital media theory and scholarship.

Exploring Virtual Reality.  This theory/practice course takes a historical, critical, and experiential approach to the questions around virtual reality and the hopes and fears generated by technologically-simulated experiences. Through readings, screenings, field trips, and hands-on workshops, students will study the discourse around virtual reality, telepresence, hyperreality, and cyberspace; experience first-hand examples of the current state of the art; examine how authors and film-makers have depicted the relationship of the "virtual" to the "real" and one's avatar to one's self; and participate in small-scale collaborative projects that attempt to map and conjoin the virtual and real spaces of Occidental College. Screenings will include: The Matrix, Existenz, Sleep Dealer, and Avatar. No Prerequisites.

Who owns the Internet? This course takes a historical, critical, and experiential approach to the competing sets of interests that have struggled over control of the internet since its inception. These players - military, academic, corporate, activist, regulatory, user, etc - will be explored through sets of readings, screenings, field trips, and hands-on workshops. Central to our inquiry will be questions of infrastructure, surveillance, and resistance, as they mark out the terrain on which digital culture thrives and through which major actors exert their influence. Students will have the opportunity to both learn about digital cultures and work in digital modes in this course, with hands on components emphasizing geo-spatial analysis, multimedia presentation, social media engagement, and webmaking.

M290 - Intermediate Productions

This course provides the opportunity to crew on an Art F490 Senior Comprehensives media project as the designated director of photography, receiving specialized cinematography training at the intermediate level from a professional cinematographer. Projects range in form from fiction and documentary to experimental and installation-based media. Through screenings, readings, hands-on workshops, and shoots, students will learn technical skills, research and develop an aesthetic plan, devise a production plan, and execute principal photography for their chosen senior comprehensives project. Course may be taken up to two times for credit within the major. Prerequisites: M140.

This course provides the opportunity to crew on an Art F490 Senior Comprehensives media project as the designated producer, learning the logistics, ethics, business, and art of independent media producing. Producers will be working on a range of potential project forms, from fiction and documentary, to more experimental or new media works, each with its own producing particularities. No prior experience is required, but commitment to the class experience and the chosen student production is vital. Course may be taken up to two times for credit within the major.

M295 - Topics in Film and Media Studies

The study of film and media has involved disciplinary and interdisciplinary approaches for about half a century. This intermediate topical course of varying emphases studies the key critical terms, issues, and debates in popular media cultural study, including genre study, in relation to specific topics. Readings of film and media examples illustrate how different theories or perspectives can be applied to contemporary pop culture.

Genre in Contemporary Film, TV, and Digital Media.  Genre films were part of Classic Hollywood, but genres started changing in interesting ways as media industries evolved after World War II, with the introduction of television, new technologies that enabled shooting on location or new opportunities with color film, the rise of drive-in movie theaters and indie or exploitation filmmaking. We will study the shift from classic genre films and theory to hybrid genres and genre revisionism in film/media movements spearheaded by people of color, feminists, and LGBT communities as well as studios. The focus in the class is on genre theory studied through historical and technological shifts in media production. Screenings will introduce a range of genres, from classic films like the Western and noir to more recent genres like road films, television melodramas and war video games. Prerequisite: M146 or 243, or permission of instructor.

Imagining War: Genre on Screen and Battlefield. The war film has arguably been one of the most consistent and popular elements of cinema's history. It was a component of film from its beginnings and is now a regular mainstay amongst Hollywood blockbusters. It has also undergone several political revisions and technological shifts in media production, distribution and exhibition, making it ideally suited to study the theory and history of genre. Importantly, this course will not only look at how war figures in film, but how film also profoundly effects and configures war. Entertainment andwar are the United States' primary exports. Militarism and the Hollywood studio system have had a long and deadly interdependence. By conceiving of the viewing screen as an extension of the battlefield (and vice versa), this course will look at the profound social and political implications of the classic genre system. We will do this by examining such films as Apocalypse Now, The Deer Hunter, Hiroshima Mon Amour, Battle of Algiers, Black Hawk Down, Kandahar, Night and Fog, The Hurt Locker. Das Boot, Saving Private Ryan, All Quiet on the Western Front, Dr. Strangelove, Inglourious Basterds, Birth of a Nation, Rambo, MASH, as well as a host of television shows, Websites, and video games. rerequisite: M146 or 243, or permission of instructor.

The Western: From Colonialism to Gaming. This course will primarily explore the classic Hollywood genre system through a detailed look at ‘The Western.’ However, before looking at how genre operates within cinema, we take a broad historical and theoretical examination of genre within literary studies, critical theory, Wild West shows, philosophy, travel literature, ethnographic photography, and cultural studies. The aim is to critically examine a wide array of generic conventions within The Western film, while simultaneously situating these conventions within the broader historical and ideological context of European colonization of North America. Particular attention will be placed on the role of racial and gender performances within The Western genre as both a founding American myth and a component of the Hollywood film system. We will analyze both the classic Western as well as revisionist films. Additionally, we will investigate how the genre transforms as it moves into other media, including fine art, television, gaming, and other digital contexts.

M320 - Advanced Narrative Practices

This course emphasizes the advanced design and writing of innovative narratives for various audiovisual time-based media. Students will become conversant in the tools and propensities of audiovisual narratives in fiction and documentary modes through screenwriting exercises, group video exercises, and the completion of a written script of significant length along with a preproduction plan involving visual, sound, and music design. Prerequisites: M220.

M340 - Advanced Editing

This course provides technical training on a range of post-production software platforms, best practices in sound and picture editing, and skills in post-production finishing/project delivery workflow. Production comprehensives seniors, or their dedicated project editors, will use senior comprehensives footage to complete a series of structured projects and assignments. The course will also provide professionalization tools, training students in development and production of media portfolio materials.  Prerequisites: 140 and Senior status or affiliation with a Senior comps project.

M355 - Advanced Projects in Video and Digital Media

Advanced study in the ideation and execution of video and digital media projects, including developing a theoretical, historical, and practical exploration of form, function, and exhibition. Each student will direct a media project of their own devising and work in a range of rotating crew roles in realizing the projects of their peers. Prerequisites: Art M140 and Junior Status in major.

M390 - Junior Seminar in Film Theory and Criticism

Topical course of rotating thematic subject matter bringing together all Film & Media Studies juniors, regardless of the intended form of their senior comprehensives project. Students will read, watch, write, debate, and present self-directed research, laying the groundwork for their senior year comprehensives work. Required course for AHVA Film/Media Studies Juniors. Prerequisites: permission of instructor.

M397 - Independent Study in Media Arts & Culture

Prerequisite: permission of department. Laboratory fee: $55 for projects in production.
2 or 4 units

M490 - Senior Seminar in Media Arts & Culture

Critical. Advanced pro-seminar designed to provide guidance and intellectual community around the completion of a critical media comprehensives project. Students pursuing Honors are also encouraged to enroll in this course. Prerequisite: open only to senior AHVA majors who have a Film & Media emphasis.

Production. Advanced course designed to provide guidance towards the development of a comprehensive project with production components. Prerequisite: open only to senior AHVA majors who have a Film & Media emphasis. Art M242 or 355, and if making a fiction project Art M220 as well.

M499 - Honors Research in Media Art & Culture

Prerequisite: permission of department.

Art History

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H160 - Introduction to Asian Art

Selected periods and monuments of Asian art from India, China, and Japan, and an introduction to the methods of art-historical analysis. Emphasis will be placed on the understanding of works of art in their original religious, intellectual, political, and social contexts, with particular attention to the ways each developed characteristics appropriate to these contexts. Among the topics to be explored are ritual arts, Buddhist art (painting, sculpture, and architecture), secular painting, and garden architecture. Museum visits required. Not open to seniors. Not open to students who have taken Art H261

H170 - Introduction to Early European Art

European painting, sculpture and architecture from the Prehistoric Aegean to Renaissance Italy. Although the course will proceed chronologically, its goals are to introduce the student to a range of art historical skills and issues including stylistic analysis, iconography, the relationship between image and the artist's biography, and the relationship between the image and its historical context. Museum visits required. Not open to seniors.

H180 - Introduction to Later Western Art

A selective survey of Western European painting, sculpture, and architecture from the Renaissance to the 20th century. Lectures and readings are designed to provide an overview of artistic developments, as well as how to articulate the ways in which forms of expression and modes of representation were affected by unfolding political, religious, social, cultural, and economic conditions. Major themes will include: patterns of narrative and description, strategies of realism and abstraction, the changing status of the artist, patronage and audience, and the rise of the avant-garde. Museum visits required. Not open to seniors.

H190 - American Indian Art History: Contemporary Issues

This course provides a thematic introduction to Native North American Indian Art drawing from historic (pre and postcontact) precedents. Class discussion and lectures are generated from the conceptual themes of contact, conflict, exchange, appropriation and re-appropriation of American Indian imagery, materials, and ideas, rather than from the more descriptive categories such as Southwest painting or Plains beadwork. A concern with the social production of art in specific episodic contexts serves as a means of critically examining the circulation and appreciation of American Indian arts and material culture as fine art, commodity,
political critique, social marker, religious icon, and physical landmark.

H250 - American Indians in Film

This course critically examines films by and about American Indian and First Nations peoples including art films, shorts, cinema, and documentaries. Themes addressed include: reflexivity, the portrayal of Native women, the urban experience, indigenous aesthetics, contemporary storytelling, silence, parody, re-appropriation and conventional representations. Students will be introduced to the diverse settings of Native film (including the Navajo Nation (Dine), and Mohawk nations of Canada) as well as core historical topics such as American Indian veterans, activism, the boarding school experience and the emerging Native film industry.

254 - Critical Perspectives in Museum Studies

This course critically analyzes how the museum enterprise reflects and informs public culture. Students will gain an understanding of historical and current trends in museum studies and how these movements are impacted by shifting professional and popular standards. Topics include the collection and display of human beings as objects, the politics of national museums, racist memorabilia, indigenous curation methods, commodification and consumerism, repatriation, censorship and contested ideas about authenticity and authority. Case studies are drawn primarily from The United States and Canada and include the plantation museum, American Indian cultural centers, lynching postcards, the Holocaust Museum and performance art. The relationship of the museum to a diverse public with often-contested agendas will be explored through class discussions, independent student projects and written assignments.

H261 - Buddhist Art in South and East Asia

A survey of Buddhist art as it originated in India and spread across Central Asia to China, Japan, and Tibet. We will devote special emphasis to the ways Buddhism and Buddhist art both changed and were changed by the various cultural traditions they encountered. We will also examine the history of "Western" encounters with Buddhism and how these have shaped - or biased - our understanding of Buddhist art and culture. Not open to students who have taken Art H160.

H266 - The Arts of Japan

An introduction to Japanese painting, sculpture, and architecture from antiquity through the Tokugawa Period. Emphasis will be placed on the formation of an indigenous artistic tradition and its transformation under Chinese influence. The arts produced for patrons in Shinto, Buddhist, Zen, courtly, and samurai contexts will be examined. Museum visits required.

H270 - Greek Art

An investigation of the art and architecture of ancient Greece, from the Bronze Age (c. 3000 BCE) to the colonization of Greek culture by Rome (c. 100 BCE). Sculpture, metalwork, mural painting, vase painting, and architecture will be considered, with particular interest in how these forms are reflective of the fundamental political, spiritual, and philosophical developments during this era - as well as how these artistic forms serve as the foundation elements for European art history.

H274 - Roman Art

Roman art and architecture develop in response to increasingly complex issues of individual identity, cosmopolitanism, personal and state propaganda, and the social and political pressures inspired by managing large and varied population concentrations. Roman visual culture addresses these challenges by adapting to new ideas and subject matter while at the same time maintaining traditional notions of personality, organization, and imperial supremacy.

H275 - Early Christian and Medieval Art

An introduction to the major works and issues of the period through an examination of key moments in Europe and the Mediterranean basin from c. 300 CE to 1500 CE. A study of the forms, language and uses of medieval visual culture will be related to the circumstances associated with the demise of the Roman Empire, migrations of Northern European peoples, the increasing power of secular rulers, the development of monasticism, and the theological perspective of the Roman Christian Church. Art and architecture associated with contemporary monotheistic religions (Judaism, Islam) will also be considered.

H278 - Early Islamic Art and Architecture

A chronological survey of the visual art and architecture created within and for the Islamic cultures of Western Asia, North Africa, and Europe, 622-1453. Covers sacred and secular architecture and architectural decoration, sculpture, painting, manuscripts, textiles, and metalwork, including objects in area collections. Readings will include primary sources, exhibition catalogs, and scholarly articles; visits to museums and a mosque is anticipated.

H280 - Michelangelo

This course is designed as an introduction to the life and work of Michelangelo Buonarroti (1475-1564). We will investigate his painting, sculpture and architecture, while considering its context within the major urban cultural centers in which he worked: Florence and Rome. The course will proceed chronologically, but will vary from week to week as to relevant themes and methodological approaches to the career of arguably the most influential of all Renaissance artists. Among those topics to be explored: development and dissolution of a classical vocabulary; relationships between style and technique; art, biography and self promotion; the relationship between Christianity and sexuality for Michelangelo and the Cinquecento; patronage and context in Florence and Rome; the development of classical form; meaning in the restored Sistine Chapel.

H283 - Renaissance Architecture in Italy

This course examines the development of Italian Renaissance architecture from about 1300 to about 1550. It will consider buildings in the civic and ecclesiastic context, both sacred and secular. The evolution of this tradition will be studied in relationship to issues of function and structure, contemporary writing, and religious, political, and economic influences.

H285 - Nineteenth Century Art: Culture, Politics & National Identity

This course will explore artistic practices in the US, North America, and Europe during the long 19th century, from roughly 1789 to 1900. Lectures, discussions, and readings are designed to provide a thematically-driven, chronological overview of the period. Yet the course will not be a traditional "survey"; rather, it will focus on some of the key changes in ideas about artistic culture, art practice, and practices of regional, national and transnational identity formation as expressed in visual art. Art's role in social and political revolution, as well as its formative status as an engine of cultural imperialism in the 19th century will be explored in addition to some of the more traditional approaches to studying the status of art, the role of the artist, and the transformation of the art "market" in the wake of the industrial revolution. Key debates within the field of art history will be explored as well. Museum visit required.

H287 - History of Photography

What is a photograph? Is it a "document" or a "work of art?" Who makes a photograph, and for whom does s/he make it? How and where do photographs circulate? What effect does the context in which a photograph is viewed have on its meaning(s)? Designed as a selective history of photography in the 19th and 20th centuries, this course revolves around questions like these (although these are not the only issues we will explore) regarding the nature and function of photography in modern culture. Through thematic lectures, a wide-ranging list of readings and in-class discussion, we will explore the medium from multiple perspectives. Students will develop the critical skills they need to read and critically analyze the visual rhetoric that shapes photographic representations. In addition to learning about the different photographic genres - exploration and travel photography; studio and portrait work; medical and legal documentation; fine art prints; photojournalism - this class will push students to investigate photography's position within a broader cultural field: the medium's shifting relations to the artistic avant-gardes; advertising and consumer culture; constructions of race, gender, and national identity; and photography's role in producing history itself. Readings will include primary source materials and theories of photographic meaning; students will be asked to grasp not only the medium's technological and rhetorical functions, but also to develop their own critical perspectives on photography's shifting relations to intellectual, social and political ideologies. Coursework will require one hands-on photographic project and a museum visit.

H289 - Modern/Contemporary Architecture of the Asia Pacific

A thematic course on the history, theory, and practice of Modern Architecture in Europe and the United States from the 1780s to the later 20th century. Themes we'll explore include the following: architectural theory and design as social planning; competing notions of public and private space; modernist architectural theory and urban development; rural and urban ideologies in American architecture; the changing image of the architect in the 19th and 20th centuries; architecture and urbanism in Southern California. Coursework will include a collaborative research project and a required half-day field trip to downtown Los Angeles.

H291 - Arts in Los Angeles

A 2-unit seminar course to be taught by visiting curators, critics, art historians or artists focused on some aspect of the arts in Los Angeles. Topics will change in light of availability of top quality visiting faculty, and will engage directly with current exhibitions, events, and issues relevant to the artistic culture of Los Angeles.

History of Green Architecture. This course will pursue, and ultimately aim to reconcile, two separate questions about sustainability and architecture. To begin with, what makes a particular building -- house, office block, or skyscraper -- green? Second, and more fundamentally, how has our understanding of the relationship between architecture and nature shifted over the centuries? The course will begin by looking at a range of depictions of that relationship in art, architecture, literature, and philosophy before moving on to examine architecture's role in the nascent environmental movement of the 1960s and 1970s. It will consider the rise and increasing codification of green architecture in the last 15 years in the U.S. and Europe, isolating certain buildings as case studies and assessing in some depth recent debates over the American green-design rating system known as LEED. Finally, we'll ask what green architects might learn from the ways that other sustainability movements -- in transportation, product design, clean-energy, and food policy -- have matured over the years. Students will visit a number of built examples of green architecture in and around Los Angeles. No prior study of architectural history is required.
2 units

H 340 - The Russian Avant-Garde and Soviet Modernism

Two of the most explosively important geo-political events of modernity were World War I and the Russian Revolution(s) of 1917. This course investigates the theories and practice of the Russian Avant-Garde in the visual arts, literature, industrial design and architecture in relation to parallel international developments during the Revolutionary period through the rise of Stalin in the early 1930s. Topics include: fragmentation and shifts in artistic perception of time, space and reality; responses to advances in science, technology and industry; constructivist design, architecture and theater; montage and cinema; consumerism and materiality; artist collectives, manifesti, and the relationship of theory and ideology; cultural imports from Europe and America. Same as RUSN 340

H362 - Art in Early China

Chinese art and archaeology from the neolithic period through the Tang Dynasty. Readings in historical, literary, and religio-philosophical texts will contextualize the study of the formative period of Chinese art history. We will trace the emergence, florescence, and decline of ritual art in ancient China; the birth and ascent to dominance of the Confucian scholar-elite as consumers (and ultimately producers) of art; and the impact of the introduction of Buddhism on the history of Chinese art. Archaeological discoveries continue to deepen our understanding of ancient China, and we will examine the most important excavations of the past 30 years. Prerequisite: Art H160 or Asian history course, or permission of instructor.

H364 - Art in Later China

Chinese art of the last millennium. Primary attention will be paid to the arts of painting, calligraphy, and architecture (palaces and gardens), seen in the context of patronage groups and other intellectual, social, and political factors. The role of the scholar-gentry class in the consumption and production of art is particularly important, but we will also examine the impacts of the imperial court, the religious establishment (Chan or Zen Buddhist), and the merchant class on the art of imperial China. The course will conclude with a consideration of art in contemporary China and its relationship to pre-revolutionary Chinese traditions. Prerequisite: Art H160 or Chinese history course, or permission of instructor.

H368 - Japanese Painting

A survey of Japanese painting with emphasis on the Heian through Tokugawa periods (10th-19th centuries). The transformative influences of Chinese culture and changing patronage groups (from courtly to zen/samurai to the merchant class) will inform our analysis of monochrome ink scrolls, gold-leaf screens, and ukiyo-e woodblock prints. Where possible, we will consider the works in the architectural settings for which they were intended. Field trips to the L.A. County Museum of Art and other collections will be arranged. Prerequisite: Art H160 or Art H266, or Japanese history course.

H373 - Major Figures in the Italian Renaissance. Art and Biography of Michelangelo

Painting, sculpture, architecture, and urban planning of Michelangelo Buonarroti. This course considers the development of the artist from his apprenticeship in the shop of Domenico Ghirlandaio through his late paintings in Rome. All works are considered for their stylistic, iconographic, and social context. Particular attention will be paid to the urban and specific patronage context of each work, which are critical for a more complete understanding of Michelangelo?s art and intellectual development. This course requires travel to Italy during the winter break. Prerequisite: permission of instructor.

H374 - Art of the Early Italian Renaissance

A survey of the painting, sculpture and architecture of Italy from about 1300 to 1500. All major figures, including Giotto, Ghiberti, Donatello and Botticelli will be considered. Works will be examined in terms of setting, patronage, and cultural context in addition to questions of style and meaning. Prerequisite: Art H170 or permission of instructor.

H376 - Sixteenth Century Italian Art

High Renaissance and Mannerism. Among those artists considered are Leonardo da Vinci, Michelangelo, Titian and Raphael. Of special consideration is the nature of the Papacy as a patron of art and the city of Rome as a context for artistic activity. The course will also consider the reasons for the dissolution of the classical tradition during this time by artists such as Pontormo, Parmigianino and Giulio Romano. Prerequisite: Art H170 or permission of instructor.

H378 - Art of the Northern Renaissance

An examination of the artistic traditions of Northern Europe from c. 1400 to 1600 CE. Points of consideration include significant artistic personalities and individual works, the relationship between patron and image, territorial distinctions, in addition to the connection between northern and southern (Italian) visual developments during this period. Prerequisite: Art H170 or permission of instructor.

H387 - European Visual Culture, 1900-1945

This course will focus on European visual culture from 1900-1945. We will consider the nature and transformation of the avant-gardes during this period through lectures and discussions about Cubism, the Russian Avant-Garde, the Bauhaus, Dada, and Surrealism. Yet we will also try to make sense of practices that do not usually figure in histories of this period, paying particular attention to the ways in which a "return to order" emerged in artistic practices during the years after World War I. Media to be explored include painting, sculpture, photography, film, and architecture; we will also investigate the increasingly important role played by art exhibitions in shaping contemporary ideas about art, artistic identity and art's connection to politics. Readings will be drawn from art history, art theory, literature, history and philosophy. Coursework will require one formal oral presentation and a museum visit. Prerequisite: Art H180 or permission of instructor.

H389 - Modern and Contemporary Art

This course will explore the diverse forms of visual culture - painting, sculpture, photography, installation, performance, and video - produced after 1945. Through clusters of thematic and monographic lectures, we will investigate questions about artistic identity, the status and function of art in the post-World War II period, and the changing nature of avant-garde (and neo avant-garde) practices in the wake of the social, cultural, and economic changes of the 1960s and 1970s. Post-industrial society, new movements advocating civil rights, feminism, environmentalism will form the cultural backdrop of our work, as will more focused investigations of postmodernism, critical theory's increasingly central role in artistic culture, and a burgeoning global network of artistic and cultural exchange and contestation. In addition to presenting a selective history of visual culture after 1945, this course will explore how changing ideas about race, ethnicity, gender, sexuality, and cultural identity have impacted the art and criticism of the period under consideration. At least one field trip to a gallery or museum will be required. Prerequisite: Art H180 or permission of instructor. Course required for Studio Art Emphasis.

H390 - Seminar in Art History:

Colonial Urbanism In this course, we will examine the spatial legacy of colonial cities. The focus is on colonial urban spaces and architectural projects that were manifestations of the political, economic, and social relationships between the colonizers and the colonized. In relation, imperialism’s role – as it transpired in both the colonies and colonizing societies of Europe and the United States – will reveal the ways in which the imperial imagination was visible in physical form. Through a range of case studies including sites in former European and American colonies of Asia and the Pacific, as well as former imperial centers such as London and Washington D.C., students will develop a theoretical toolkit for the critical study of urban colonial environments. Prerequisite: ArtH180, 289 or 389 or permission of instructor.

Donatello  This course is an intensive examination of the career of the Florentine sculptor Donatello.  Of particular interest will be his centrality in the development of public and private art in Florence, his relationship with the Medici family, and the interaction between religion and sexuality in fifteenth century Italy. Prerequisite: Instructor permission required

H391 - Seminar in Early Western Art

A seminar focusing on a topic in the history of Western art through the Renaissance. Emphasis on research methods and writing research papers.
Prerequisite: permission of instructor.

Appropriating Asia: The Depiction of the Exotic in Western Art. Using artworks in collection of the J. Paul Getty Museum, this course analyzes the impact of Asia on Europe from the 15th to the 19th centuries. The examination of drawings, paintings, sculpture and tapestries from religious, mercantile, and political perspectives provides a nuanced understanding of appropriation and cultural translation. Readings and group discussions will address the inevitable misunderstandings that arose when European artists encountered Asian art and culture. Special attention will be given to notions of wonder and curiosity, globalization and exoticism, fact and fantasy. Taught by a Getty curator and Oxy alumnus, this course allows for a first-hand analysis of art by Bellini, Rubens, Rembrandt, Delacroix, and Gauguin. It also provides insight into curatorial research, exhibition display, and the writing of didactic texts. Class will take place at the Getty Museum every other Friday.
2 units

H392 - The Culture of Collections: Introduction to Museum

The history, purpose and varied practices of museums are examined cross-culturally in this introductory course designed as a community-based practicum. Core concepts of museology such as collections management, educational outreach and programming, standards and ethics, curation, exhibition strategies, and disciplinary standards are examined in case study scenarios supported by academic readings and collections-based inquiry. Students will work collaboratively with others in team based learning and problem solving while demonstrating critical thinking in written essays and oral debates. The class will make use of the resources of the Autry National Center of the American West. Prerequisite: one 200 level art history course.

H395 - Topics in the History of Art

Who Owns Art? 
As art objects--especially those from antiquity--have become increasingly valuable as both commodities and as national treasures, the question of who owns art, and who is best to care for them is essential to museum curators, academics, and politicians. There are several debates over who owns art of ancient civilizations like Greece and India. Do treasures like the Parthenon sculptures at the British Museum belong to Greece and should they be returned? Or should they remain in the museum where more people have access to them? This seminar will introduce students to laws enacted by UNESCO (United Nations Educational, Scientific and Cultural Organization) to protect world cultural and national heritage as well as examine museum collecting policies in America. Specific cultural patrimony cases will also be examined and discussed. This seminar is for students who are interested in learning more about cultural patrimony, art law and museums.

H397 - Independent Study in Art History

Prerequisite: permission of department.
2 or 4 units

H490 - Senior Seminar in Art History

Prerequisite: senior Art History majors only.

H499 - Honors Research in Art History

Prerequisite: permission of department.


Regular Faculty

Broderick Fox, chair

Associate Professor, Art History and the Visual Arts

B.A., Harvard University; M.F.A., Ph.D., USC

Linda Besemer

James Irvine Distinguished Professor, Art History and the Visual Arts

B.A., B.F.A., Indiana University; M.F.A., Tyler School of Art

Eric Frank

Professor, Art History and the Visual Arts

B.A., Dartmouth College; M.A., Syracuse University; Ph.D., New York University

Allison De Fren

Assistant Professor, Art History and the Visual Arts

B.A., Grinnell College; M.F.A., New York University; Ph.D., University of Southern California

Mary Beth Heffernan

Associate Professor, Art History and the Visual Arts

B.F.A., Boston University; M.F.A., California Institute of the Arts

Ari Laskin

Assistant Professor, Art History & Visual Arts

B.A., University of Victoria; M.A., York University; M.A., UC, Irvine

Amy Lyford

Associate Dean for Curriculum and Academic Support; Professor, Art History and the Visual Arts

B.A., Pomona College; M.A., Boston University; Ph.D., UC Berkeley

Linda Lyke

Professor, Art History and the Visual Arts

B.A., M.F.A., Kent State University

Nancy Marie Mithlo

Associate Professor, AHVA; Joint appointment at the Autry National Center of the American West

B.A. Appalachian University; M.A., Ph.D. Stanford University

On Special Appointment

Luke Fischbeck

Wanlass Aristist in Residence: Lucky Dragons

Stephen Little

NTT Assistant Professor, Art History & Visual Arts

B.S. Cornell University; M.A. University of California, Los Angeles; Ph.D. Yale University

Kelema Moses

NTT Instructor, Art History & Visual Arts

B.A. University of Virginia; M.A. Pennsylvania State University

Jocelyn Pedersen

Adjunct Instructor, Art History & Visual Arts

B.A. Cal Poly, San Luis Obispo, M.A. U.C. Santa Barbara

Sarah Rara

Wanlass Aristist in Residence: Lucky Dragons

Ross Rudel

Adjunct Assistant Professor, Art History & Visual Arts

B.A. Montana State University, M.A. U.C. Irvine

Stephanie Schrader

NTT Assistant Professor, Art History & Visual Arts

B.A. Occidental College; M.A. Oberlin College; Ph.D. University of California, Santa Barbara

Yoko Shirai

NTT Assistant Professor, Art History & Visual Arts

B.A. University of California, Berkeley; M.A. Sophia University; Ph.D. University of California, Los Angeles

Mariangeles Soto-Diaz

NTT Instructor, Art History & Visual Arts

B.A. Hampshire College; MFA Claremont Graduate University; M.A. California Institute of the Arts

Anthony Sparks

NTT Assistant Professor, Art History & Visual Arts

BFA, M.A., Ph.D. University of Southern California

Linda Stark

Adjunct Instructor, Art History & Visual Arts

B.A., UC Davis; M.F.A., UC Irvine

David Weldzius

Adjunct Instructor, Art History & Visual Arts

B.F.A. University of Illinois, M.F.A. California Institute of the Arts