Cover Sheet: Request 11391

ARH 4453 Mid-Twentieth Century Art

InfoProcess Course|Modify|Ugrad/ProStatus PendingSubmitter Cabanas,Kaira k.cabanas@ufl.eduCreated 1/7/2017 4:10:24 PMUpdated 2/9/2017 9:57:47 AMDescriptionof request

Continuation of ARH 4452. Emphasis on international art from the 1940s through the1960s. (H)

This change in the catalogue shifts the course emphasis from American art tointernational art.

ActionsStep Status Group User Comment UpdatedDepartment Approved CFA - Art and

Art History011302000

Rogal, Maria Approved by faculty vote. 1/17/2017

Deleted ARH 4453 Mid 20 Century_modification.pdf 1/7/2017College Approved CFA - College

of Fine ArtsSchaefer,Edward E

1/20/2017

No document changesUniversityCurriculumCommittee

Comment PV - UniversityCurriculumCommittee(UCC)

Case, Brandon Added to the Februaryagenda.

1/23/2017

No document changesUniversityCurriculumCommittee

Pending PV - UniversityCurriculumCommittee(UCC)

1/23/2017

No document changesStatewideCourseNumberingSystemNo document changesOffice of theRegistrarNo document changesStudentAcademicSupportSystemNo document changesCatalogNo document changesCollegeNotifiedNo document changes

Course|Modify for request 11391

Info

Request: ARH 4453 Mid-Twentieth Century ArtDescription of request: Continuation of ARH 4452. Emphasis on international art fromthe 1940s through the 1960s. (H)

This change in the catalogue shifts the course emphasis from American art tointernational art.Submitter: Cabanas,Kaira k.cabanas@ufl.eduCreated: 2/9/2017 9:50:26 AMForm version: 5

ResponsesCurrent PrefixARHCourse Level4Number 453Lab Code NoneCourse Title Mid-Twentieth Century ArtEffective Term Earliest AvailableEffective Year Earliest AvailableRequested Action Other (selecting this option opens additional form fields below)Change Course Prefix?No

Change Course Level?No

Change Course Number?No

Change Lab Code?No

Change Course Title?No

Change Transcript Title?No

Change Credit Hours?No

Change Variable Credit?No

Change S/U Only?No

Change Contact Type?No

Change Rotating Topic Designation?No

Change Repeatable Credit?No

Change Course Description?YesCurrent Course DescriptionEmphasis on American art from the 1940s through the1960s. (H)Proposed Course Description (50 words max)Emphasis on international art from the1940s through the 1960s. (H)Change Prerequisites?No

Change Co-requisites?No

RationaleNewly introduced course content responds to recent trends in teaching modernart from an international and global perspective.

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ARH4453MID20thCENTURYARTProfessorKairaM.CabañasUniversityofFloridaCollegeofFineArtsSchoolofArtandArtHistoryOffice:FACRoom123Tel:352-273-3064Email:k.cabanas@ufl.eduOfficehours:Wednesday4:00-5:00pmImportantdatestoremember:September12:ObjectdescriptiondueinclassOctober17:Exam1/ExhibitionabstractandpreliminarybibliographydueinclassOctober22:AttendapanelattheHESCAHsymposium:Critical,Clinical,CuratorialOctober26:ResponsepaperonasymposiumlecturedueinclassDecember5:Exam2December12:GroupprojectdueCoursecataloguedescription:Emphasisoninternationalartfromthe1940sthroughthe1960s.Expandeddescription:Thiscourseemphasizesinternationalartfromthe1940sthroughthe1960s.Byintroducingstudentstothedevelopmentofmodernartinaninternationalcontext,thecourseencouragesreflectiononthematerialdifferencesinprocessesandproceduresandalsoonthesocialandhistoricalcontextofart’sproduction.Itthusprobeshowthesequestionsofmaterialsandhistoricalspecificitymightinflectawork’smeaningaswellascontemporaryunderstandingsofmodernisminaglobalcontext.Courserequirements:Exam1+Abstractandbibliography(25%)Responsepapertolecture(10%)Exam2(25%)GroupFinalProject(25%)IndividualObjectEssayaspartofGroupProject(10%)Attendanceandparticipation,questions(5%)

- Readingsmustbecompletedbeforelectures;thisisessentialtothecourse.- Awrittenquestionconcerningthereadingisrequiredeachweekon

Monday.Iwillcallonafewstudentstoposetheirquestionduringeachweek’sfirstsession.

- Mondaysessionwillincludetimeforquestionsandgroupdiscussion.

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Completionofallassignmentsandexamsisnecessarytopassthecourse.Readings:ReadingswillbeplacedonRESERVEorE-RESERVEbytheFineArtsLibrary.Studentsmaypurchasetextbooksattheirdiscretion.Theprimaryvolumesinclude:HalFosteretal.,eds.,ArtSince1900,vol.2,ThamesandHudson,2004/5;

or:2ndedition,2011.Volume2.C.HarrisonandP.Wood,eds.,ArtinTheory:1900-2000,Wiley,2002.WrittenAssignments:Withtheexceptionofthefinalgroupproject,allwrittenassignmentsmustbesubmittedintheformofhardcopiesonthedatetheyaredue.Alltextsshouldbedoublespaced,anduse12pointTimesNewRomanfontand1”margins.Yournameshouldappearonthefirstpage.A.ObjectdescriptionfromtheHarnMuseumVisittheHarnMuseumasanindividualorinagroup.Writea250-wordvisualdescriptionofoneofthetwoartobjectscurrentlyonviewatthemuseum.Donotmakeanyevaluationorjudgmentofthework(i.e.,it’sgoodorbad,Ilikeitordon’tlikeit).Takeyourtimelookingandwritedownwhatyousee.Youmightnotethematerials,medium(painting,photography,etc.),colors,composition,texture,dimensions,etc.Beasobjectiveaspossible.BringthedescriptiontoclassonMondaySeptember12.Writeononeofthefollowingobjects:TBAB.AbstractandpreliminarybibliographyWritea250-wordabstractaboutyourproposedexhibitionthemeandincludeapreliminarybibliographyof5publishedandprintedsourcesaswellas5worksofart.PleaseformatfootnotesandbibliographyaccordingtotheChicagoManualofStyle.

*ThisindividualassignmentispartofthetakehomesectionofExam1.Yourproposedtopicwillbeusedtowardformingyourresearchgroupforthefinalproject.

C.Symposium:Critical,ClinicalCuratorialThesymposium,“Critical,Clinical,andCuratorial,”invitesanin-depthexplorationofthevariouseducationalprogramsandexhibitionsthatmakeuptheintertwinedhistoriesofartandtherapy,modernartandself-taughtartists,artandmadness.AttendoneofthepanelsscheduledforSaturday,October22.Writea500-wordresponsetooneofthelectures(byW.J.T.Mitchell,LynneCooke,orSuzanne

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Hudson)andfocusonthefollowing:Howdidthelecturemodifyyourunderstandingofmodernand/orcontemporaryart?Didthespeakerraisequestionsabouttheinterrelatedhistoriesbetweenartandtherapyorartandmadness?Didtheyengagequestionsconcerningtheworks’sitesofproduction,distribution,andreception,andthewaysthesehistorieshaveintersectedinmeaningfulwaysforarenewedunderstandingofart?Howdidthislectureofferanewperspectiveforyouontherelationbetweenartandmadness,orartandtherapy,orthehistoryofself-taughtartinrelationtomodernart?D.GroupExhibitionProposal(Seealsoappendixformoredetails)1–Groupcomponent:ForthefinalprojectyouaretoimaginethatyouareaskedtocurateasmallshowatMoMAonaspecifictopicand/orartist(withabout15objects).Prepareanexhibitionproposal(500words)inwhichyouincludetheprojecttitleandexplaintherationalefortheexhibition—itsmainthemeand/orconcept.Youshouldframetheexhibitioninrelationtohowitengageswithunderstandingsandpracticesofmodernart.Consider,forexample,howyourexhibitionintervenesinaparticularunderstandingofmodernartandwhetheritdevelopsuponpreviousexhibitionsthatbroachsimilarissues.Pleaseprovideacompleteobjectchecklist.*Pleaseprovideabibliographyoftenprintedsources(booksandarticles)andincludeaminimumof3exhibitioncataloguesthatyouconsultedasagroupinpreparationfordevelopingyourfinalexhibitiontheme.2–Individualcomponent:Providea750-wordobjectdescription,asifitwereanextendedlabelinamuseumoranartist’sentryinacatalogue.Whyisthisobjectimportanttothegroupexhibition?Howdoesitrelatetotheoverallthemeoftheexhibition?Include3bibliographicsources(printedbooksand/orarticles)thatartviewerscouldturntoformoreinformationaboutthisartistandtheparticularworkinquestion. *Eachindividualinthegroupmustwriteonadifferentobject.

*Iencourageyoutoreadandexchangecommentsononeanother’sworkpriortosubmission.

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WeeklySchedule:Week1

August22:Enrollment,attendanceWatchthefilm:AlainResnais,NightandFog,1955,directedbyAlainResnais.ThefilmwasmadetenyearsaftertheliberationoftheNaziconcentrationcampsandfeaturesthegroundsofAuschwitzandMajdanek.ItdescribesthelivesoftheprisonersinthecampsandwasmadeincollaborationwithpoetJeanCayrol,acampsurvivor.August24:Introduction:Discussionoffilm/WhatisModernArt?SergeDaney,“TheTrackingShotinKapo,”in“InthePoemaboutLoveYouDon'tWritetheWordLove”,ed.TanyaLeighton.NewYork:SternbergPress,2006,pp.33–53.

Week2

August29:MourningandMemoryinGermanArtArtSince1900,pp.475-479;480-485;521-526;554-559;612-616.[ArtSince1900,2ndedition;pp.519-523;524-529;565-570;656-660.]GerhardRichter“InterviewwithBenjaminBuchloh”inArtinTheory,pp.1147–1157.BenjaminBuchloh,“Beuys:TheTwilightoftheIdol,PreliminaryNotesforaCritique,”inMappingtheLegacy,ed.GeneRay.NewYork:DistributedArtPublishers,2001.August31:AntoninArtaudandHisLegacyAntoninArtaud,TheSuicideProvokedbySociety.DenisHollier.“TheArtaudCase,PartII:TheCaseHistory,”inSpectersofArtaud,LanguageandtheArtsinthe1950s,ed.KairaM.Cabañas,exh.cat.Madrid:MuseoNacionalCentrodeArteReinaSofía,2012.BrandenW.Joseph,“ModernismWithoutOrgans,”inArtforum,vol.51,no.1(September2012).

Week3

September5:HOLIDAYSeptember7:VisittoHarnMuseum(*onyourownoringroups)

Week4

September12:ClementGreenbergandtheRiseofAbstractExpressionismArtSince1900,pp.355-359;439-444.

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[ArtSince1900,2ndedition;pp.399-403;483-488.]DUE:ObjectdescriptionSeptember14:PaintingintheWakeofAbstractExpressionismArtSince1900,pp.362-367;398-403;409-410.[ArtSince1900,2ndedition;pp.406-411;442-447;453-454.]CarlAndre,“PrefacetoStripePainting”inArtinTheory,p.820.FrankStella,“PrattInstituteLecture”inArtinTheory,pp.820–821.ClementGreenberg,“ModernistPainting,”inArtinTheory,pp.773–779.

Week5

September19:MárioPedrosaandtheRiseofConcreteArtinBrazil WaldemarCordeiro,“TherupturaManifesto”(1952),“TheObject(ProductiveArt)”(1956)inInvertedUtopias,pp.494–495.AnaMariaBelluzzo,“TherupturaGroupandConcreteArt,”inInvertedUtopias,pp.203–211.KairaM.Cabañas,“AStrategicUniversalist,”inMárioPedrosa,anAnthology:PrimaryDocuments.NewYork:TheMuseumofModernArt,expected2016.September21:JeanDubuffetandArtBrutinBrazilJeanDubuffet,“ArtBrutinPreferencetotheCulturalArts,”1949.JeanDubuffet,“AnticulturalPositions,”1951.JeanDubuffet,“InHonorofSavageValues,”1951.

Week6

September26:PierreRestanyandNouveauxRéalismeArtSince1900,pp.337-342;434-438;515-520.[ArtSince1900,2ndedition;pp.381-386;478-482;559-564.]PierreRestany,“TheNewRealists”inArtinTheory,pp.724–725.September28:CoBrA,ArtInformel,andtheDécollagistesArtSince1900,pp.391-397.[ArtSince1900,2ndedition;pp.435-441.]HannahFeldman,“OfthePublicBorn:RaymondHainsandLaFrancedéchirée,”October108(Spring2004),pp.73–96.

Week7 October3:AlejandroOtero,KineticArtandtheCityUniversityinCaracas

JesúsRafaelSoto,“Serialization”inReadingsinLatinAmericanModernArt(hereafterLAMA),pp.170.JesúsRafaelSoto,“Artist’sStatement”inReadingsinLAMA,pp.171.AlejandroOtero,“Artist’sStatement”inReadingsinLAMA,pp.168–169

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MeganSullivan,“AlejandroOtero’sPolychrome:ColorBetweenNatureandAbstraction,”October152(Spring2015),pp.60-81.

October5:JeanTinguely/DestructioninArt TBAWeek8

October10:KineticArtcontinued:JeanTinguelyandGRAV“GRAVManifesto:TransformingtheCurrentSituationinPlasticArt”inReadingsinLAMA,pp.161–163LilyWoodruff,“TheGroupedeRecherched’ArtVisuelagainsttheTechnocrats,”inArtJournal(Fall2014),pp.19-37.

October12:REVIEWWeek9

October17:EXAM+DUE:Abstractandpreliminarybibliography(countstowardexam)October19:YvesKleinandCinemaYvesKlein,“TheEvolutionofArtTowardstheImmaterial,”inArtinTheory,pp.818–820.

Saturday,October22HESCAHSYMPOSIUM:Critical,Clinical,Curatorial

ChandlerAuditorium,HarnMuseumSaturday,October2210:30a.m.–12:30p.m.“Method,Madness,Montage”byW.J.T.Mitchell,ProfessorofArtHistoryandEnglish,UniversityofChicago“CommonCreativities”byKairaM.Cabañas,AssociateProfessorofArtHistory,UniversityofFlorida[Breakforlunch]1:30p.m.–3:30p.m.

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“ParsingDifference”byLynneCooke,CuratorSpecialProjectsinModernArt,NationalGalleryofArt“ACosmos”bySuzanneHudson,AssociateProfessorofArtHistoryandFineArts,UniversityofSouthernCalifornia

Week10

October24and26:DiscussionCCCsymposium/NeoDadaArtSince1900,pp.343-347;368-72;404-409.[ArtSince1900,2ndedition;pp.387-391;412-416;448-453.]JohnCage,“OnRobertRauschenberg,Artist,andhisWork”inArtinTheory,pp.734–737.DUE:Responsepapertolecture

Week11

October31:HappeningsandEnvironmentsArtSince1900,pp.373-378;450-455.[ArtSince1900,2ndedition;pp.417-422;494-499.]AllanKaprow,fromAssemblages,Environments,andHappenings,inArtinTheory,pp.717–722.

November2:InclassgroupresearchWeek12

November7:AndyWarhol:TheCommodityFormArtSince1900,pp.486-491.[ArtSince1900,2ndedition;pp.530-535.]AndyWarhol,“InterviewwithGeneSwenson”inArtinTheory,pp.747–749.HalFoster,“DeathinAmerica,”October,Vol.75(Winter,1996),pp.36-59November9:MinimalismArtSince1900,pp.470-474;492-495.[ArtSince1900,2ndedition;pp.514-518;536-539.]DonaldJudd,“SpecificObjects”inArtinTheory,pp.824–828.MichaelFried,“ArtandObjecthood”inArtinTheory,pp.835–846.

Week13

November14:Minimalismcontinued/AnotherGeometry:Gego

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MónicaAmor,“AnotherGeometry:Gego’sReticulárea,1969-1977,”October113(Summer2005),pp.101–26.November16:FerreiraGullarandNeo-ConcreteArtinBrazilFerreiraGullar,“Neo-ConcreteManifesto”inReadingsinLAMA,pp.172–175.LygiaClark,“Beasts”(1960)inReadingsinLAMA,pp.176.

Week14

November21Neo-ConcreteArtcontinuedIreneV.Small,“PigmentPurandtheCorpodaCôr:Post-PainterlyPracticeandTransmodernity,”October152(Spring2015),pp.82-102.November23:HOLIDAY

Week15

November28:FluxusArtSince1900,pp.456-463.[ArtSince1900,2ndedition;pp.500-507.]GeorgeMaciunas,“Neo-DadainMusic,Theatre,Poetry,Art”inArtinTheory,pp.727–729.+InclassgroupresearchNovember30REVIEW

Week16

December5:EXAMDecember7:InclassgroupresearchDecember12:FINALPROJECTDUEby5pm;

EachgroupsubmitsonesinglePDF

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APPENDIX:FINALPROJECTGROUPEXHIBITIONPROPOSALExhibitionproposalsshouldincludethefollowing:A.Conceptualmotivationfororganizingtheexhibition,500words

- Explaintheconceptualframeworkordrivingideaoftheshow- Howdoestheexhibitioninterveneinaparticularunderstandingofmodern

art?- Whatpreviousexhibitionsdoesitdevelopupon(describe2or3)?- *Graduatestudents:750wordsforpartA

Thisisthemostimportantcomponentoftheexhibitionproposalassignment.Youneedtodevelopanargumentaboutwhytheexhibitionmattersandhowitoffersanewperspectiveontheartisticpracticesyouareconsidering.Tothisend,provideabibliographyoftenpublished/printedsources(booksandarticles)andincludeaminimumof3exhibitioncataloguesthatyouconsultedasagroupinpreparationfordevelopingyourfinalexhibitiontheme.B.Objectchecklist(includeapproximately15objects)

- Numberandtypeofobjects- Mechanicalorelectronicinteractiveelements- Audio-visualcomponents- Ifyouwanttobereallyprecise,youcouldalsolisttheinstitutionthatwould

loanthework

C.IndividualComponent–Objectdescription,750words.- Eachgroupmembermustchooseoneobjectfromthegroupexhibition

checklist.Writetheobjectdescriptionasifitwereanextendedlabelinamuseumoranartist’sentryinacatalogue.

- Whyisthisobjectimportant?Howdoesitrelatedtotheoverallthemeoftheexhibition?

- Include3bibliographicsources(booksandorarticles)thatartviewerscouldturntoformoreinformationaboutthisartistandtheparticularworkinquestion.

- *Graduatestudents:Write3objectdescriptions,500wordseachThispartoftheassignmentdemonstrateshowtheexhibition“idea”isinstantiatedinaestheticpractice.***ChooseonememberofthegrouptoconsolidateallofthevariouscomponentsintoasinglePDFandturninthatonedocumenttomeonbehalfofthegroupbytheduedateandtime.

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EXAMPLEEXHIBITIONCHECKLISTRobertRauschenbergandFranzKlein

RobertRauschenbergWhitePainting1951OiloncanvasFourpanels36x36in.each72x72in.overallCollectionoftheartist’sestate.

RobertRauschenbergUntitled(Self-Portrait–BlackMountain)Dateunknown(c.1950?)Photograph31/4in.x51/2in.8.26cmx13.97cmCollectionSFMOMA

RobertRauschenbergUntitled(AshevilleCitizen)c.1952Oilandnewspaperoncanvas6’2’’x28½’’(188x72.4cm)MuseumofModernArt,NewYork

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FranzKlinePainting1952oiloncanvas65x41¾inchesWadsworthAtheneumMuseumofArt,Hartford,Connecticut

FranzKlineUntitledIIc.1952Inkandoiloncut-and-pastedtelephonebookpagesonpaperonboard11x9"(28.1x23cm)TheMuseumofMondernArtNewYork

FranzKlinePaintingNo.71952Oiloncanvas571/2x813/4inchesSolomonR.GuggenheimMuseum

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COURSEPOLICIES:ClassAttendance.Attendancewillbetaken.Pleasetakealookatyourcalendaratthebeginningofthesemestertoseeifyouhaveanycommitments(forexample,religiousholidays,familyobligations,orextracurricularactivities)thatconflictwithlecturesandduedates.Ifyoudohaveaconflict,pleaseseeinstructorwellinadvancetoclearyourabsence,scheduleanextension,ordiscussthepossibilityofamake-upexam.

Requirementsforclassattendanceandmake-upexams,assignments,andotherworkinthiscourseareconsistentwithuniversitypoliciesthatcanbefoundintheonlinecatalogat:https://catalog.ufl.edu/ugrad/current/regulations/info/attendance.aspxLateAssignments.Lateassignmentswillbepenalized1/3ofalettergradeforeverytwenty-fourhoursafterthedeadline.MissedExams.Ifyoumissanexamwithoutavalidexcuse,youwillreceivea0forthatexam.Make-upexamswillbecoordinatedwiththeprofessor.Classroomdemeanor.NOSCREENS.Chooseawritingnotebookfortakingnotesduringclass.Nouseofcomputersorotherelectronicdevices.Thus:notalkingoncellphones,ringingorbeeping,texting,Facebooking,tweeting,oremailingduringclass.Nonoisyorsmellyeating.Studentsareexpectedtoassistinmaintainingaclassroomenvironmentthatisconducivetolearning.Inappropriatebehaviorshallresult,minimally,inarequesttoleaveclass.UseofElectronicDevices.Laptopsmaybeusedduringschedule“inclassgroupresearch”sessions.Theinstructorreservestherighttoaskthattheybeputawayiftheydisrupttheworktowardthefinalassignment.Cellphoneuseisnotpermitted,andphones’screensshouldnotbevisibleduringclasstime.RecordingClassroomSessions.Toensurethefreeandopendiscussionofideas,studentsmaynotrecordclassroomlectures,discussionand/oractivitieswithouttheadvancewrittenpermissionoftheinstructor,andanysuchrecordingproperlyapprovedinadvancecanbeusedsolelyforthestudent’sownprivateuse.Email.EachstudentisissuedaUniversitye-mailaddress(username@ufl.edu)uponadmittance.Thise-mailaddressmaybeusedbytheUniversityforofficialcommunicationwithstudents.Studentsareexpectedtoreade-mailsenttothisaccountonaregularbasis.FailuretoreadandreacttoUniversitycommunications

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inatimelymannerdoesnotabsolvethestudentfromknowingandcomplyingwiththecontentofthecommunications.Accommodation.StudentswithdisabilitiesrequestingaccommodationsshouldfirstregisterwiththeDisabilityResourceCenter(352-392-8565,www.dso.ufl.edu/drc/)byprovidingappropriatedocumentation.Onceregistered,studentswillreceiveanaccommodationletter,whichmustbepresentedtotheinstructorwhenrequestingaccommodation.Studentswithdisabilitiesshouldfollowthisprocedureasearlyaspossibleinthesemester.Courseevaluations.Studentsareexpectedtoprovidefeedbackonthequalityofinstructioninthiscoursebasedontencriteria.Theseevaluationsareconductedonlineathttps://evaluations.ufl.edu.Evaluationsaretypicallyopenduringthelasttwoorthreeweeksofthesemester,butstudentswillbegivenspecifictimeswhentheyareopen.Summaryresultsoftheseassessmentsareavailabletostudentsathttps://evaluations.ufl.edu/results.AcademicHonesty:UFstudentsareboundbyTheHonorPledge,whichstates,“We,themembersoftheUniversityofFloridacommunity,pledgetoholdourselvesandourpeerstothehigheststandardsofhonorandintegritybyabidingbytheHonorCode.OnallworksubmittedforcreditbystudentsattheUniversityofFlorida,thefollowingpledgeiseitherrequiredorimplied:‘Onmyhonor,Ihaveneithergivennorreceivedunauthorizedaidindoingthisassignment.’”TheHonorCode(http://www.dso.ufl.edu/sccr/process/student-conduct-honor-code/)specifiesanumberofbehaviorsthatareinviolationofthiscodeandthepossiblesanctions.Furthermore,youareobligatedtoreportanyconditionthatfacilitatesacademicmisconducttoappropriatepersonnel.Ifyouhaveanyquestionsorconcerns,pleaseaskme(theinstructor,Dr.Cabañas).UF’spoliciesregardingacademichonesty,thehonorcode,andstudentconductrelatedtothehonorcodewillbestrictlyenforced.Thismeansthatcheatingandplagiarismwillbepenalized,andareportwillbefiledwiththeStudentConductandConflictResolutionoffice.Duringexams,personalitemsmustbeclearedfromdesksandchairsandplacedinabagonthefloor,andphonesmustbeturnedoff.Forinformationonwhatconstitutesplagiarism,consulttheUFPlagiarismGuideathttp://web.uflib.ufl.edu/msl/07b/studentplagiarism.html.Ifyouhaveanyquestions,pleaseaskme.Anonlineplagiarismcheckerservicemaybeusedtoscreenpapers.

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GradingScale:

SeethefollowingwebpageforUFpoliciesforassigninggradepoints:https://catalog.ufl.edu/ugrad/current/regulations/info/grades.aspx.UMatter,WeCare:Ifyouorafriendisindistress,pleasecontactumatter@ufl.eduor(352)392-1575sothatateammembercanreachouttothestudent.CounselingandWellnessCenter:http://www.counseling.ufl.eduor(352)392-157UniversityPoliceDepartment:(352)392-1111or9-1-1foremergenciesSexualAssaultRecoveryServices(SARS),StudentHealthCareCenter,(352)392-1161.