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SPR I NG 2011

Honoring Fr. Sullivan: A Heartfelt Eulogy by Kelly Detweiler I am honored to have a chance to celebrate because he realized that there was little hope the life of Fr. Gerald Sullivan today. I first for their artistic salvation and he no longer met Gerry in 1982 when I interviewed for a had the heart to be quite so brutally honest job at Santa Clara. We became friends over with them, the way he was with art majors. He the following years loved teaching and and found that we he was able to teach shared an educational up until the last year philosophy even of his life. The joy though we had and enthusiasm he arrived at it through had for teaching did very different paths; not diminish with Gerry’s ideas were his mobility. The based upon what he figurative foundation had learned and what he created became he felt students should one of the strengths know. Mine was based of the department. upon the realization He and Sam, Susan that I had not been and I were all aligned taught some very basic with the direction knowledge during my the department education. Amazingly had taken. Gerry’s we felt the same philosophy was at way about teaching the heart of the undergraduates and department. Gerald Sullivan, Self-Portrait Gerry’s ideas were the Artistically, Gerry foundation of this was an amazingly skilled painter and he had departmental plan to provide what we all felt an artistic epiphany in the late 80’s and early was a good foundation for our students. Gerry 90’s when he realized that he could satisfy was an uncompromising teacher and he was both his desire for accuracy and include his armed with a tremendous body of knowledge. humor as well. He was a very funny man In his mind the relationship between math even though many of his students did not get and art, especially in relation to the figure, the jokes. Some did and that was enough for was very clear. Either it was right or it was him. On one day during the last year that wrong, and the basis for being right began with he was teaching, I happened to pass by his understanding the internal structure. Gerry classroom while he was talking to a group of could tell you the name of every bone and sleepy freshmen. This was at a point where his every muscle in the human body. For many mobility was a constant problem and he had of our best students, his figure class was a rite frequent doctor visits. As he was addressing of passage. They all entered into it hoping to the students he told them not to come to the get a C, and seldom were they disappointed. next class. He said and I quote, “don’t show up I do not know for a fact but I do think that next class, I will be going to the doctor for an every student who received an A from Gerry autopsy, so I won’t be in class. But, be sure to was successful in life. To get that mark from him meant quite a bit to our students and they do your homework assignment and bring it to the next class.” had to perform on a very high level to get his stamp of approval. In last years of teaching, I did notice that his C became a B minus for S ee SULLIVAN, P age 5 freshmen in his watercolor classes, probably

New B uilding

on the

H or izon !

With the interest of a prospective lead donor, a new building for the Department of Art and Art History has been approved in the University Master Plan and, in fact, we have completed a strategic needs assessment and space planning process (Strategic Guidance) and started the design process with an architectural f irm. A formal proposal was submitted to the prospective donor for the building and we are in conversations about some of the details. In anticipation of a positive response, we have started fundraising for the balance of the funds needed for construction--approximately $12M. It will take about one year to complete the facility once building starts; we are hoping to break ground before the end of this calendar year. If you would like to learn more about making a major impact on our students, please contact Marie Brancati at mbrancati@scu.edu. Questions can also be directed to me at kdetweiler@scu.edu. Sincerely, Kelly Detweiler, Chair and Professor of the Department of Art & Art History

Gifts to the program can be made through our website: www.scu.edu /art Please look for our donation link.


Faculty Updates K ath y A ok i Kathy Aoki’s solo exhibition “Museum of Historical Makeovers” (Swarm Gallery in Oakland, Sept. 18-Oct. 25, 2009) received write-ups in the San Francisco Chronicle and the East Bay Express. She created performances as “Curator” of the Museum of Historical Makeovers at Swarm Gallery, SFMOMA Artists Gallery, and the de Saisset Museum for the Women’s and Gender Studies lecture series. In spring 2010, Aoki completed a drawing commission for the “LEED Gold” green h2 hotel in Healdsburg, CA. The Metropolitan Museum of Art (New York) completed the acquisition of her “Champions of Market St.” relief prints in summer 2010. Her commissioned stop-motion animation “The Gwen Stefani Grand Burial Exhibition Trailer” was screened at Intersection for the Arts in San Francisco, as part of the Stop and Go Rides Again Animation festival. Recent group exhibitions included “The ‘F’ Word,” at Evergreen Valley College Visual Arts Gallery (San Jose), “Secret Drawings,” at the Palo Alto Art Center (Palo Alto, CA), “Just In: Recent Acquisitions to the Permanent Collection,” at the de Saisset Museum, and “Wondrous Strange: A 21st Century Cabinet of Curiosities,” at SFMOMA Artist’s Gallery (San Francisco). B la k e de M a r i a Blake de Maria received tenure and promotion to the rank of Associate Professor. She will be on sabbatical during the Winter and Spring quarters of 2011, during which time she will undertake research on her next book, Galileo’s Venice: The Visual Culture of Science in a Renaissance Republic. She will be giving scholarly talks at the annual meeting of the Renaissance Society of America as well as the Spring meeting of Save Venice. She also has just signed a contract to serve as the editor of a volume of collected essays on Venetian art and culture. K elly D et w eil er During the past year, Detweiler had one solo exhibition and was included in many group exhibitions. His solo show was at Sandra Lee Gallery and was well attended by alumni of the department. Two of the group exhibits “Modest Masterpieces” and “Gallery Artists at the Embarcadero Center” were organized by the Sandra Lee Gallery. “A Seed Planted” was held at the Davis Art Center and included the work of Robert Arneson’s students. His

work was included in “Just In: New Works from the Permanent Collection” at the de Saisset Museum and he participated on a panel discussion about his work in the exhibit. He was also included in “Art of Painting in the 21st Century” at Natsoulas Gallery in Davis, California. This was the first of an annual painting conference and the featured speaker was Phillip Pearlstein. In conjunction with this exhibit, five undergraduate students brought their work to Davis and exhibited in the main show. Detweiler had work placed in both the new Aqui restaurant in Cupertino and Willow Glen Aqui. He completed a new ceramic Jesuit seal for the exterior of Bannan Hall and was assisted in the project by an alumna, Leslie

Senior Graduation brunch

Rice. This year, two new ceramic pieces are planned for the Locatelli Student Center. K a r en F r a ser Karen Fraser is thrilled to join the department as an Assistant Professor after three years as a Lecturer at SCU. Professor Fraser had an eventful and productive year in 2009-10. She developed and taught three sections of her new Cultures and Ideas sequence “Contact Zones: Arts East and West,” which examines cross-cultural contacts and exchanges in the visual arts of Asia, Europe, and the United States from the 16th through 20th centuries. She gave an invited lecture at the Center for Japanese Studies at the University of Michigan in December, and in August she traveled to Canberra, Australia to present a paper at the conference Facing Asia: Histories and Legacies of Asian Studio Photography at the Australia National University. She also completed the manuscript for her book Photography and

Japan, which will be published by Reaktion Books, London, in spring, 2011. D on F r itz Don Fritz continues to display his work nationally and internationally, exhibiting in both solo and group shows. Most recently, he was featured in the Natsoulas Gallery “30 Ceramic Sculptors” and “Painting in the 21st Century” catalogs. Additionally, Fritz participated in the Triton Museum’s “A Child’s World” exhibition and also in the Santa Cruz Museum of Art and Art History’s exhibition “Surf City Santa Cruz: A Wave of Inspiration.” His work was recently added to the permanent collections of the de Saisset Museum, the Crocker Museum, and the Nelson Library Collection of UC Davis. He took his junior faculty leave during the Fall of 2010, and worked on a oneperson exhibition titled “Modern Mythologies” for the Mazatlán Museum in Mexico which opened October 2010. The Studio Art program participated in the “California Conference for the Advancement of Ceramic Art” held in Davis this past year. Several SCU students were invited to participate in the student portion of the first “Art of Painting in the 21st Century” exhibition. Sophomore Daniel Choe’s outstanding ceramic bust was showcased in this exhibition. The artwork received much acclaim; it was purchased and added to a prestigious collection of California art. We are thrilled by the success of this partnership. The Studio Art program plans to continue to collaborate with other academic institutions in the future. S a m H er na ndez Sam Hernandez participated in several exhibitions and performances including the “185th Annual: An Invitational Exhibition of Contemporary American Art” at the National Academy Museum. Other exhibitions include: “Collage” at the Galeria d’art Horizon (Colera, Spain), “Go Figure!” at the Iris and B. Gerald Cantor Arts Center (Stanford University), “Birdhouses” at the Gregory Kondos Gallery (Sacramento City College), “L.A. Icons: Urban Light and Watts Towers” at the Los Angeles County Museum of Art, and “Torrejoncillio, El Enigma” was aired via performance, video, and television. Hernandez completed three large six-foot by nine-foot paintings this year. He continues to


work on the “Thonet Series” sculptures and various assemblages. He will be on sabbatical through the Summer and Fall of 2011, where he will work in Extremadura, Spain on largescale ceramic sculptures alongside the last of the “tinajero” masters. He plans to re-visit artist friends in Macedonia that he met during his Fulbright grant several years ago. He also hopes to visit Italy and India. J u lie H ughe s Julie Hughes is thrilled to be teaching drawing and painting as an Academic Year Lecturer at SCU. Recently relocated from Southern California, Hughes’ biomorphic installations and paintings explore the arbitrary and corruptible nature of perceived reality with the artistic sensibility of a children’s book. In 2010, Hughes exhibited her work in several group shows, including ‘The Fantastical” at Project 4 Gallery in Washington DC. In the winter, she mounted a sitespecific installation for the Tom Bradley terminal in Los Angeles International Airport (LAX). Pa ncho J im Énez , Pancho Jiménez held a solo show of his work this past winter at the Community School of Music and Arts in Mountain View, California. On display were his large format tiles and busts. Jiménez held a second solo show of his work in the spring at Rogue River College in Grants Pass Oregon. The show consisted solely of a series of busts through which he explores the possibility of portraiture. Depicted without features, these heads and bodies suggest diverse psychological states. Lastly, Jiménez’s work was exhibited in the Ceramics Annual of America (CAA). CAA, held at the Fort Mason Center in San Francisco, was the first event of its kind in the United States. It was modeled after the Ceramic Biennials held in Europe, Korea, Japan and China. In addition to teaching, Jiménez continues to work as an Academic Advisor in the Drahmann Advising and Learning Resource Center. He serves on the Core Curriculum Subcommittee on Diversity, the Advisory Committee on Co-Curricular Diversity Programs, and the Honorary Degree Committee.

K athl een M a x w ell In October 2009, Kathleen Maxwell was elected to the Byzantine Studies Association of North America’s Governing Board. Shortly thereafter, she was asked to serve as Secretary of the organization. She is also a member of the College’s Rank and Tenure Committee and currently serves as its Chair. Maxwell’s research is moving forward. Her article, “The Afterlife of Texts: Decorative Style Manuscripts and New Testament Textual Criticism” has been accepted for publication in a book in honor of her undergraduate mentor at Southern Methodist University entitled: The After Life of Images. Essays in Honor of Annemarie Weyl Carr, ed. Lynn Jones (Ashgate). Most important, Maxwell made enough progress on her book-length manuscript this past

Iron Chef Paella Night

summer to submit her book proposal [Between Constantinople and Rome: An Illuminated Byzantine Gospel Book and the Union of Churches (Paris gr. 54)] to two academic publishers. Both have expressed interest and she hopes that she will secure a book contract in 2011. Maxwell presented her research on Mingana, Peckover Gr. 7, a Byzantine Gospel book in the collection of the University of Birmingham, England, at the Medieval Association of the Pacific’s annual meeting in March 2010. Her new research on several previously unknown Byzantine manuscripts housed in Tirana, Albania was presented at the fall 2010 Byzantine Studies Conference in Philadelphia. As for teaching, Maxwell recently introduced a “no lap-top” policy in her classes. She enjoys teaching her Cultures and Ideas course sequence (‘Art, Power, and Propaganda’) for the Core.

K ate M or r is Fall 2010 was a busy time for Professor Morris. She travelled to Ottawa, Canada for a board meeting of the Native American Art Studies Association, and was thrilled to spend some time in the spectacular Canadian Museum of Civilization. In November she received an invitation to write a feature article for the Smithsonian’s American Indian Magazine on performance artist, filmmaker and painter Kent Monkman. That research took her to Washington D.C. to meet with Smithsonian curators just before Thanksgiving. Back on campus, Prof. Morris was pleased to be able to structure one of her courses around the de Saisset’s exhibition, “Sing Me Your Stories, Dance Me Home: Art and Poetry from Native California,” and to link her upper division assignments to yet another special exhibition on the East Coast. In the latter case, Prof. Morris worked with her students to write catalogue entries for fourteen objects that will be included in the Peabody Essex Museum’s blockbuster show “Shapeshifting: Transformations in Native Art” which will open in Salem in January 2012. D av id Pace David Pace spent the Fall quarters of 2009-10 in Burkina Faso as co-director of SCU’s new international studies program Reading West Africa (RWA). His photographs from Africa were exhibited in the Archives & Special Collections Gallery of the Harrington Learning Commons during the spring and summer of 2010 along with photo books created by his students. He also exhibited new work at the PDNB (Photographs Do Not Bend) Gallery in Dallas, Texas. His work was included in the exhibition “Robots: Evolution of a Cultural Icon” which originated at the San Jose Museum of Art and traveled to the Boise Art Museum in Boise, Idaho. Pace curated the exhibition “Captured: Photography’s Early Adopters” at the San Jose Institute of Contemporary Art and the exhibition “Infrastructure: Tar Paper Paintings by Rick Parsons” in the Art Department Gallery at SCU. He completed his 15th year as a member of the board of directors of the San Jose Institute of Contemporary Art. Pace returns to West Africa in the fall of 2011 to teach in the RWA program.


A ndr e a Pappa s Andrea Pappas co-edited and contributed to a book, Teaching Art History with Technology: Reflections and Case Studies, published by Cambridge Scholars Publishing. This book looks at the way digital technology has transformed the teaching of art history, both in the classroom and online in the past decade or so. A pioneer in this area and past president of the scholarly organization, Art Historians interested in Technology and Pedagogy, she has recently served as a consultant on this topic to major textbook publishers. Her latest collaboration will be a scholarly panel at CAA 2012 called “Luminous Currents: Homo Sapiens Technologica and the Return of Post-Painterly Abstraction,” which she is co-chairing with JoAnne Northrup, Chief Curator of the San Jose Museum of Art. The Pacific Coast Branch of the American Historical Society held its annual meeting at SCU in the summer and she was chair and commentator for a panel called “Defining Sensory Experience as Historical Evidence: An Interdisciplinary Approach.” The art market in mid-20th Century America is the subject of her current research and writing. She still enjoys gardening, cooking, and working on her fixer-upper house. “I love to hear from alumni and you can also check out my Facebook page at www.facebook.com/andrea.pappas.” R ya n R ey nolds Ryan Reynolds continues to teach both Painting and Life Drawing. Over the past year, he was busy studying the notes of Gerry Sullivan and conducting further research on anatomy. A comprehensive life drawing text containing this research was created for the Life Drawing course. Reynolds continues to maintain an active studio practice, as well as an exhibition and publication record. He participated in “The figure show,” at B. Sakata Garo Gallery in Sacramento, which explored the use of the figure in multiple media and included artists such as Christopher Brown, Squeak Carnwath, and Robert Brady. Reynolds’ recent landscape paintings were included in the “The California Landscape” show at Natsoulas Gallery in Davis, which showcased a large survey of artists working with the subject of the contemporary California landscape. Reynolds is now represented by ArtZone 461 gallery in San Francisco, where he introduced his recent series of Digital War paintings in two successful exhibits: “Introductions” and the “San Francisco International Art Fair.” Reynolds appeared in the 2010 anniversary retrospective edition of New American Paintings. He was also invited to participate in the Art for AIDS juried benefit auction and catalogue. Shows in 2011 include “LandsCApes: Glimpses of

Everyday California” at the de Saisset Museum, Congratulations: California Bank of Commerce in Lafayette, To all of our art history and studio majors who and “AQUA: Art on Water” at ArtZone 461 graduated in 2010! Gallery. In February 2011, Reynolds displayed his latest paintings in a two-person exhibit at C a itlin A da ir B. Sakata Garo Gallery. M a rco A l eja ndro J u liet W ier sem a B r it ta n y B enja min Juliet Wiersema taught in the Department D enise B en net t of Art and Art History this year. She is the E la ine C a r r eon recipient of a fellowship at the Metropolitan Museum of Art in 2011-12. We wish her all A a ron C ator the best as she develops her research. Wiersema E lyss C la sen specializes in the art, archaeology, and architecture of the ancient (pre-Columbian) L aur en C ompton Americas, specifically the Andes and M a dison C ook Mesoamerica. She holds an MA from the Institute of Fine Arts (NYU) and a Ph.D. from E r in D e M a rtini the University of Maryland. At Santa Clara E r ica E aton University, Wiersema teaches a two-quarter E mily F ong sequence on the art and ideologies of the Aztec K athry n F r a ser and Inca empires, the cultural traditions that preceded them, and their fateful encounter C a itlin G a mbee with Spanish conquistadors in the sixteenth C ourt ney H a ney century. She also teaches a course which examines the impact that looting, forgery, A na h H a nson collectors, and the art market have had on our L aur a H a r ding current understanding of the pre-Columbian M a ry H ay e s past. Wiersema’s recent research looks at the role of ceremonial architecture and its A l e x a nder H iguer a s representation in ceramic objects made for K atie L oise au burial by the Moche of Peru (200-850 AD) L aur a M a rtin which she is in the process of writing into a book. Additional interests include ceramic A da r a M c C lur e technology and whistling vessels. Wiersema M ich a el M c G r egor has undertaken projects with art historians, archaeologists, architects, musicians, and K ir sten Muck l er conservators at the Smithsonian Institution, the E lise N or m a n Library of Congress, the Brooklyn Museum, M er edith Paw lusi a k and the Museo Nacional de Antropología, Arqueología, e Historia in Lima and is a strong G uill er mo P ortillo supporter of interdisciplinary and J e ssica P ow er collaborative research. A na Q uispe

Staff Updates

M eg R ussell

R ose K hor As Senior Administrative Assistant for the department, Rose Khor is enjoying the variety of responsibilities her job entails-from academic year planning to organizing art exhibitions. Khor is a visual artist who had a solo show at the Martina Johnston Gallery in Berkeley and screened her film, In Your Hawaiian Way, at Eth-noh-tec in San Francisco this past year. She continues to make improvements on her house in her spare time. She has become obsessed with rehabbing old wood furniture and refuses to buy things from Ikea. She and her fiancee will get married in Paris, France over the summer and then embark to Spain and Morocco for their honeymoon.

E mi S tiel str a C hr istine S tir r at E ugeni a Tsa i R uben D a r io V illa N ata sh a Wallace D ick son W hit ney R achel W it te


In honor of Father Sullivan’s work and commitment to the arts, we encourage you to make a donation to the Mary F. Sullivan and Gerald P. Sullivan S. J. Scholarship fund. Two to four SCU art majors are given a monetary scholarship each year through this fund. Contact us at artinfo@scu.edu for more information.

Alumni News Kevin Byrne, Studio Art, ‘72 Byrne was among the first graduating class of the SCU Studio Art program. He has practiced design and taught user-centered design, sustainable development, and sciencebaccalaureate courses at the Minneapolis College of Art and Design for over three decades. He holds graduate degrees in design planning (MFA Cranbrook), urban geography (MA Minnesota), and GIS/geovisualization.

Gerald Sullivan, Star Wars SULLIVAN

continued

His humor carried over into his work and many of his best pieces are a beautiful combination of his wit and wisdom combined. Gerry loved to sing while he was painting and we would often hear his booming voice singing some operatic passage as we walked down the hallway of the art building. As his mobility diminished he moved into a new office downstairs. It is really more like a closet, but he no longer had to negotiate the stairs so it was better for him. He had a small motorized cart that he drove around and he would park it outside in the hall. Sam Hernandez provided a Ferrari sticker for it and we had threatened to paint some flames and pin stripes on it to make it look faster. It was with this cart that he had a very unusual confrontation with Saint Ignatius and in true Jesuit form he was uncompromising and won the battle. As Gerry was attempting to leave the building on this particular day, he found that the ten-foot replica of Saint Ignatius was in his way as he tried to turn around. Rather than finding a wider place to turn, he decided to bump the Saint and see if he could get him to move a little. After several bumps the Saint actually broke a wooden leg and fell over, narrowly missing Fr. Sullivan. Another faculty member rushed to the rescue and Gerry was unscratched, but still a little angry that the big guy would not move over for him. Gerry’s generosity and love as a teacher manifested itself in very real terms when

his mother passed away and left him an inheritance. Gerry immediately created the Mary F. Sullivan and Gerald P. Sullivan S. J. Scholarship fund. With the money generated by this fund the department has been able to give modest merit-based scholarships to outstanding students based upon their classroom performance in studio art classes. It is my hope that this fund can grow in his honor and continue to recognize the best of our students for years to come. I am pleased that we have this fund as a legacy of his devotion to the students. On any given day he could make you laugh, I will tell you about the day I asked him about a particular student. I asked him about her by name and he answered, “ Oh do you mean that girl whose eyes look like a deer just about to be hit by a semi truck? I replied “yes, that’s the one, isn’t her work wonderful.” It is a bit ironic and I find it fitting that he would be laid to rest in the cemetery where we worked together on ceramic murals. He hated working with ceramics and could never understand why the glaze was a different color when it went on and when it was fired. Working with him day by day was a great experience and one I will always remember.

Patricia Gabel, Art History, ‘09. Gabel works in New York for MUSE Film and Television, a non-profit executive production company that creates quality films on visual art and culture. By examining art through historical and cultural contexts, MUSE documentaries seek to enhance the art experience. She is currently working on a film about Chinese artist/activist Ai Weiwei. Unrelentingly outspoken, Ai Weiwei is an artist who has fused his deeply humanistic concerns into his work, producing art that illuminates critical social and cultural issues facing modern-day China. Mariana Galindo, Studio Art, ‘06. Mariana works at PDI/DreamWorks Animation as a Character Effects Artist. For the past year, she has been working on their latest film project, Mega Mind. Her job includes digitally creating and animating all of the costumes, hair, fur and props. Bridget Johnson, Art History ‘09 Bridget works in the curatorial department at the Southwest Museum of the American Indian, part of the Autry National Center for the American West in Los Angeles, CA. Recently, she worked on the exhibit, The Art of Native American Basketry: A Living Tradition. She is currently focusing on their next exhibit, Katsinam and Hopi Life, which will open spring 2011.

Mallorie Kumpf, Studio Art ‘06 Mallorie is currently living in Munich, Germany, working as a visual designer doing Gerry touched many lives of both students and mostly web and user interfaces at Sapient faculty and he made a big difference in his time Nitro. She spent summer 2010 on a project in at Santa Clara both as an educator and as an Singapore, redesigning the online experience artist. It is with this legacy that we carry on. for Singapore Airlines.


Department of Art and Art History

Mike Nelson, Studio Art ‘00 Nelson is in his 9th year of teaching Art at Brophy College Preparatory, a Jesuit High School, in Phoenix, AZ. He teaches Intro to Fine Arts, Graphic Design, and AP Studio Art. He still paints and draws, but has focused more heavily on digital media and web design. His current project is daddai design, a creative services firm that specializes in web design/ development and graphic design services. Vanessa Speckman, Studio Art ‘06 Speckman has been working at Sunset Magazine in Menlo Park for the past year and a half in the Photography Department. She is also working at SPACES, a non-profit art organization that preserves outsider art and non-traditional folk art.

Student Awards

Art History Awards

Studio Art Awards

M a ry H ay e s : Art History Research Paper, First Place

Winners of the Sullivan Scholarship: A n na m a r ie L eón A r m a ndo P ortillo M elina R a mir ez Anderson Ranch Brooks Fellowship Recipient: A n na m a r ie L eón One-of-a-kind trophies awarded to:

A a ron C ator : Art History Research Paper, Honorable Mention D enise B en net t : Art History Research Paper, Recognition of Special Research Accomplishment E la ine C a r r eon : Art History Research Symposium, First Place

Call to Alumni:

M a dison C ook : Best of Show J a z G i acchet ti : Ceramics K r isten Mur a moto : Digital Animation

We Want You

A l e x H iguer a s : Drawing

We love to know what our Alumni are up too. Please feel free to contact us by going to

K a r eem a Thom a s : Mixed Media

http://www.scu.edu/cas/art/alumni.

K r isten R iek e : Painting

We will be curating future alumni art shows in our Art Department Gallery. Contact us if you are interested in showing your artwork at artinfo@scu.edu.

C ourt ney H a ney : Painting K athry n F r a ser : Painting M idor i S hibu ya : Photography A n na m a r ie L eón : Printmaking L indsay L ee : Sculpture

For the most Curr ent info ple ase GO To :

w w w.scu.edu/art Look For us on Facebook: SCU Art and Art History Department


2011