Art History
101.
Introduction to Art.
(3)
A beginning course in the fundamental concepts of the visual arts; the language of form and the media of artistic expression. Readings and slide lectures supplemented by museum exhibition attendance. Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts (NMCCN 1013).
{Fall, Spring}
201.
History of Art I.
(3)
Prehistoric, Near Eastern, Egyptian, Greek, Roman, Early Christian, Byzantine, Romanesque and Gothic Art. Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts (NMCCN 2113).
{Fall}
202.
History of Art II.
(3)
Western Art from the Early Renaissance to Impressionism. Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts (NMCCN 2123).
{Spring}
204.
Greek Civilization.
(3)
(Also offered as HIST, PHIL 204)
An interdisciplinary introduction to the ancient world as the foundation of modern civilization. Lectures on classical art, history, literature and philosophy.
205.
Roman Civilization.
(3)
(Also offered as CLST, HIST, PHIL 205)
An interdisciplinary introduction to ancient Rome. Lectures on Roman literature, history, art and philosophy.
210.
History of Photography.
(3)
A survey tracing the historical and cultural impact of photography, including artistic, scientific, documentary, commercial, and vernacular images.
{Offered upon demand}
250.
Modern Art.
(3)
Craven
Major stylistic developments of European and American painting and sculpture from Impressionism to approximately World War II.
{Fall, Summer}
251.
Artistic Traditions of the Southwest.
(3)
Interrelationships of Native American, Hispanic and Anglo cultures from prehistoric times to the present, emphasizing the major forms of expression–pottery, textiles, jewelry, architecture, painting and photography. Slide lectures supplemented by museum exhibits.
{Offered upon demand}
252.
Contemporary Art and New Media.
(3)
This course surveys the roots and evolution of what is now regarded as New Media and Contemporary Art, those pioneering new forms and technologies that often blur the boundaries between art, science, and technology.
303.
Asian Art.
(3)
An introduction of prominent visual forms in Asia known over time (Neolithic to modern period). The slide lectures survey different artistic media according to region in historical and cultural contexts.
{Offered upon demand}
315.
Ancient Art.
(3)
Architecture, painting, and sculpture from 1800 B.C. to 6th century A.D.
321.
Early Medieval Art, 500–1000 C.E..
(3)
Survey of the visual cultures (architecture, luxury objects, book illumination and illustration) of the Medieval World, including northern and Mediterranean Europe and the Islamic World, from 500 to 1000 C.E.
{Offered upon demand.}
322.
High Medieval Art, 1000–1200 C.E..
(3)
Survey of the visual cultures (architecture, luxury objects, book illumination and illustration) of the Medieval World, including northern and Mediterranean Europe and the Islamic World, from 1000 to 1200 C.E.
{Offered upon demand.}
323 / 567 [261 / 567].
World Architecture I: History of the Built Environment from Pre-History to 1400 CE.
(3)
(Also offered as ARCH 321/523)
Lecture survey of the architectural and urban traditions of ancient and indigenous cultures from prehistory to the late middle ages.
Restriction: enrolled in B.A.A. or B.F.A. ARTH.
324 / 568 [262 / 568].
World Architecture II: History of the Built Environment From 1400 CE to the Present.
(3)
Mead
(Also offered as ARCH 322/524)
Survey of the architectural and urban traditions of the modern world from the renaissance to the present.
Prerequisite: 323
{Spring}
*330.
Renaissance Art and Architecture.
(3)
Survey of visual culture of the thirteenth through sixteenth-centuries in Italy, as well as Northern Europe. Interactions with Byzantium, the Islamic world, and Spain will also be considered.
*340.
Baroque Art.
(3)
Painting, sculpture and architecture of the 17th-century European masters, such as Bernini, Rubens, Velasquez, Poussin and Rembrandt, are examined against their background of religious and political conflict, theoretical dispute and the rise of modern science.
*343.
Pre-Columbian Architecture.
(3)
(Also offered as ARCH 363)
North, South and Mesoamerican pre-Columbian architecture, with emphasis on the cultural background of ancient civilization.
{Offered upon demand}
*352.
Renaissance Art in Northern Europe.
(3)
Northern European art from the late 14th century through the 16th century.
402 / 502.
Native American Art I.
(3)
Szabo
(Also offered as ANTH 401)
Archaeological and historic art forms of the Arctic Northwest coast and the eastern woodlands of North America.
{Fall}
405 / 505.
Pre-Historic Art.
(3)
Prehistoric art and architecture of the Mediterranean Basin from the Paleolithic Period to the Bronze age.
406 / 506.
Native American Art II.
(3)
Szabo
(Also offered as ANTH 403)
Archaeological and historic art forms of the Plains, Southwest and western regions of North America.
{Spring}
407 / 507.
Museum Practices.
(3 to a maximum of 6 Δ)
(Also offered as ANTH 402, MSST 407)
History, philosophy and purposes of museums. Techniques and problems of museum administration, education, collection, exhibition, conservation and public relations.
{Offered upon demand}
411 / 511.
Pre-Columbian Art: Mesoamerica.
(3)
The art of Mexico and Central America prior to the 16th century.
{Fall}
412 / 512.
Pre-Columbian Art: South America.
(3)
Arts of the Andean region prior to the 16th century.
{Spring}
415 / 515.
Modern Native American Art.
(3)
Szabo
Late 19th century through the present, includes painting and photography as well as media more often termed traditional. Examines historical background and current critical issues including the impact of stereotypes and the marketplace.
{Offered periodically}
416.
Southwestern Native Ceramics.
(3)
Szabo
This course examines Native Southwestern ceramics from the archaeological past to the present. Regional developments, changes in ceramics made for internal use and for outside sale, as well as issues of the contemporary market are investigated.
{Offered periodically}
417 / 517.
Seminar in Native American Tourists Arts.
(3)
Szabo
Long undervalued, Native arts made for outside sale provide multi-voiced narratives. Seminar-format will examine the intrinsic, aesthetic value of these complex arts, their roles and their importance to creators, purchasers and various audiences.
420 / 520.
History of Graphic Arts I.
(3)
Printmaking, printing and book illustration from Gutenberg to Goya, presenting the graphic arts as an expression of intellectual history and the precursor of photography. Provides an introduction to the curatorship of prints and books.
421 / 521.
History of the Graphic Arts II.
(3)
Printmaking, printing and artists’ books from Goya to present. Including the graphic arts and photography, the rise of the ideas of the original print, 20th-century mixed media and the relationship between words and images.
{Spring}
422 / 522.
Contemporary Architecture.
(3)
Mead
(Also offered as ARCH 425/525)
This experimental seminar provides a forum in which to discuss the theoretical issues and critical diversity of contemporary architecture of the last 30 years.
Restriction: enrolled in B.F.A. ARTH or B.A.A. ARCH.
{Offered upon demand}
423 / 523.
Frank Lloyd Wright and American Architecture.
(3)
Mead
(Also offered as ARCH 423)
This seminar examines the origins, principles, practitioners, consequences of an American tradition of architecture that Frank Lloyd Wright called organic.
Restriction: permission of instructor
{Offered upon demand}
425 / 525.
19th-Century Photography.
(3)
An in-depth study of historical, critical, and theoretical issues in American and European photographic visual culture from its inception to approximately 1914.
{Offered upon demand}
426 / 526.
20th-Century Photography.
(3)
An in-depth study of historical, critical, and theoretical issues in American and European photographic visual culture from 1914 to approximately 1980.
{Offered upon demand}
427 / 527.
Contemporary Photography.
(3)
An in-depth study of recent photographic visual culture, from approximately 1980 to the present. Emphasis on how images are deployed and understood as efforts to explore artistic, cultural, political, social, and theoretical issues.
{Offered upon demand}
429.
Topics in Art History.
(1-3, no limit Δ)
Course work determined by specific students’ request or by the professor’s current research.
{Offered upon demand}
431 / 531.
Byzantine Art and Architecture.
(3)
This course will explore the worship and display of art and architecture from the Byzantine Empire with a specific emphasis on the cross-cultural connections among Byzantium, Medieval Europe, the Islamic world, and the Armenian Kingdom.
432 / 532.
Islamic Art and Architecture.
(3)
An introduction to the visual culture of the Islamic world from its foundations in the seventh century on the Arabian Peninsula to its flowering under Ottoman and Mughal rule in the seventeenth century.
449 / 549.
Art of Spain.
(3)
Survey of Spanish art and civilization.
{Offered upon demand}
450 / 550.
Spanish Colonial Art.
(3)
Architecture, sculpture and painting in the period of Spanish colonization and the relation of these art forms to both the Spanish and the native Indian traditions.
{Offered upon demand}
453 / 553.
African American Art.
(3)
Buick
(Also offered as AFST 453)
This class provides an overview of African American artists and contextualizes their creativity within the wider framework of U.S. art. What, for example, are the benefits and pitfalls of assigning race to any creative practice?
463 / 563.
Modern and Contemporary Architecture.
(3)
Mead
(Also offered as ARCH 422/522)
Survey of modern architecture since the late 19th century, primarily in Europe and the Americas.
Prerequisite: 323 or 324
Restriction: enrolled in M.F.A. ARTH or M. ARCH.
{Spring}
464 / 564.
European Art 1750-1830 [European Art 1750–1848.] .
(3)
Painting, sculpture and architecture in France, England, Spain and Germany from the twilight of Absolutism through the Industrial and French Revolutions.
472 / 572.
American Art: 1675–1875.
(3)
Buick
Visual culture from colonial times through the Civil War including works by West, Greenough, Duncanson and Homer. Topics include various genres, artistic training and the market and art’s relationship to ethnic, gender and national identity.
476 / 576.
Chicano Art: A History of an American Art Movement 1965 to Present. [Chicano Art: A History of an American Art Movement 1965–1995.].
(3)
Barnet
Chicano art began in Mexican American communities in support of the civil rights movement, becoming a national art movement with international scope. Discourses of form, content, institutional practice, tradition, innovation, mythic constructs, political/cultural engagement.
{Offered upon demand}
479 / 579.
American Art: 1876–1940.
(3)
Buick
Visual culture from Reconstruction to World War II including works by Eakins, Stieglitz, Douglas and O’Keeffe. Traces the emergence of American Impressionism, early Modernism and Regionalism and explores their engagement with political, cultural and social debates.
481 / 595.
European Art 1830-1900. [European Art 1848–1900.] .
(3)
Painting and sculpture in France, England and Germany from Courbet’s Realism and the Victorian Pre-Raphaelites through Impressionism and the late works of Cezanne and Monet.
*484.
Evaluating the Arts.
(3)
(Also offered as DANC, MUS, MA, THEA 484)
Examines the practice of criticism, with emphasis on critical processes that penetrate a variety of art forms. Also explores aesthetic theories and cultural outlooks that underpin practical criticism.
Restriction: permission of instructor
485 / 585.
Seminar in Museum Methods.
(3 to a maximum of 6 Δ)
(Also offered as MSST, ANTH 485)
Theoretical and practical work in specific museum problems.
Prerequisite: 407 or ANTH 402
{Offered upon demand}
486 / 586.
Practicum: Museum Methods.
(3)
(Also offered as MSST, ANTH 486)
Practicum in museum methods and management.
Prerequisite: ARTH 407 or ANTH 402
Restriction: permission of instructor
{Offered upon demand}
487 / 587.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 Δ)
(Also offered as DANC, MA, MUS, THEA 487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day.
Restriction: permission of instructor
488 / 588.
The Arts of Mexico, 1810–1945.
(3)
Barnet
Art movements, themes, mediums, institutions and individual artists who were influential in the formation of modern Mexico’s complex artistic identity between its War of Independence and the end of World War II.
{Alternate Falls}
489 / 589.
The Arts of Mexico, 1945–1990.
(3)
Barnet
Post-war developments in modernism and post-modernism. Established and innovative artistic practices, organizations and movements.
{Alternate Springs}
490 / 590.
Muralism in the Americas, 1920-Present [Muralism in the Americas, 1920–1995] .
(3)
Barnet
History of muralism from the Mexican mural movement to the depression-era United States, the emergence of U.S. civil rights muralism in the 1960s and parallel developments in the Caribbean, Central and South America.
{Offered upon demand}
491 / 591.
Late 20th-Century Art.
(3)
Craven
Painting and sculpture, 1940 to the present.
Prerequisite: 250.
492 / 592.
American Landscapes.
(3)
Buick
The class provides an examination of how densely populated American environments were reinterpreted by Europeans upon contact in the process of designing and implementing various systems for their habitation, exploitation, and consumption.
493 / 593.
The Art of Latin America, 1820–1945.
(3)
Barnet
Central and South American art from independence to the end of World War II. Chronological, thematic and institutional developments from national and regional perspectives in addition to themes, styles, movements and other issues of continental significance.
{Alternate Falls}
494 / 594.
The Art of Latin America, 1945–1990.
(3)
Barnet
Central and South American post-war modernism and post-modernity examined through issues of theme, style and medium, including contemporary artistic practices such as conceptual and installation art.
{Alternate Springs}
496.
Undergraduate Tutorial.
(3, no limit Δ)
Individual investigation or reading under faculty direction.
Restriction: permission of instructor.
{Fall, Spring}
499.
Honors Thesis.
(3-6)
Directed independent study in a field of special interest culminating in a written thesis. Open only by invitation to departmental honors candidates.
{Fall, Spring}
500.
Philosophy and Methods of Art History.
(3)
A seminar for graduate students in art history stressing the history of the discipline and the methodology of research.
Open to graduate students in art history.
Prerequisite for others: permission of instructor.
{Fall}
502 / 402.
Native American Art I.
(3)
Szabo
(Also offered as ANTH 501)
Archaeological and historic art forms of the Arctic Northwest coast and the eastern woodlands of North America.
{Fall}
503.
Introduction to Graduate Studies.
(3)
Introduction to methodologies, research tools, bibliographies, standard reference works and critical writings about recent art for the studio student.
Open only to studio graduate students in the Department of Art and Art History.
505 / 405.
Pre-Historic Art.
(3)
Prehistoric art and architecture of the Mediterranean Basin from the Paleolithic Period to the Bronze age.
506 / 406.
Native American Art II.
(3)
Szabo
(Also offered as ANTH 503)
Archaeological and historic art forms of the Plains, Southwest and western regions of North America.
{Spring}
507 / 407.
Museum Practices.
(3 to a maximum of 6 Δ)
(Also offered as ANTH 582, MSST 507)
History, philosophy and purposes of museums. Techniques and problems of museum administration, education, collection, exhibition, conservation and public relations.
{Offered upon demand }
511 / 411.
Pre-Columbian Art: Mesoamerica.
(3)
The art of Mexico and Central America prior to the 16th century.
{Fall}
512 / 412.
Pre-Columbian Art: South America.
(3)
Arts of the Andean region prior to the 16th century.
{Spring}
515 / 415.
Modern Native American Art.
(3)
Szabo
Late 19th century through the present, includes painting and photography as well as media more often termed traditional. Examines historical background and current critical issues including the impact of stereotypes and the marketplace.
{Offered periodically}
516 / 416.
Southwestern Native Ceramics.
(3)
Szabo
This course examines Native Southwestern ceramics from the archaiological past to the present. Regional developments, changes in ceramics made for internal use and for outside sale, as well as issues of the contemporary market are investigated.
{Offered periodically}
517 / 417.
Seminar in Native American Tourists Arts.
(3)
Szabo
Long undervalued, Native arts made for outside sale provide multi-voiced narratives. Seminar-format will examine the intrinsic, aesthetic value of these complex arts, their roles and their importance to creators, purchasers and various audiences.
520 / 420.
History of Graphic Arts I.
(3)
Printmaking, printing and book illustration from Gutenberg to Goya, presenting the graphic arts as an expression of intellectual history and the precursor of photography. Provides an introduction to the curatorship of prints and books.
521 / 421.
History of the Graphic Arts II.
(3)
Printmaking, printing and artists’ books from Goya to present. Including the graphic arts and photography, the rise of the ideas of the original print, 20th-century mixed media and the relationship between words and images.
{Spring}
522 / 422.
Contemporary Architecture.
(3)
Mead
(Also offered as ARCH 525/425)
This experimental seminar provides a forum in which to discuss the theoretical issues and critical diversity of contemporary architecture of the last 30 years.
Restriction: enrolled in M.F.A. ARTH or M. Arch.
{Offered upon demand}
523 / 423.
Frank Lloyd Wright and American Architecture.
(3)
Mead
(Also offered as ARCH 529)
This seminar examines the origins, principles, practitioners, consequences of an American tradition of architecture that Frank Lloyd Wright called organic.
Restriction: permission of instructor
{Offered upon demand}
525 / 425.
19th-Century Photography.
(3)
An in-depth study of historical, critical, and theoretical issues in American and European photographic visual culture from its inception to approximately 1914.
{Offered upon demand}
526 / 426.
20th-Century Photography.
(3)
An in-depth study of historical, critical, and theoretical issues in American and European photographic visual culture from 1914 to approximately 1980.
{Offered upon demand}
527 / 427.
Contemporary Photography.
(3)
An in-depth study of recent photographic visual culture, from approximately 1980 to the present. Emphasis on how images are deployed and understood as efforts to explore artistic, cultural, political, social, and theoretical issues.
{Offered upon demand}
529.
Topics in Art History.
(1-3, no limit Δ)
{Offered upon demand}
531 / 431.
Byzantine Art and Architecture.
(3)
This course will explore the worship and display of art and architecture from the Byzantine Empire with a specific emphasis on the cross-cultural connections among Byzantium, Medieval Europe, the Islamic world, and the Armenian Kingdom.
532 / 432.
Islamic Art and Architecture.
(3)
An introduction to the visual culture of the Islamic world from its foundations in the seventh century on the Arabian Peninsula to its flowering under Ottoman and Mughal rule in the seventeenth century.
549 / 449.
Art of Spain.
(3)
Survey of Spanish art and civilization.
{Offered upon demand}
550 / 450.
Spanish Colonial Art.
(3)
Architecture, sculpture and painting in the period of Spanish colonization and the relation of these art forms to both the Spanish and the native Indian traditions.
{Offered upon demand}
551 / 552.
Problems.
(2-3 to a maximum of 6 Δ)
{Fall, Spring}
553 / 453.
African American Art.
(3)
Buick
This class provides an overview of African American artists and contextualizes their creativity within the wider framework of U.S. art. What, for example, are the benefits and pitfalls of assigning race to any creative practice?
558.
Seminar in Pre-Historic Art.
(3)
The seminar concentrates on the theoretical questions engendered by the earliest prehistoric cultures; the origin and generation of meaning; the primacy of language; the affinities between language and image; the politics of the Great Goddess and reception theory; and modern uses of prehistory and ethnography.
559.
Seminar in Native American Art.
(3, no limit Δ)
Szabo
(Also offered as ANTH 509)
Restriction: permission of instructor.
{Offered upon demand}
560.
Seminar in Pre-Columbian Art.
(3 to a maximum of 15 Δ)
Aspects of Pre-Columbian art, architecture, and culture in Mesoamerica and South America are examined in depth.
Prerequisite: 511 and 512.
{Offered upon demand.}
563 / 463.
Modern and Contemporary Architecture.
(3)
Mead
(Also offered as ARCH 522/422)
Survey of modern architecture since the late 19th century, primarily in Europe and the Americas.
Restriction: enrolled in M.F.A. ARTH or M.Arch.
{Offered upon demand}
564 / 464.
European Art 1750-1830 [European Art 1750–1848.] .
(3)
Painting, sculpture and architecture in France, England, Spain and Germany from the twilight of Absolutism through the Industrial and French Revolutions.
567 / 323.
World Architecture I: History of the Built Environment From Prehistory to 1400 CE.
(3)
(Also offered as ARCH 523/321)
Survey of the architectural and urban traditions of ancient and indigenous cultures from prehistory to the late middle ages.
Restriction: enrolled in M.F.A.
{Fall}
568 / 324 [568 / 262].
World Architecture II: History of the Built Environment From 1400 CE to the Present.
(3)
Mead
(Also offered as ARCH 524/322)
Survey of the architectural and urban traditions of the modern world from the renaissance to the present.
Prerequisite: 323
{Spring}
572 / 472.
American Art: 1675–1875.
(3)
Buick
Visual culture from colonial times through the Civil War including works by West, Greenough, Duncanson and Homer. Topics include various genres, artistic training and the market and art’s relationship to ethnic, gender and national identity.
576 / 476.
Art: A History of an American Art Movement 1965 to Present. [Chicano Art: A History of an American Art Movement 1965–1995.] .
(3)
Barnet
Chicano art began in Mexican American communities in support of the civil rights movement, becoming a national art movement with international scope. Discourses of form, content, institutional practice, tradition, innovation, mythic constructs, political/cultural engagement.
Suggested prerequisite: 479.
{Offered upon demand}
579 / 479.
American Art: 1876–1940.
(3)
Buick
Visual culture from Reconstruction to World War II including works by Eakins, Stieglitz, Douglas and O’Keeffe. Traces the emergence of American Impressionism, early Modernism and Regionalism and explores their engagement with political, cultural and social debates.
580.
Seminar in Spanish Colonial Art.
(3, no limit Δ)
Prerequisite: 450.
{Offered upon demand.}
581.
Seminar in Early Modern Art 1750–1900.
(3 to a maximum of 12 Δ)
Prerequisite: 481.
{Offered upon demand.}
582.
Seminar in 20th-Century Art.
(3, no limit Δ)
Prerequisite: 491.
{Offered upon demand}
583.
Seminar in Modern/Contemporary Latin American Art History.
(3, no limit Δ)
Barnet
Restriction: permission of instructor.
{Offered upon demand}
584.
Problems in Interdisciplinary Studies.
(3 to a maximum of 6 Δ)
(Also offered as MUS, THEA 584 and MA *485)
An independent study in either critical studies or studio, beyond the scope of the Fine Arts interdisciplinary courses, which may occur within or outside the College of Fine Arts.
Restriction: permission of instructor
{Fall, Spring}
585 / 485.
Seminar in Museum Methods.
(3 to a maximum of 6 Δ)
(Also offered as MSST, ANTH 585)
Prerequisite: 407 or ANTH 402
{Offered upon demand}
586 / 486.
Practicum: Museum Methods.
(3 to a maximum of 6 Δ)
(Also offered as MSST, ANTH 586)
Practicum in museum methods and management.
Prerequisite: 585 or ANTH 585
Restriction: permission of instructor
{Offered upon demand}
587 / 487.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 Δ)
(Also offered as DANC, MUS, THEA 587 and MA *487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day.
{Spring}
588 / 488.
The Arts of Mexico, 1810–1945.
(3)
Barnet
Art movements, themes, mediums, institutions and individual artists who were influential in the formation of modern Mexico’s complex artistic identity between its War of Independence and the end of World War II.
{Alternate Falls}
589 / 489.
The Arts of Mexico, 1945–1990.
(3)
Barnet
Post-war developments in modernism and post-modernism. Established and innovative artistic practices, organizations and movements.
{Alternate Springs}
590 / 490.
Muralism in the Americas, 1920-Present. [Muralism in the Americas, 1920–1995.] .
(3)
Barnet
History of muralism from the Mexican mural movement to the depression-era United States, the emergence of U.S. civil rights muralism in the 1960s and parallel developments in the Caribbean, Central and South America.
{Offered upon demand}
591 / 491.
Late 20th-Century Art.
(3)
Craven
Painting and sculpture, 1940 to the present.
Prerequisite: 250.
592 / 492.
American Landscapes.
(3)
Buick
The class provides an examination of how densely populated American environments were reinterpreted by Europeans upon contact in the process of designing and implementing various systems for their habitation, exploitation, and consumption.
593 / 493.
The Art of Latin America, 1820–1945.
(3)
Barnet
Central and South American art from independence to the end of World War II. Chronological, thematic and institutional developments from national and regional perspectives in addition to themes, styles, movements and other issues of continental significance.
{Alternate Falls}
594 / 494.
The Art of Latin America, 1945–1990.
(3)
Barnet
Central and South American post-war modernism and post-modernity examined through issues of theme, style and medium, including contemporary artistic practices such as conceptual and installation art.
{Alternate Springs}
595 / 481.
European Art 1830-1900 [European Art 1848–1900] .
(3)
Painting and sculpture in France, England and Germany from Courbet’s Realism and the Victorian Pre-Raphaelites through Impressionism and the late works of Cezanne and Monet.
599.
Master’s Thesis.
(1-6, no limit Δ)
Offered on a CR/NC basis only.
{Fall, Spring}
699.
Dissertation.
(3-12, no limit Δ)
Offered on a CR/NC basis only.
{Fall, Spring}
