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 opportuni-ties 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.

Lavonne Smith

We launched CareerSmith, an executive re-cruiting 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 en-gineering/construction projects and techni-cal requirements, as well writing up various progress reports, the candidate appraisals, and documentation, etc. Also there was the usual database management and marketing materi-als 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.

Having recently graduated from UCI, I thought UCI might be a perfect place to look for top humanities stu-dents. Over the next 10 years we hired about 12 may-be 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 mod-est 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.

FOAH Member and UCI Alumnus

“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

Hiring UCI Interns

Demons, Dragons, and Eagles:

Spectacular 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.

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

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.

Depositions: Scenes from the Late Medieval Church and the Modern Museum Zone Books / MIT Press 2012

Amy Powell

James NisbetOur Newest Faculty Member!

I am currently at work on a book manuscript entitled Senses of Ecolo-gy 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 practic-es as realized in a range of media in-cluding 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 ab-stract 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 pol-itics of the late twentieth century.

Walter De Maria’s The Lightning Field (1977)

The Senses in Medieval and Early Modern Visual CultureUpcoming Conference:

Sixth Annual Symposium of the Group for the Study of Early Cultures at UCICo-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 precondi-tion 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 inte-gral 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 Bisely2011 Emily Kuhlmann2010 Jasmine Vasandani2009 Tiffany LamProfessor Stein, who received her Ph.D. at Yale University, specialized in the history of photography with a par-ticular 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 Guthrie2011 Colette JohnsonProfessor Gonosová received her Ph.D. at Harvard University and worked on the categories and modes of deco-rative 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 Undergrad-uate 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 FellowshipThe Irvine Museum is dedicated to the study and exhibition of California art of the Impressionist Period (1890-1930). 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 Perkov2011 Anna Kryczka, “California’s Tourist and Domestic Idyll: The Printed and Painted Surfaces of Landscape Archi-tecture” 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 Califor-nia of the 1920s and 1930s”

Kim BeilI began researching the Califor-nia 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 paint-er 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 grow-ing city of Los Angeles from the late nineteenth through early twentieth centuries suddenly made this man’s highly individual vision of the west-ern and southwestern United States into something invested with much more cultural power.

I was inspired by this understud-ied aspect of Lummis’ influence. My research for the Irvine Museum on Mr. Lummis culminated in an es-say 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 im-portant 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 soci-ety 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 fledg-ling Los Angeles Daily Times. His ar-dent support for California, and the break it represented from the chal-lenges 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 Califor-nia, 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 Pasade-na. In Lummis’ time, this region was a community of like-minded individ-uals, 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 Wach-tel, Granville Redmond, Fernand Lundgren, and William Lees Jud-son, 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 dignitar-ies, as Lummis counted Theodore Roosevelt, John Muir, and William Keith among his many notable ac-quaintances. 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 moti-vated 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 au-dience, 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.

Emilie MartinUCI Art History Summer Intern

Reading ten thousands of books is not as useful as travelling ten thousand miles. -Chinese proverb

讀萬卷書不如行萬里路

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 dis-cover that the knowledge I gained abroad of working a card catalog sys-tem and microfilm and the hours spent scanning nearly illegible hand-written 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 be-coming 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 enthusi-asm for the UCI Department of Art History as I do.

InternshipsArt History students share their intership experiences

讀萬卷書不如行萬里路

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. Novem-ber 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.

Heidi Gonzalez, PresidentI 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 PresidentAs vice president of AHUA my duties are to create and manage the Art History Honor Society, help students gain wisdom and experience for after gradu-ation 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 OperationsAs art history major I am very passionate about the role thatvisual culture plays in history and society. My goal is to bring thispassion to UCI students, art history majors and non-majors alike, andcreate a community that is excited about art and culture. I am lookingforward to what AHUA will accomplish this school year!

Introducing the 2012-2013 AHUA Board Members

Lindsey Westbrook, 1997The 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 Lin-da Bauer (who was also my thesis advisor), Dick-ran 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 in-terests would come into play later on in my career.

After graduating, I entered UC Berkeley’s art histo-ry program on the Berkeley Fellowship. I was also in-terning at a record company and at the local weekly. It was an exciting time to be circulating in San Francis-co’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 ed-itor at an (ill-fated) internet startup. It was a fun ride; from the Porsche they gave away for new-employee re-ferrals 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 Guard-ian, 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 ful-ly 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 Muse-um of Modern Art. It was an honor to work for such a high profile, well-respected institution. My posi-tion involved editing exhibition catalogues and gallery signage, corresponding with hundreds of museums and galleries around the world, and managing a sig-nificant 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 stan-dards 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 envi-ronment; this time as a professional working with other staff, the academic programs, PR, marketing, the web-site 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, trans-lations, and the global transmission of visual culture.

Some people think of art history as quite special-ized. But in fact it touches on nearly every aspect of culture, all the regions of the globe, and every pe-riod of human history. My degree trained me in writing, research, and critical thinking—skills that have been crucial at every step of my career.

Alumni Spotlight

FOAH Events 2012

Richard Diebenkorn at OCMAMay 10, 2012

Clockwise from top left: Bert Win-ther-Tamaki, Lisa Cavin, Jessica Bisely, Christopher Gillett, Grace Kook-Anderson; Group Photo; Su-san Piazza and Matt Holzmann; Lisa Cavin and Grace Kook-An-derson; Lewis Cabrera and Carol Seitz; Group Photo.

Student AwardsMay 23, 2012

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 Kenne-dy-Quigley; Michelle Maasz.

“A nation’s treasure is in its scholars.”

-Chinese proverb

Spring Lecture

Professor James D. Herbert March 10, 2012

Impressionism: The Profound Surface

Clockwise from top: Jim Herbert and Eliz-abeth Starr; Jim Herbert and Loren Black-wood; Lavonne Smith and Polly Stanbridge; Paul Flanagan and Sandy Loughlin; Carol Seitz and Jene Meece; George and Linda Bauer.

Thank you to Cecilia Flanagan and Emilie Martin for putting together the Friends of Art History newslet-ter. Thank you Cécile Whiting and Caroline McGuire for editing this

edition.

A big thank you to Signe Dunne and Brett Trau-then 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 great-est 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/

friends ofart history

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 of Art History provide. As a Friend of Art History, you will:

•LearnmoreaboutArtHistory,currenteventsincludingmuseumexhibits, lectures, gallery receptions, and new faculty publications •AttendanoccasionalArtHistoryclassatUCI •EnjoysocializingwithotherFOAHmembers •Shareideas,talents,andinspirationforimprovingtheopportunitiesavailableto Art History students such as establishing scholarships to help our students take unpaid internships in museums

friends ofart history

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 of Art History provide. As a Friend of Art History, you will:

•LearnmoreaboutArtHistory,currenteventsincludingmuseumexhibits, lectures, gallery receptions, and new faculty publications •AttendanoccasionalArtHistoryclassatUCI •EnjoysocializingwithotherFOAHmembers •Shareideas,talents,andinspirationforimprovingtheopportunitiesavailable to Art History students such as establishing scholarships to help our students take unpaid internships in museums

Lindsey Westbrook, our featured alumnus,

graduated AO, Alumni Official, from the Campuswide Honors Pro-

gram (CHP) in 1997. She completed all of the required course-

work for the CHP, maintained the appropriate GPA, and submitted an

approved honors thesis. Three cheers for an impressive

accomplishment!

Did you know?

The mission ofFriends of Art History (FOAH)

Did you know?

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 Depart-ment in the School of Humanities. If you would like to specify where you would like your gift specifi-cally 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 mem-ber 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 Founda-tion) 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