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We welcome Dr. Catherine Clinger to the COA community. Catherine is an art historian, writer and devoted teacher. She embodies our ideals for the Allan Stone Chair as "an art historian with a studio practice, an established body of work, and a track record of teaching excellence."
Catherine comes to us with a rich knowledge in European and American Art from the eighteenth through twentieth centuries, Romanticism and critical theory; print culture in the transnational fields of science and technology; and the emerging field of the Ecological Humanities. She is a practicing printmaker and painter and is a Master Printer of Intaglio.
Catherine has taught at McGill University, University of New Mexico, University College London, Kent Institute of Art and Design, and New Mexico Highlands University.
A recipient of various grants and fellowships, and the author of journal articles, exhibition catalogues, chapters and conference papers, Catherine is currently working on a book related to German Romanticism and Mining Practices.
Ph.D. Art History, University of London
M.Phil. History of Art, University College London
M.A. History of Art, University of New Mexico
B.F.A. University of Kansas
AD4017Art and Culture in Northern New MexicoThis course is part of a three-course sequence entitled "The Unexpected Journey: Art, Literature, and History on the Road in Nuevo Mexico." This course examines the art and architecture of Northern New Mexico including: painting, printmaking, photography, and other forms of cultural production (e.g. ceramics, textiles, ritual dance) from the 12th century to the present. We examine New Mexico as both a coalesced and contested historical and geographical site and as the subject of representational, non-representational, sociopolitical, and symbolic imagery. How have artists depicted its varied landscapes, both natural and cultural, as well as its complex history of indigenous dwelling, colonial occupation, environmental stewardship, natural resource exploitation, ethnic tension, and social discord? New Mexico's art is neither as singular nor unitary as the tourist industry would like us to think. Much of this course is field-based. We will be visiting numerous places from large urban cities (Albuquerque), to mid-sized cities (Santa Fe), to towns (Taos), villages (Trampas, San Jóse), and Native American homelands (Taos Pueblo). Sites of interest include the sacred (Santuario de Chimayó) and secular (Ghost Ranch), educational (Hispanic Cultural Center) and agrarian (Pecos River Valley). Students will learn to apply a range of methodological strategies utilized by art and cultural historians to examine, research, analyze, critique, and interpret cultural objects. Course readings will engage with key primary and secondary sources written by selected historians, cultural geographers, artists, and storytellers. Our work in this course will demonstrate how art practice along with disciplined scholarship can generate a critical awareness of an object's ideological context. Evaluation will be based on class participation, an oral presentation, and a research paper. Each student will produce a research paper relevant to his or her own critical and/or historical interests and concerns.
All three courses must be taken concurrently: Native American Literature: A Case Study of the Development of Literary Traditions with a New Mexico Focus (Waldron), Art and Culture in Northern New Mexico (Clinger), Processing the Unexpected Journey: Aesthetics, Experience, and the Creation of an Interdisciplinary Project (Clinger and Waldron).
Level: Intermediate/Advanced. Prerequisites: Permission of Instructor. Class Limit: 8 Meets the following degree requirements: AD HY
AD1022Art Since 1900: Harmony and ConflictThe artworks of Pablo Picasso and Hannah Höch; both the well-known and lesser-known artist made paintings and sculptures that facilitate our understanding of how people experienced the twentieth century. Cubism, Surrealism, Expressionism, Minimalism, and more - these artist movements were initiated through group declarations of common aesthetic purpose. This art history survey looks at how their varied concerns with theories of the unconscious, radical political programs, social upheaval, and scientific discoveries were expressed through artistic production. Anxiety, joy, curiosity, and activist predilection combine to formulate a rich amalgam of fresh and challenging visions of the world.
Level: Introductory. Prerequisites: none. Lab fee: $65. Class Limit: 18 Meets the following degree requirements: AD HY
AD2016Contemporary Artist as Researcher and ActivistThe student will be introduced to the post-modern stream of visual culture that places nature and our relationship to it within the context of pressing global issues. These artworks engage with nature by their placement in site-specific locations, through new modes of picturing, and/or through the appropriation of natural materials. Many of the artists we will examine make use of new tools designed for industrial purpose, medical, technological or scientific research. Other artists utilize organic materials to craft their designs. These artists appropriate the role of "researcher" in order to bring attention to ecologies that human beings have disrupted or will disrupt. How these artists bring us to a deeper understanding of our relationship with nature through new media is our concern. Evaluation is based on class participation, evidence of completion of weekly readings, and a final paper and a class presentation. The class will take at least one field trip.
Level: Introductory/Intermediate. Prerequisites: none. Lab fee: $50. Class limit: 15. Meets the following degree requirements: AD HY
AD2017Drawing Mineral and Botanical Matter in the Forest of MaineViewed as a regular practice, the descriptive power of drawing can intensify the experience of observational fieldwork, provide the draughtsperson with a richer understanding of the cycles within a landscape, and deepen our relationship with the natural world. The primary setting for this studio course is Mount Desert Island. The subject matter of our visual attention includes trees, rock features, and other indigenous plant life of the island. Students will learn a variety of drawing methods in order to document the natural history of a specific place. Coursework includes: maintaining a field sketchbook, graphically recording the development of a singular botanical life-form over the course of the term, and producing visual notations in the sketchbook during a bi-weekly slide lecture on the history of artistic representations of the natural world. Evaluation is based on class participation, evidence of completion of weekly assignments, and final project.
Level: Introductory/Intermediate. Prerequisites: permission of instructor. Lab fee: $65. Class limit: 12. Meets the following degree requirements: AD
AD2018Prints & Printmakers: A Natural and Cultural HistoryPrints and Printmakers introduces students to the history and culture of printed images. The course is organized chronologically and develops by way of geographic location. The advent of reproductive technology in the fifteenth century (printed books, woodcuts, and engravings) coincides with dramatic developments in the natural sciences, theology, and political institutions of the Western world - the images from this early modern era still hold an emblematic place in our imagination and remain concealed within current popular culture. The class will be concerned with unique images, multiples, and reproductions from the fifteenth through the eighteenth century that serve as substitutes for objects of art, topographical describers, as well as pictures that serve as paradigms of cultural ideas and illustrations for scientific discourse. We will explore the way in which nature and culture are envisioned before the popularization of photography and digital image revolution. Theoretical associations with these reproductive technologies will be brought forward to deepen our understanding of artistic practice. Anyone studying the development of human ideas over time would benefit from this course. Students will be evaluated based on class discussion, short writing assignments, and a final research paper.
Level: Introductory/Intermediate. Prerequisites none. Class Limit: 12. Lab fee: $65 Meets the following degree requirements: AD HY
HS910Processing the Unexpected Journey
AD4019Studio PrintmakingPrintmaking is the process of transferring an image from one surface to another. A print mirrors the surface whence it came and also performs as a reflection of the physical and/or immaterial realms of objects and ideas. Representing concepts clearly in any medium requires an artist to engage in thoughtful collaboration with materials in order to realize the potential of form as a means of expression. This studio course will explore ways to address this aesthetic challenge through printmaking. Students will acquire basic skills as printmakers with an emphasis on relief (woodcut and linocut) and intaglio (line etching, engraving and aquatint) techniques. They will also develop a broad understanding of the history of prints; how they have functioned to communicate, document, and transmit information through images on paper. Students will be evaluated on their projects, participation in critiques, level of engagement with materials, ability to work in a collaborative studio, and final project.
Level: Intermediate/Advanced. Prerequisite: Permission of the instructor, Introduction to Arts and Design, and a drawing class. Class limit: 10. Lab fee: $100. Meets the following degree requirements: ADS
AD2015The Reality Effect: Art and Truth in the 19th CenturyThere are myriad realities described by artists and authors. This course concerns itself specifically with the development of visual Realism from 1800-1945 in Europe and America. We will examine the origin of artist methodologies of production as they relate to modernity. Our concerns will include the relation of art to significant political, sociological, and psychological programs of the nineteenth and early twentieth centuries. The new realities created through revolutions in political and social structures, and in our understanding of the physical composition of the world itself are made evident in art that pictures social class, large historical moments, and a specific instant of time in a way that changes how we visualize reality and challenges our understanding of actuality. Students will be evaluated based on class participation, class discussion leadership, reading notes, and written paper.
Level: Introductory/Intermediate. Pre-requisites: none. Class limit: 16. Lab Fee: $30. Meets the following degree requirements: AD
AD4016The Wilderness in Landscape Art I: Proto-Ecological Visions