Available on JSTOR at: doi.org/10.2307/3336852

I was an early Arnold student, the result of his three non-Western survey courses. As an undergraduate senior I had taken classes in Eastern and all sorts of Western art, but I had never thought about or really even looked at the arts of Africa, the Americas, or Oceania. Arnold was electrifying. For me he showed how complex artworks could be, how they were both intellectual and visceral, dramatic and subtle. He made art's importance evident, and I appreciated that immensely. By then I had taken several studio courses, and I was nearly committed to graduate school in design. Arnold converted me. As a first-year graduate student with him, I remember our lively and provocative seminars, and all the special speakers he brought for us to experience. But I also remember afternoons and weekends, going with him to used-book stores and a gun shop where wonderful African iron works had ended up for sale. We went to a giant warehouse of old books in Long Beach. I grew up in L.A. but had never gone to the place. He on the other hand had arrived from the Midwest and made a beeline for it, and so could take his graduate students directly to the spot where some six copies of The Secret Museum of Mankind sat patiently. These sorts of things, combined with my time with Arnold on campus, made being his student especially memorable.

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