Skip Navigation

Faculty & Staff

Art History and Museum Studies Faculty


Dr. Annabeth Headrick
Ph.D. University of Texas at Austin, 1996
Associate Professor, Precolumbian Art
SAB 111
annabeth.headrick@du.edu
Phone: 303-871-3574

The arts of the Precolumbian peoples of the Americas form the core of my courses. Ranging over both American continents, these include The Art of the Maya, Mesoamerican Art, Native North American Art, and Art of the Andes. Each of these courses focuses upon archaeological cultures, but incorporates traditions and beliefs of living indigenous people to understand the past. Using both anthropological and art historical methodologies, these courses explore a variety of media including architecture, sculpture, manuscripts, and ritual. In addition to the early-period art history survey, I teach Common Curriculum courses with a much broader perspective. Images of Culture is a selective survey of world art where the class focuses upon one monument or theme for a variety of cultures, such as the Parthenon, Emperor Qin's tomb, the United States Capitol, and domestic architecture in Disney's Celebration, Florida. Feeling the need to explore how the arts might address issues of climate change, I also teach the advanced seminar, Art and the Environment. My graduate courses change periodically to address current topics in Mesoamerican art and have included, Maya Narrative Ceramics, Gender in Precolumbian Art, Mesoamerican Manuscripts, and The Art of Death in Mesoamerica.

My research takes a dualistic methodological approach integrating the fields of art history and anthropology, especially the sub-discipline of anthropological archaeology, and my primary geographical focus is the cultural sphere of Mesoamerica. My key theoretical interests include: kingship and strategies of power; social organization and identity in complex societies; the political and social function of art and architecture; the integration of landscape, ideology and urban planning; Precolumbian worldview and ideology; and constructions of ethnicity. While much of my research has concerned the Mesoamerican city of Teotihuacan, I have not restricted my research to one specific culture or time period. I adopt a pan-Mesoamerican approach, using the Olmec, Maya, Mixtec, Aztec, and Huastec to trace iconographic elements and their conceptual meanings as they are adopted by various cultures and evolve over time.

My first book, The Teotihuacan Trinity: The Sociopolitical Structure of an Ancient Mesoamerican City (2007), integrated art historical analysis and anthropological models to suggest a new model for the sociopolitical organization of this enormous preindustrial city. The book argued that three social entities, the office of the ruler, familial-based clans, and military sodalities, may have been some of the most prominent players in a highly successful system that led to one of Mesoamerica's largest cities. I co-edited the book, Landscape and Power in Ancient Mesoamerica (2001), which also includes my essay, "Merging Myth and Politics: The Three Temple Complex at Teotihuacan." An article exploring the possible mortuary function of the well-known Teotihuacan masks appears in the journal, Ancient Mesoamerica, and I have contributed an essay to an archaeological volume on the Belizean site of K'axob, a site where I was also a member of the archaeological team. Other articles further explore issues of ancestral bundling on Mesoamerica's Gulf Coast, shamanically-related scepters among the Aztec, and state-supported gender roles at Teotihuacan. A forth-coming article to be published by Bonn University takes a broad historical approach to one of the major gods of Mesoamerica, Tlaloc, and traces his consistent association with warfare and water from the Formative Olmec, to Classic Teotihuacan, to the Postclassic Aztec. My current project is a co-authored book with Cynthia Kristan-Graham of Auburn University on the Maya city of Chichen Itza, and takes a synthetic perspective, both historically and methodologically. For example, we will investigate the troubling problems of the Toltecs and the Feathered Serpent through literary and archaeological records. Other chapters explore public and domestic architecture, concepts of ethnicity, warfare foundation myths, the economics and ideological value of salt and cacao, and the emergence of the ballgame as a new arena for negotiating power.

Dr. Scott B. Montgomey 
Ph.D. Rutgers University, 1996
Associate Professor, Medieval and Early Modern European Art
SAB 112
smontgo4@du.edu
Phone: 303-871-3272

I teach a variety of undergraduate and graduate classes covering the Medieval and Early Modern periods throughout Europe (Medieval Art, Gothic Art, Italian Renaissance Art, Northern Renaissance Art). Due to the nature of my research, my teaching is informed by a particular interest in the art of saints' cults and pilgrimage, as well as the interaction between art and its audiences. Along these lines, I teach graduate seminars on The Cult of Saints in Art, Art and Pilgrimage, Bosch and Bruegel, as well as the required seminar on Art History Methods. I also teach Survey of Art History I, courses on Highlights of Medieval Art and Highlights of Renaissance Art for the Common Curriculum, and a variety of specialized First Year Seminars (Michelangelo, Pilgrimage, Gothic to Goth).

My research and publications largely focus on relics, reliquaries, and the art of the medieval cult of the saints. I have published two books: Saint Ursula and the Eleven Thousand Virgins of Cologne. Relics, Reliquaries and the Visual Culture of Group Sanctity in Late Medieval Europe (2009) and Casting Our Own Shadows: Recreating the Medieval Pilgrimage to Santiago de Compostela (co-authored with Alice A. Bauer) (2012). I co-edited two volumes of essays: Images, Relics and Devotional Practices in Medieval and Renaissance Italy and De Re Metallica: Studies in Medieval Metals (both 2005). I have published journal articles and book chapters on reliquary busts, relics, pilgrimage, and related imagery from Italy, Hungary, Germany, and elsewhere in Europe. Recent publications examine the relationship between relic claims and cephalophory (carrying one's head after decapitation), and the use of reliquary busts in coronation rituals. Among my ongoing projects on relic cults is an examination of the political uses of the heads of Saints Peter and Paul in Medieval Rome. I have contributed entries for encyclopedias of Medieval Germany, Medieval Italy, Women and Gender in Medieval Europe, Medieval Pilgrimage, Medieval Art, and the census of Gothic Sculpture in America. Recently, I have been working on art historical investigations of the visual culture related to Rock and Roll, particularly psychedelic poster art from San Francisco in the late 1960s, publishing two articles: "Psychedelic Rock Poster Art in San Francisco: Aesthetic Concepts and Characteristics" and "Signifying the Ineffable: Rock Poster Art and Psychedelic Counterculture in San Francisco" (both 2011). I am currently working on a monograph on psychedelic artist Lee Conklin.

Dr. Annette Stott (on sabbatical 2011-2012)
Ph.D. Boston University, 1986
Professor, American Art
SAB 238
astott@du.edu
Phone: 303-871-3278

My courses range from introductory surveys to graduate seminars on topics in American art and architecture, women and art, and religion and art, with an emphasis on diverse peoples, perspectives, and cultures in North America and their origins throughout the world. The annual Graduate Research Practicum is one of my favorite classes, where students delve into topics of their choice to do original research that contributes to the field of art history. Often this class focuses on objects in regional collections. More rarely I have the opportunity to teach seventeenth-century Northern European art. Seminar topics have included "American Art, Gender & Sexuality," "American Architecture," "Collecting Art in America," and seminars on specific artists. Currently I am developing new classes in the history of religious arts in North America. In addition to the School of Art and Art History, I serve on the faculties of the DU/Iliff Joint PhD program and of Women and Gender Studies.

Dutch Utopia: American Artists in Holland, 1880-1914, which I edited and to which I contributed essays and catalog entries, is my most recent book (2009, Dutch language version in 2010). It is an exhibition catalog to which several of my students and former students at DU contributed catalog entries. My research has focused on late nineteenth-century American painting and sculpture, producing three additional books—Holland Mania: the Unknown Dutch Period in American Art and Culture (1998, English and Dutch versions), Pioneer Cemeteries: Sculpture Gardens of the Old West (2008), and a book of interdisciplinary essays that I co-edited with two historians, Going Dutch: the Dutch Presence in America, 1609-2009 (2008). I have contributed chapters to many other art history books and have published articles in journals including The Art Journal, American Art, Winterthur Portfolio, Nineteenth-Century Art Worldwide, Prospects, and Markers. Among others places, I have been invited to speak at the Frick Art Collection and Library, Columbia University, the Lakenhal Museum in Leyden and Singer-Laren in the Netherlands, Pennsylvania Academy of the Fine Arts, Museum of Fine Arts in St. Petersburg Florida, Portland Museum of Art in Maine, University of Delaware, and regularly contribute papers to the national and international conferences in my field.

Dr. M.E. Warlick (on sabbatical Spring & Fall 2013)
Ph.D. University of Maryland, 1984
Professor, European Modern Art and Women's Studies
Director, School of Art and Art History 2009-2012
SAB 132
mwarlick@du.edu
Phone: 303-871-2846
http://portfolio.du.edu/mwarlick

My classes include lecture and seminar classes in European Art History from the 18th through 20th centuries, including Survey of Art II, 19th Century Art, and Dada and Surrealism, as well as History of Collections for our Museum Studies program. For the Common Curriculum, I teach Shaping the Artist, a class that evaluates representations of artists in popular films, and an ASEM class on Harry Potter and Esotericism. I also teach Exploring and Excavating Italy, two linked Common Curriculum classes that investigate art and literature connected to the cities of Rome, Florence and Venice, followed by travel to those cities during the winter break http://www.du.edu/art/italy.html). I received DU's Distinguished Professor Award in 1991.

My research interests have broadened from a specific interest in surrealism and alchemy explored in Max Ernst and Alchemy: A Magician in Search of Myth (University of Texas Press, 2001) to an investigation of the history of alchemical philosophy and its visual imagery, analyzed through a feminist lens. I have also published an interactive oracle, The Alchemy Stones (2001), which is available in a Kindle edition. I have published articles in the Art Bulletin, the Art Journal, Leonardo, Cauda Pavonis, and Glasgow Emblem Studies, and several book chapters in the esoteric series of the Association for the Study of Esotercism (ASE). I am currently writing a book entitled Alchimia: Women, Gender and Sexuality in Alchemical Images and also conducting research for future books on other surrealist artists and the occult.