Number 52 – Fall 2017

newsletterAlumni

Published by the Alumni Association of Contents

From the Director ...... 3 The Institute of Fine Arts Alumni Updates ...... 20 in the Aftermath of the A Wistful ‘So Long’ to our Beloved May 4, 1970 Kent State Killings ....8 Doctors of Philosophy Conferred and Admired Director Pat Rubin ....4 in 2016-2017 ...... 30 Thinking out of the Box: You Never From Warburg to Duke: Know Where it Will Lead ...... 12 Masters Degrees Conferred Living at the Institute ...... 6 in 2016-2017 ...... 30 The Year in Pictures ...... 14 Institute Donors ...... 32 Faculty Updates ...... 16

Institute of Fine Arts Alumni Association

Officers: Advisory Council Members: Committees:

President william Ambler Walter S. Cook Lecture Jennifer eskin [email protected] Jay levenson, Chair [email protected] susan Galassi [email protected] [email protected] Yvonne elet Vice President and Kathryn Calley Galitz Jennifer eskin Acting Treasurer [email protected] susan Galassi Jennifer Perry Matthew Israel Debra Pincus [email protected] [email protected] Katherine schwab lynda Klich Secretary [email protected] Newsletter Johanna levy Anne Hrychuk Kontokosta Martha Dunkelman [email protected] [email protected] [email protected] Debra Pincus Connor Hamm, student assistant [email protected] History of the Institute of Fine Arts rebecca rushfield, Chair [email protected]

Alumni Reunion Alicia lubowski-Jahn, Chair [email protected] william Ambler

2 From the Director Christine Poggi, Judy and Michael Steinhardt Director

Metropolitan Museum of Art, the Frick varied program. It will include occasional Collection, Museum of Modern Art, and a collaboration and co-sponsorship of exhibitions, diverse range of other museums. Although events, and performances with our colleagues this process is still in an early phase, we are across the University. Our students will already able to offer a Curatorial studies continue to play a major role in all of the seminar this fall. titled “rethinking the British exhibitions. Decorative Arts Galleries at the Met: A Case- study in Curatorial Practice,” this seminar One of the ideas I brought to the interview allows students to analyze every aspect of the process was that of sponsoring a series of reinstallation of the British Galleries devoted to Institute Forums in which one or more Institute decorative arts and sculpture, scheduled to open faculty members would organize a series of at the Met in mid-2019. As we work toward a lectures, panels, a conference, or other events newly configured and truly exciting Curatorial in collaboration with one or more colleagues studies program, we plan to involve some of from other departments, schools, or institutes From the Director our alumni, given that so many of you have at nYU. this first, experimental phase of the Christine Poggi gone on to distinguished careers as curators Institute Forum will last three years. Although and conservators, or as museum and gallery it is too early to tell how this will work out in Having assumed the role of Director of the professionals. what are the most important practice, I am optimistic that it will yield highly Institute of Fine Arts, I am delighted to express issues and topics that such a program should engaging discussions on topics of importance in my gratitude for the warm welcome I have address? If you are interested in sharing your the highly volatile world in which we live. received. It has been a pleasure to begin working thoughts, please contact me or Professor sullivan. with so many wonderful individuals, including some Institute students have expressed their members of the faculty, board, administration, In response to student interest, we are also in interest in more occasions for informal, social and staff, as well as students and alumni. I the process of establishing an online student- gathering. to this end, we have begun to host would like to offer special thanks to Patricia run, peer-reviewed publication. students a monthly happy hour on Friday afternoons. rubin, the former Director, for her assistance will have the ability to take an active role in Alumni are warmly invited to attend this with the transition process. I am also grateful to publishing their scholarship in a respected happy hour when they can. Bringing students, edward J. sullivan for accepting my invitation journal, with a wide distribution. the online faculty, and alumni together in this way can to serve as Deputy Director, a position that platform will allow students to explore a range strengthen our sense of community and it will carries many important responsibilities. the of creative formats, and, we hope, to shorten give me a chance to talk with those of you I Institute is indeed a very unique place, with the usual publication timeframe. Please stand have not yet met. Please introduce yourself to a distinguished history and well-deserved by for the first issue! me if you attend. reputation for excellence and innovation in the teaching of art history, conservation, Over the last few years, students have also In order for the Institute to retain its archaeology, and curatorial studies. It is exciting had the opportunity to organize exhibitions preeminence in the training of art historians, to be able to work collaboratively with so many in the Great Hall and loeb room. this curators, conservators and other arts of you to support and expand existing programs is a very worthwhile initiative, which is professionals, we depend upon the engagement and initiatives, as well as to revive or launch currently overseen by Professor robert and generous support of our alumni. Your new ones. slifkin. In response to queries about possible continued support allows us to think boldly collaborations from University trustees, and creatively about what is possible for the I am pleased to announce that the Institute members of the Institute Board, and colleagues Institute, now and in the future. is currently rethinking the Curatorial studies in various departments and schools at nYU, Certificate Program with curators at the we will now have an expanded and more

Institute of Fine Arts Alumni Association Mission Statement the mission of the Alumni Association of the Institute of Fine Arts is to foster a strong sense of community among the alumni through social and scholarly events, and through the publication of the newsletter; to support student research through travel grants with funds raised by the Association; and to preserve the history of the Institute through recording oral histories and the collecting of archival documents.

3 A Wistful “So Long” to our Beloved and Admired Director Pat Rubin

Gertje Utley, ’86

Celebrating Pat rubin and her role at the Institute of Fine Arts is a great privilege and a very personal pleasure for me. But it is, of course, tinged with the sadness of having to acknowledge a future without Pat rubin, at the end of her directorship at nYU’s Institute of Fine Arts. And, although Pat will remain with us, teaching her specialty in Italian renaissance studies, we will lose her touch of animating the intellectual life of the Institute. I am certain that you will all agree how much we appreciate and admire Pat, not only in her capacity as the Director of the Institute, or for her extensive scholarship and experience, but at least as much for being always cheerful, engaged and engaging, brightening the place with her infectious smile. You came away from every meeting with her, however short, revitalized by her vitality and spirit.

Pat came to the Institute with a most impressive curriculum vita. Her early years in Pat Rubin at Institute Alumni Reunion with Jonathan Brown, February 2017 Florence at la Pietra left their mark on her work, and Giorgio Vasari and renaissance Florence became the main focus of her in england, America, and Italy. Moreover, she the list of all her accomplishments, research and publications. she completed her has appeared almost yearly in programs on publications, and honors is truly too long studies at Yale, Harvard, and in london. Her BBC2 and BBC tV. to include here. I only mention what she PhD dissertation, Vasari as Biographer, was herself identified as the greatest honor she later published by Yale under the title Giorgio she has published widely in books, catalogues ever received, a Festschrift of essays by her Vasari: Art and History (1989) and was the and magazines. Her approach in her studies Courtauld Institute students,“Une insalata recipient of the eric Mitchell Prize. In the is interdisciplinary and fueled by her desire di più erbe”: Festschrift for Patricia Lee Rubin following years she won awards, fellowships to understand the sources of her material. (2011). and grants for each one of her projects. she is particularly interested in the history of collecting as well as in modes of visual It is with this dizzying background as scholar, Pat taught, among other venues, at the perception. Her study on Vasari’s Lives made teacher, and organizer of international Kunsthistorisches Institut in Florence, at her focus in particular on rhetoric, invention conferences that Pat came to the Institute Yale, and at the Courtauld Institute of Art. and the meaning of history. In 1999 she of Fine Arts as Judy and Michael steinhardt she served as acting Director of the Harvard co-curated, with Alison wright, the exhibition Director in september 2009. Her first University Center for renaissance studies, Renaissance Florence: the Art of the 1470s at the impressions about the Institute came from Villa I tatti, as well as on several of its advisory national Gallery in london. she followed alumni who told her about the tough committees. she has been a member of endless that with Images and Identity in Fifteenth- academic climate that was propagated by an committees and editorial boards. Over the Century Florence (Yale University Press, 2007). aging corpus of elderly european professors. years, Pat has contributed in various capacities But they also admitted to having benefitted to innumerable projects in galleries and Before coming to new York and nYU’s from the vital impact of the unparalleled museums and organized and co-organized too Institute of Fine Arts, she served in london education they received there. many conferences, lecture series, and seminars not only as the Deputy Director of the to include here. she has supervised various Courtauld Institute, but also as the founding Pat credits the Institute’s unique geographical PhD candidates, organized at least thirteen leader of its Forum of Art research, “one of situation, outside and quite removed from international conferences, and contributed to the world’s most highly regarded advanced the main campus of nYU, for allowing far endless conferences and lectures over the years research programs in art history.” greater interaction with the life of the city

4 than if it were part of a normal campus. And professions, that of meeting new people the MA and the PhD studies. And she has yet, while the city thus becomes the wider that share your interests, as students become made it possible, through new ways of raising campus, this dispersive interaction with the friends and colleagues. funds such as the Connoisseur Circle, that city encourages at the same time a more the schooling of the PhD students is totally intensive communication within the Institute this experience was particularly intensive with funded. and among the faculty. those students, ten each year, selected half among art history and half among conservation Besides all of that and much more than can be Under Pat’s leadership the Institute has indeed students of the Institute, who came to join her mentioned here, Pat continues to be a brilliant changed. she brought it life and unbounded for two weeks each freezing January at la Pietra scholar and has just finished her work on intellectual vitality. From a rather dour if in Florence. this sojourn was an extremely yet another publication. Its title, as I see it, serious and respected academic institute it illuminating experience for all involved and reveals a lot about the spunkiness of her has become a vivacious forum, a place where gave students the opportunity to investigate the brilliant mind: “Seen from Behind: Perspectives ideas of the strictest intellectual standards understudied treasures of la Pietra. on the Male Body and Italian Renaissance Art” are exchanged and scholarship of the highest (Yale University Press, 2018). order is produced. I recall the old days when Under Pat’s leadership many new initiatives we got dressed up for the four or five yearly have been launched at the Institute. to name Pat is now embarking on two consecutive public lectures. now there are almost as many but a few: she has vitalized and activated the years of sabbatical. she is off to Florence lectures every week, addressing the various student body and encouraged, for example, where she will put the finishing touches on disciplines, and aimed at the student and the program of exhibitions that animate the her upcoming lecture, “Victoria and women alumni body as well as visiting scholars. Pat big hall in our building. she has encouraged writers on Art.” And she will be figuring understood the situation of the Institute to class trips and academic group travel as well out what her next important project shall be. be that of a research institute that needed to as small alumni events such as receptions in we will miss her, the sound of her cheerful open up and create a wider, more inclusive homes of alumni to encourage opportunities laughter and so much more, but are looking conversation, which she felt was lacking when for intellectual exchange. she was the driving forward to her return to the Institute in she arrived. force in the installation of our online media, a professorial capacity. Until then, we which allows lectures to be archived and easily wish her the most rewarding time and a From her beginning as the head of the accessed electronically. great step forward in her brilliant career. Institute she has been recognized as an active As she says herself: “the great thing about supporter of student and faculty interests. she Pat has also totally changed the academic being an academic is that it is an ever also found that not enough attention had been study program into two separate avenues, expanding universe.” paid to the alumni. she started by upgrading the alumni database and managed over the years to get far greater involvement from alumni. their participation in fundraising is now among the largest among nYU alumni. In fact in May 2016 the Institute stood out as number one amidst the entire nYU community in percentage of alumni participation in donations.

Pat also realized that to be part of and leading a teaching institution you had to be teaching yourself. Her position as director, however, allowed her time for only one seminar a semester. while she admits the difficulties of teaching, she also profoundly relishes the joys that it brought her. Getting to know her students, who were a mix of art history MA and PhD students, as well as conservation students, widened her universe. teaching for her affords a unique experience among Pat at New Alumni Toast, with Jenny Eskin at right, May 2017

5 From Warburg to Duke: Living at the Institute

Cecil L. Striker, ’68

“would you be interested in replacing me as resident student? Craig smyth suggested that I ask you.” the question came from my friend wayne Dynes, who was about to leave for rome to take the position of translation editor at the Encyclopedia of World Art. the year was 1958 and the Institute was still in the warburg house at 17 east 80th street.

I had only a vague idea about the duties of resident student and wayne described it briefly. It is not very demanding, but you are essentially on-call anytime. the main tasks are recruiting and instructing receptionists about the operation of the telephone switchboard. It was an old type with plugs on wires to connect to the extension telephones. You must also recruit and supervise the slide machine operators and check that there are always spare bulbs for the four projectors in each classroom. this was at the very beginning of the change from large glass slides to 35mm. this task required a daily check in each of the classrooms and then there were miscellaneous odd jobs, such as buying the bottle of sherry to celebrate the successful oral defense of theses. In return for this, you were given a small bedroom in the Institute. As if to encourage me, wayne mentioned that the position in the past had been held by such prominent graduates as Fred Hartt and Creighton Gilbert.

I was sold. I went to see Craig smyth to thank him for suggesting me, and he seemed very pleased with my acceptance. One week later, I moved from my shared apartment on west 81st street into the Institute bedroom. the room was very small, just large enough for a bed and chest of drawers. It probably had been a closet. Fortunately, just two weeks after I had moved Craig smyth suggested that I could move into the “rumpus room.” this The Warburg house at 17 East 80th Street, home of the Institute from the 1930s until 1959. was a vast room, occupying most of the top floor of the house, and was furnished with a large couch, chairs, and tables, possibly left by Just learning where the light switches were building to myself in evenings after closing the warburgs. walter Cook had used it as his and how to move around in the building time. All of the books in the small Institute office for many years and his desk was there, after dark was the first task. there was a small library were there, and there was never a but he no longer came to the Institute, and the refrigerator in a back room of the ground problem finding a quiet place to study. I could room had been unused for years. floor, which was used by all of the students. even carry my typewriter around and take so I found it best to take most of my meals notes with it, impossible, of course, during the It took some time to adapt to the living at nearby restaurants. within several weeks day. And occasionally I invited friends to join conditions and feel comfortable with them. I began to enjoy the pleasure of having the me for a drink in the rumpus room.

6 Alumni Voices

Doing the tasks of resident student by no means his first visit, but his first with attached to them. Venturi was scrupulously became, after several weeks of learning, quite her. then, for many months thereafter I was careful that none of these modifications easy and routine. It also brought the pleasure a general errand boy. the greatest pleasure damage the original decoration of these rooms. of getting to know—and being known by—all in this was helping robert Venturi, who the biggest job was moving the books and of the faculty. From time to time I was also had been chosen architect for the transition the slide room, and acquiring the furnishings asked to show visiting lecturers around, and through his acquaintanceship with richard for the offices and study rooms. when the I was often the first person to whom new Krautheimer during the previous two years move was complete I was offered as my students came with various practical questions at the American Academy in rome. this bedroom the southeast corner room on the or problems. Almost from the start I became was Venturi’s first job. My friendship with third floor. All other rooms on the third floor friendly with Craig smyth and I would later him would be revived when years later I was were faculty offices. become his research assistant. this friendship appointed at the University of Pennsylvania. continued through my entire later career. Moving to the Duke House made little while there were no significant change in my living arrangement. One But this position would be completely modifications made in the Duke House difference was the infra-red security system changed with the offer to the Institute of the building in adapting it to the needs of the installed on the main floor. this was turned James B. Duke House. I was involved with Institute, the move was a major job. the main on every evening at closing time, which the move from the very beginning. My first task of Venturi was designing and installing required me to enter or leave the building visit to the house was with Craig smyth when the book shelving in the separate study by elevator to the basement and to use the he was being shown around by Doris Duke, rooms and partitioning off the faculty offices basement door. the amusing twist to this happened almost every time I took a taxi home to the Institute at night. when the cab stopped in front of this building I was almost always asked by the driver in amazement, “Is this your home?!” And I would always reply, “Yes.” then I would wait till he was gone before retreating inelegantly down to the basement door. even though the main floor was off-limits to me at night, I could still use the second floor study rooms.

My responsibilities in the Duke House were little changed by the move. the receptionist still had to learn the old type switchboard, and we were still dealing with four projectors in each classroom. the large glass slides would be given up only later in favor of 35mm slides. PowerPoint was still unknown.

At the end of spring semester 1960 I prepared to leave on a Fulbright to Germany, and I asked Craig smyth if he wanted me to look for a replacement. “I’m sorry,” he said. “we must use your room for a faculty office. I hope we will survive without a resident A gathering of Institute students and faculty at 17 East 80th Street student.”

7 From the Institute of Fine Arts Oral History Archive: The Institute of Fine Arts in the Aftermath of the May 4, 1970 Kent State killings

By Rebecca Anne Rushfield, ‘80 as in most of the world. Until the Kent state voted in the Presidential election, “feeling that killings, however, the Institute of Fine Arts was a choice between lBJ’s vice-president and the last year, the IFA Alumni Association removed from the greater part of that unrest. republican candidate was unpalatable.” Newsletter published an excerpt from Professor In a June 30, 2016 telephone conversation, Colin t. eisler’s February 23, 2008 oral history richard (Dick) stone remarked that the In some ways, the Institute had not interview conducted by Alison west. He spoke Institute was very remote from the massive entered the 1960s. In a June 7, 2016 email, about the reactions at the Institute to the May Midwest universities and even from the rest Barry Craig observed “that most male 4, 1970 killing by national Guardsmen of of new York University and, as a graduate students wore suit and tie and most women four unarmed Kent state University students student here, he was rather separated from the students seemed dressed ready for the Ball who were protesting the United states world. He didn’t have much to do with the or some other formal occasion. I began to bombing campaign in Cambodia. Other Vietnam war protests going on around the deliberately dress down. I remember turning Institute faculty and alumni have also spoken United states and didn’t see much evidence up to stella Kramrisch’s class on ‘Images of in interviews about that extraordinary time in of student uprisings at the Institute. In a May shiva’ dressed in a pair of jeans with a big red the life of the institution. 31, 2016 interview, Betsy rosasco admitted patch on the arse, no shirt and new Guinea that before May 4 , she had been caught up in dogs’ teeth necklace; sat under a spotlight the late 1960s and early 1970s were a her studies at the Institute and had never been in a yoga posture …” Institute students did time of great trauma and upheaval in America to a protest rally or march. she hadn’t even not participate in the student uprisings of

March on Washington, May 9, 1970 (from Smithsonian.com, January 17, 2017)

8 the late 1960s. In a June 6, 2016 telephone In the days after the killings, the Institute was relieved not to have had to deal with conversation John Hunisak said, “students at held many meetings, sometimes during the this situation. In a May 15, 1992 interview the IFA had shown no political leanings nor day and other times in the evening. John conducted by richard Candida smith for had protested the Vietnam war.” In a May Hunisak recalled that “when there were the Archives of American Art, smyth stated, 28, 2016 email, Anita Moskowitz concurred, many people who wanted to attend, they “It was robert Goldwater who was in my saying that “most IFA students, as far as I can took place in the lecture hall. when there place for that semester, and he dealt with it. recall, were not especially active politically.” were fewer people, they took place in the As richard Krautheimer said, ‘I never knew she was the exception as during her years at seminar room.” some Institute traditions the depth and wisdom of that man until the Institute she became a draft counselor, were inviolable as he also said that “the weekly that moment.’ He was absolutely superb. training at Berkeley during the summer and Friday afternoon tea was held after one of whether I could have done it, I have no Columbia University during the year. not the [daytime] meetings.” He continued that clue.” thinking about Goldwater’s response surprisingly, she did her counseling out of an “many of the faculty (except those who were to the student activism, in a June 9, 2016 office at Columbia University and not at the needed downtown) attended the first meeting. conversation Günter Kopcke said that “robert Institute. At that meeting, Alexander soper got up Goldwater had great sympathy for students. and said that they were all fools and that if He was thoughtful and fair-minded.” Barry John Hunisak felt that the killings at they wanted to get shot, they should join the Craig recalled “having a discussion with Kent state shocked the Institute’s students barricades. He was the only person to speak robert Goldwater about all this stirring, and and transformed them overnight. Barry Craig against overt political action.” while he expressed a preference for a more remembered being insistent that the students measured response than I was demonstrating, at the Institute should express concern over In a november 19, 2016 email, Joyce he didn’t censure me.” However, not everyone the killings at Kent state. He “got hold of Hill stoner wrote that she “was in the group felt that Goldwater had handled the situation some pamphlets or other literature generated when all the Conservation students and with sensitivity. Colin eisler remembered by students at the washington square campus upstairs ArtH students were called into the Goldwater telling the students that “they and/or Columbia University [where he was lecture room on the first floor where everyone had no right whatever to share any political taking a course] and posting that up around was horrified at Kent state. My most vivid feelings” and the students being devastated by the Institute building.” He also—although he memory was stuffy, distant Jose lopez rey this. is “not entirely sure whether or not the other shouting ‘we must not let them get away with thing I did was concurrent with the reaction this. we must do something’—and suddenly Betsy rosasco remembered Goldwater to Kent state”...“ went up to the Harlem HQ being very human.” running the meetings. “they talked and of the Black Panthers and asked them for talked about whether or not to go on strike, literature I could put around the Institute. At this time, robert Goldwater was and when it had been decided to suspend they were understandably a bit suspicious of Acting Director of the Institute while Craig classes, they discussed other actions that me but gave me stuff which I did put around Hugh smyth was on leave at the Institute might register a protest. Professor eisler was the Institute.” of Advanced studies in Princeton. smyth in favor of the strike. Professor lavin said that

continued on page 10

Help Save the Institute’s History In 2032, the Institute of Fine Arts will celebrate its centennial. In preparation for this anniversary, the Alumni Association’s Committee on the History of the Institute of Fine Arts is working to locate materials on the teaching of art history and student life at the Institute. we ask alumni to let us know if you have in your possession or know the location of photos, syllabi, class notes, slide lists, audiotapes of lectures, and other materials. Please send this information to rebecca rushfield ’80, Chair, Committee on the History of the Institute of Fine Arts at [email protected]

9 Aftermath of the May 4, 1970 Kent State killings (continued)

he would give money to purchase books that wrote, “there is a bit of confusion between the Institute students who had not been to the students could read about how the U.s. the banner and bunting. the words ‘we prior anti-war rallies were given advice by got into southeast Asia. the older, German remember Kent state’ were written in white seasoned protesters. John recalled that two professors (Krautheimer, von Blanckenhagen) on black banner and hung on the building, nYU undergraduate students who joined felt that the Institute should go on with probably across the upper front so it could them on the bus explained to them what to classes.” be seen. I do not recall bunting, but this do if they got arrested or beaten up. He was too may have been present.” Betsy rosasco “told that if they got hit on the head, they Günter Kopcke had been at the Institute recalled that the students hung black crepe on would be alright, but it might bleed a lot and for just a year and felt “like a student among the building’s balcony, although she couldn’t they should apply pressure.” Betsy recalled all the important faculty.” He recalled that, for recall who did the physical work of hanging that when the bus parked near the lincoln a few days, classes were cancelled and meetings it. John Hunisak spoke of “artfully draped Memorial, rally organizers got on and “told took place on a daily basis. Anita Moskowitz black bunting hanging from the balconies on everyone to write two phone numbers for recalled “all of us in Marvin trachtenberg’s both the Fifth Avenue side and the 78th street legal Aid on their arms in case there was seminar deciding not to attend class but rather side” and said that it remained up at least trouble and they got arrested (and lost their to join a protest outside on Fifth Avenue until May 10. On the other hand, nanette belongings in the melee).” John remembered between the Institute and the Met, carrying solomon concurred with Colin eisler that that there were thousands of people in signs and chanting.” However, not all classes a banner in support of the students at Kent washington and that the whole Mall was were cancelled. In a May 2016 email, Martha state was draped out of the building and filled with people, but there were no speeches Dunkelman wrote, “I was taking a seminar visible from Fifth Avenue. she said that after and no program. “Just all of the people with Irving lavin—one on the sculpture of a day or two the students were ordered by the milling around.” After a while, with nothing Michelangelo, I believe—and he chose not to Institute board to take it down. no one seems happening, he went to the national Gallery to cancel the class. As we began, he said, his voice to have photos of the bunting or banner. As look at art. Betsy recalled that the day was very choked, that he felt to shut down the study Betsy rosasco pointed out, unlike today when hot, so hot that all of the Institute students of the humanities would be a terrible way to almost everyone has a decent camera on his left the rally “drifting away in little clusters— protest. I agreed with him then--I now think or her phone, most people then did not have and ended up in the national Gallery to look I was wrong. Most members of the seminar good cameras to use to document such things. at art. the friendly guard inquired about attended, even though some of our fellow the telephone numbers written in ballpoint students outside the room were angry—the Besides hanging the banner/bunting in pen the length of their arms, which they door was rattled at least once or twice.” a gesture of mourning and support, what apparently hadn’t seen on other museum else did Institute students do to protest the visitors that day.” As this took place at the very end of the killings at Kent state? According to John academic year, Betsy rosasco recalled that Hunisak, they floated lots of ideas, but the the May 1970 political activism and students were given the option whether to take only one that came to fruition was renting a involvement at the Institute was intense but their final exams. she did not take Professor bus and going to washington, D.C. for the it was short lived. Jay levenson, who entered Fahy’s exam, but took Professor rosenblum’s huge rally that was planned for saturday, May the Institute in september 1970, wrote in a exam which was one slide comparison 9. According to a May 10, 1970 article in The May 26, 2016 email that by that time, “the between The Raft of the Medusa by Gericault New York Times, on May 9, ”between 75,000 spring protests weren’t a current subject.” And and Liberty Leading the People by Delacroix. and 100,000 people, drawn mostly from the later in the 1970s when shelley Zuraw was she “wrote and wrote and got the only A+ of nation’s campuses, demonstrated peaceably a student in Professor von Blanckenhagen’s her career.” near the white House.” John Hunisak and class, there was a clear lack of political interest Betsy rosasco were among them. among students. In a May 1, 2017 interview Many of the students whose classes were she noted that Von Blanckenhagen in speaking cancelled stayed away from the Institute. John recalled that Institute students, about Julius Caesar referred to him as “a Others came to attend the almost daily being Institute students, “were formally traitor to his class.” And then said something meetings. Martha Dunkelman recalled that dressed in order to show that they were on the order of ‘like, of course, that great “the building was filled with angry energy as responsible citizens whose voice should be American President’ [meaning Franklin everyone tried to figure out what to do.” One heard.” Betsy noted that the Institute students Delano roosevelt]. she believes that she “was thing the students did was hang a banner and/ “did not look like the other groups” and actually the only person in the room—and it or a black crepe bunting on the building. remembered John wearing a light colored was a small room filled—who knew what he In a June 29, 2016 email, Colin eisler three-piece suit “like Bernard Berenson.” was talking about. “

10 Where to find the Institute on the Web IFA website: http://www.ifa.nyu.edu

On the website: 1 Click Community, and then Alumni and find further links to alumni achievements, alumni in the news and the alumni mapping project.

2 Click About, which takes you directly to many Institute social media sites, including: Facebook Twitter LinkedIn Vimeo Instagram sign up for the Institute email list at: nyu.edu/gsas/dept/fineart/mailinglist.htm explore the extensive library of videos of lectures and events at the Institute at: https://vimeo.com/ifa subscribe to the Duke House Diaries email [email protected] with “Duke House Diary” in the subject line and request to be added to the list.

11 Thinking Out of the Box: You Never Know Where It Will Lead

By Alice Sachs Zimet, ’74

It seems that I’ve always had a knack for thinking out of the box occurred with my of the Arts ran out, I realized I wanted to getting in early. not only did I begin interest in Museum education in the mid- pursue a career in philanthropy given my assembling a collection of photography in the 1970s.) My interest in the arts next led me to interest in working with non-profits. A quick mid-1980s when the market was still nascent, a job at the American Federation of the Arts. sideline along the way led me to intern at but I also pioneered the first arts sponsorship After a grant from the national endowment the International Center for Photography. program in a commercial bank at the Chase Manhattan Bank, where I was Director of Cultural Affairs.

For as long as I can remember, I was immersed in and surrounded by art. My parents celebrated each of our births with the purchase of artwork. My two sisters were given a Paul Klee and two lautrec lithographs, respectively. I was given a suite of 13 Pierre Bonnard lithographs consisting of the entire set from “Quelques Aspects de la Vie de Paris.” Moreover, this was not the beginning of my family’s involvement with the art world. My mother, like my two sisters and me, majored in art history. A medievalist, my mother began collecting as soon as she graduated from college, and upon her marriage, was gifted a work of art by my great uncle, Paul sachs, who served as the Associate Director of the Fogg Art Museum and is known for having developed one of the earliest museum studies courses in the United states. enriched by the stories of my art-enthusiast family, I learned at an early age that art history wasn’t just about looking at art on the walls. Art remained a constant presence and great influence in my life.

Pioneering my own future in the arts, I pursued an education at syracuse University where I received a Bachelor of Arts in Art History (with a year off to study at the sorbonne in Paris, where my grandfather lived). After graduating, I began a summer internship at the Metropolitan Museum of Art, which, at the end of the summer, led to a position running the summer internship programs. this occurred while I pursued my Masters across the street at the Institute. During this internship, I worked in the education Department rather than a curatorial department, and my fascination with the field of museum education soon flourished. (Another example of getting in early and

12 Alumni Voices

Although ICP has changed since my days Art Museum (with sam wagstaff who had learning and am enthralled with teaching. As I as an intern, I have been involved ever since lent a portion of his collection), I found always say about collecting, I don’t tell people (40 years) as a Chase funder, fundraising what would be my first purchase: Andrew what to buy but how to buy. Decades spent consultant, on the school faculty, and as Bush’s Columbines. Only I couldn’t stop at collecting photography has taught me that you a member of its Acquisitions Committee. one. Already demonstrating that common should always buy with your heart, and not ICP has probably influenced me more than collector’s affliction – an insatiable appetite your ears because somebody told you to. anything else, as it provided the awareness of for art – I purchased a second piece by Bush, the power of photography. Studio Kitchen, to pair with the first. In today, I continue to be immersed retrospect, I now realize that was the initial in the photography world: as chair of the By 1979, I found myself at the Chase seed of a manic collector. Photography Collections Committee at the Manhattan Bank where I stayed for the next Harvard Art Museums; as a member of the 20 years, hired the day I was interviewed. I I left Chase in 1999 and founded my own Acquisitions Committee at ICP; and as a plugged away in the rockefeller-run bank’s consulting group, Arts + Business Partners, board member of the Magnum Foundation. I philanthropy office, convincing conservative offering workshops and specialist advisory am proud to say that several collector profiles corporate management to pledge money services in the area of corporate sponsorship, have been published including Art + Auction, to everything from the arts to the AIDs working with arts groups on how to find Artsy and Private Air magazine. I’m also crisis. After seven or so years, I moved to sponsors as well as with sponsors on how to an Adjunct Professor at nYU’s steinhardt the Marketing Department and quickly create more strategic partnerships. leveraging school of education, Graduate Program, pioneered a role as Director of Cultural decades of “insider knowledge,” I am a Arts Administration, where I teach classes on Affairs, establishing the bank’s first corporate “fundraising therapist,” helping both partners corporate sponsorship. sponsorship program. though now de rigueur, create mutually beneficial collaborations. this type of program was practically unheard At the Institute in the mid 1970’s, it was of at the time. From the mid-1980s and More recently, my passion for not easy to stand up for what one believed in throughout the 1990s, I increased the bank’s photography has created a springboard to and think out of the box. My fellow students involvement in the arts, where my corporate offer workshops and advisory services for were on track to become professors, curators sponsorship program “did good and did nascent to seasoned collectors as well as for and specialists. However, I found myself business,” generating over a billion dollars in photographers looking to get work out into interested in the nascent field of museum new assets under management and another the marketplace. As a collector, I share my education as well as nonprofit administration. billion dollars for other areas within the bank insights through workshops and ‘bootcamps,’ while not always easy to go against the flow, (across 14 countries and 20 U.s. cities). which encompass classroom sessions as well Institute professors were always supportive… as behind-the-scene visits out in the field to indeed, they gave me the confidence to believe while I was running Cultural Affairs, galleries, auction previews, art fairs and private in what I wanted to do. my boss gave me a very small annual bonus. collections. My aim is to empower others to And thus began my foray into collecting gain the confidence to buy smartly and to so I say, go with your instinct and think out photography. My first acquisition came help photographers get work out into the of the box. You never know where it will lead. in the mid-1980s with that initial bonus. marketplace. without realizing it, just like while attending an exhibition at the Parrish my great-uncle Paul, I believe in object-based

13 The Year in Pictures

Alumni Reunion, February 17, 2017 Photo credits: Lisa Hoang, Conley Lowrance

Alumni gathering in the Great Hall of the Institute Alumni in the Loeb Room of the Institute

More alumni celebration Alumni Advisory Council member Susan Galassi

Walter W.S. Cook Annual Lecture, April 26, 2017 Photo credits: Nita Lee Roberts

Professor Colin Eisler introducing the lecture Alumni Association President Jenny Eskin, Nadine Orenstein, speaking on speaker Nadine Orenstein, and Cook Lecture “Hercules Segers and Rembrandt, the Committee Chair Jay Levenson Eccentric and the Traditionalist” 14 New Alumni Toast, May 15, 2017 Photo credits: Nita Lee Roberts

New alum Katherine Ann Halcrow between her proud parents New alums Toasting

Director Pat Rubin and Alumni Advisory Council President Professors Shelley Rice, Meredith Martin, and Michele Matteini Jenny Eskin congratulating new alums

Student-Alumni Happy Hour, April 2017 Photo credit: Katherine Halcrow

Tessa Dikker, Cultural Officer, Netherlands Consulate General, and Professor Haverkamp-Begemann

15 Faculty Updates

Miriam Basilio “W comme Wunderkind,” in Nathalie Kagan- l’histoire au patrimoine,” Oran, 2015; “War Associate Professor of Art Régnier, ed., Kagan Architectures 1986-2016 as a Creative Force: Architectural Invention History and Museum (2016); “Afterwords, or the Encyclopedic 1939-1945,” Porto, 2015; “Catch up and Studies Temptation,” in Salomon Frausto, Tom Surpass: Amerikanizm in Post-Stalinist Publications: Now Avermaete, eds., Lexicon n. 1. On the Role Architecture and Urbanism,” Moscow, 2015; in paperback, Visual of the Architect (2016); “Ginsburger, Roger” “Inter-, bi-, ou transnationale: l’architecture Propaganda, Exhibitions, and “Le Corbusier,” in Evelyn Brockhoff et moderne à l’épreuve des frontières,” Paris, and the Spanish Civil War al., Akteure des Neuen Frankfurt, Biografien 2015; “Le Corbusier après Le Corbusier: de (2013/2017); “‘First Win aus Architektur, Politik und Kultur (2016); l’inachevé à l’inconstructible,” Le Corbusier: the War!’ Kati Horna, “Un internationalisme toujours critique,” in l’œuvre à l’épreuve de sa restauration, 19e Gendered Images, and Political Discord Nuno Grande, ed., Les Universalistes, 50 ans Rencontre de la Fondation Le Corbusier, During the Spanish Civil War,” in Told and d’architecture portugaise (2016); “Il progetto Paris, 2015; Keynote speaker, First Conference Untold: The Photo Stories of Kati Horna in the di architettura e la scuola,” Architettura civile on Metropolitan Governance and Territorial Illustrated Press (2017). (2016); “Anatomia del libro di architettura,” Competitiveness, Barcelona, 2015; “Scenes Special Lectures: Panel with Juan José Domus (2016); “La maison atelier de Jean of the World to Come: America as Promise Lahuerta on Paula Barreiro Lopez, Avant-garde Lurçat,” La Lettre de l’Académie des Beaux-Arts and Menace,” 2014; “Verso una storia Art and Criticism in Franco’s Spain, Barcelona, (2016); “Architecture without capital letters,” transurbana delle città,” “Historia rerum,” 2017. Álvaro Siza 1995-2016, AV Monografías historical conference in honor of Benedetto (2016); “Nouveaux réacs, vieux réacs et Gravagnuolo, Naples, 2014; Conclusive Jonathan Brown ignorants de toujours,” d’Architectures (2016); address, “Celebrare cinquant’anni, dopo Carroll and Milton Petrie Professor of Fine Paris-Londres (2016); France (2015); Une averne celebrati cento; ventotto anni di studi Arts architecture de l’engagement: l’AUA (1960­ e ricerche su Le Corbusier (1987-2015),” Publications: Co-editor and contributor, 1985) (2015); La Coupure entre architectes et Torino, 2014; “Frank Gehry’s Artists: Friends, Painting in Latin America: intellectuels, ou les enseignements de l’italophilie Patrons, and Sources,” Symposium on 1500-1800 (2016); In the Shadow of (2015); Le Corbusier: la planète comme chantier Architecture and the Arts from 1945 to 1970, Velázquez: A Life in Art History (2014). (2015). Comparisons and Intertexts, Rome, 2014; “Le Special Lectures: “Conversations and Round Special Lectures: “Building a New New plan d’Henri Prost pour Casablanca, ou quand Table with Pierre Rosenberg,” Paris, 2015 World: Amerikanizm in Russian Architecture l’art urbain devient urbanisme,” Casablanca, News: Retiring on August 31, 2018, after and Urban Design,” Austin, 2017; “La 2014; “Soviet Embassies during the Cold 43 years at the Institute, having supervised Seconde Guerre mondiale, ou le grand War,” New York, 2014; “Les expositions around 40 doctoral dissertations. recyclage,” Lille, 2017; “Frank Gehry, dai comme révision critique de l’histoire,” Paris, schizzi all’oleografia,” Turin, 2017; “Memory 2014. Jean-Louis Cohen Erased/Regained: Marseilles at War,” Rome, Recent Honors & Awards: Officer in the Sheldon H. Solow Professor in the History of 2017; “L’invenzione di Frank Gehry,” Rome, Order of the Arts and Letters, Paris, 2016; Architecture 2017; “Les lectures de Frank Lloyd Wright, Borromini Chair, Accademia di Architettura, Publications: Architecture, Modernité, de l’Atlantique à l’Oural,” Paris, 2017; Università della Svizzera italiana, 2016-17; Modernisation (2017); “Lissitzky’s “Le Grand Paris en projet, 2007-2016,” Premio Argan of the Associazione Nazionale ‘Amerikanizm’,” in Eszter Steierhoffer, ed., Astana, 2016; “La ville du futur: un brève Centri Storici Artistici, 2015; Special mention Imagine Moscow: Architecture, Propaganda, historique,” Astana, 2016, and Almaty, of the Jury, 14th Architectural Biennial, Revolution (2017); “Le Corbusier après Le 2016; “Le Corbusier et le paysage,” Almaty, Venice, 2014; Invited professor at the Collège Corbusier: de l’inachevé à l’inconstructible,” 2016; “Le patrimoine moderne: aperçus de France, Paris, summer semesters of 2014, in Le Corbusier, l’œuvre à l’épreuve de sa Est-Ouest,” Almaty, 2016; “Le Corbusier, 2015, and 2016. restauration (2017); “Ordre et destin de aventures à Moscou,” Chymkent, 2016; la villa urbaine,” in Atelier Kempe Thill, “Architetti e politici; alleanze e malintesi,” Finbarr Barry Flood Villa urbaine (2017); “Auschwitz, miejsce Mantua, 2016; “Architecture in Uniform, William R. Kenan, Jr. Professor of Humanities wielopzemysłowe,” Autoportret (2017); War as a Creative Force,” Daejeon, 2016; Publications: “A Turk in the Dukhang? “Retour d’Amérique: pages d’écriture “Architectural Imagination, from the Primitive Comparative Perspectives on Elite Dress russes,” Europe (2017); “Le ‘Grand Paris’ et Hut to Modern Housing,” 2016.“The Art of in Medieval Ladakh and the Caucasus,” l’urbanisme des métropoles modernes,” in Zigzag: Le Corbusier’s Politics,” Cambridge, Proceedings of the Société Européenne pour Julie Corteville, Marie-Pierre Deguillaume, MA, 2016; “Architecture entre France l’Étude des Civilisations de l’Himalaya et de eds., Aux origines du Grand Paris, 130 ans et Italie: trente ans après,” Nancy, 2016; l’Asie Centrale (2013/2017); “Idol Breaking as d’histoire (2016); “Amérique/Europe: le “Building a New New World: Amerikanizm Image Making in the ‘Islamic State,’” Religion transfert à l’œuvre,” in Giovanni Careri, and the Soviet City,” Ann Arbor, 2015; and Society: Advances in Research (2016); Georges Didi-Huberman, eds., “Mise au point: Le Corbusier et la politique,” “Eclecticism and Regionalism: The Gwalior Hubert Damisch, l’art au travail (2016); Valencia, 2015; “L’architecture moderne: de Qur’an and the Ghurid Legacy to Post­ 16 Mongol Art,” in Eloïse Brac de la Perrière and of images’ (Bilderverbot) as a perceived at the Institute. Minturn also participated in Monique Burési, eds., Le coran de Gwalior. characteristic of Islamic cultures. Based on the Institute’s The Attitudes of Works of Art Polysémie d’un manuscript à peintures (2016); both empirical and theoretical approaches, the Symposium. “‘God’s Wonder’: Marble as Medium and the book analyses the interrelationships between Natural Image in Mosques and Modernism,” proscription, prescription, and artistic praxis Mia Mochizuki West 86th: A Journal of Decorative Arts, Design from the time of the Prophet Muhammad to Associate Professor History, and Material Culture (2016); “The the present day. The book will be published by of the History of Flaw in the Carpet: Disjunctive Continuities Reaktion Books, London. Art and Riegl’s Arabesque,” in Gülru Necipoğlu Publications: and Alina Payne, eds., Histories of Ornament: Robert Lubar Dawn of a Global From Global to Local (2016); foreword to Associate Professor of Fine Arts; Age: Visual Dialogue Kathleen James-Chakraborty, ed., India in Director, New York University-Madrid between Edo Japan Art in Ireland (2016); “Animal, Vegetal and Publications: “Joan Miro: Beyond the and the West, with Mineral: Ambiguity and Efficacy in the Constellations,” in Espacio Miro (2016); “Joan Yoriko Kobayashi- Nishapur Wall-Paintings,” Representations 133 Miro: Materiality and Metamorphosis,” in Sato (2017); (2016). Joan Miro: Materiality and Metamorphosis, The Reliquary Special Lectures: “The Relic as Image: Porto (2016); ed. and “Introduction,” Joan Reformed,” Art History (2017); “A Global Prophet Aura in an Age of Technological Miro and Twentieth Century Sculpture (2016); Eye: The Perception of Place in a Pair of Reproducibility,” in “Bilderfahrzeuge: “Miro/Guerrero: afinidades electivas,” in Jose Tokugawa World Map Screens,” The Japan Aby Warburg’s Legacy and the Future of Guerrero. The Presence of Black, 1950-1966 Review (2016); “Sacred Art in an Age of Iconology,” London, 2017; “Islam’s ‘Image (2014); “Father Cézanne,” in Barcelona, zona Mechanical Reproduction: The Salus Populi Problem’: A European History,” in “Art neutral (2014). Romani Madonna in the World” in Sacred and Politics,” Milan, 2017; “Not at Home? Special Lectures: “Dali’s Architectural and Profane in Early Modern Art (2016); “The Object Lessons from Anomaly,” Keynote Uncanny,” Jerusalem, 2017; “Joan Miró: Luso-Baroque Republic of Things and the lecture in symposium “Not At Home,” Materiality and Process,” Porto, 2016; “Joan Contingency of Contact,” Ellipsis: Journal of San Francisco, 2017; “Amplifying Aura? Miró y la escultura del siglo XX,” Madrid, the American Portuguese Studies Association The Prophetic Sandal in the Ages of its 2016. (2014); “The Diaspora of a Jesuit Press: Technological Reproducibility,” Stephen Mimetic Imitation on the World Stage” E. Ostrow Distinguished Visitor in the Meredith Martin in Illustrated Religious Texts in the North of Visual Arts, Portland OR, 2017; “From the Associate Professor of Art History Europe, 1500-1800 (2014); “Shock Value: Champs-Élysées to Cairo: Jacquemart’s Lions Publications: “History Repeats Itself in The Jesuit Martyrs of Japan and the Ethics of and Iconoclasm as Anti-Colonialism,” Paris, Jean-Léon Gerôme’s Reception of the Siamese Sight” in Sensational Religion: Sensory Cultures 2017; “Architecture as Archive: Indian and Ambassadors,” in The Art Bulletin (2017). in Material Practice (2014). Islamic Connections in Medieval Ethiopian Recent Honors & Awards: ACLS Collaborate Special Lectures: “Image-Chains,” keynote Architecture,” Hadassah and Daniel Khalili Research Fellowship (2016-18) to co-author at “Authenticity/Originality/Replication,” Memorial Lecture in Islamic Art and Culture, a book entitled The Sun King at Sea: Maritime Bern, 2016; “Challenges for a Global Art London, 2017; “Does Islam Have an ‘Image Art and Mediterranean Slavery in France during History,” Bern, 2016; “Worldly Maps: Problem’? Perspectives from European the Reign of Louis XIV. Sources, Attributions, Aspirations,” in History,” Mumbai, 2017; “Turning Turk? “Kirishitan Bungaku (Literary Legacies of Islamic Textiles and Islamicate Dress in Kent Minturn Kirishitan Culture: Missionary Writings Medieval Georgia and Ladakh,” with Irina Visiting Assistant Professor in the Vernacular),” Shimo-Goto Island, Koshoridze, Mumbai, 2017; “A Forgotten Publications: “Mad Scientist? Eugen 2016; “Oversight: Kirishitan Art in Situ,” in Cosmopolis: Art and Identity in ‘Arab’ Sind Gabritschevsky,” Followed by an “Kirishitan Bungaku (Literary Legacies of (800-1000),” Karachi, 2017. Interview with AFAM Curator Valérie Kirishitan Culture: Missionary Writings in Recent Honors & Awards: 2016-2018 Rousseau, Antiques (2017). the Vernacular),” Tokyo, 2016; “Postcards American Council for Learned Societies Special Lectures: “Early Freud for Art from the Edge,” Abu Dhabi, 2015; “Yashiro’s Collaborative Research Fellowship, with Historians,” New York, 2017; “Alfonso Details and the Problem of Place in Art Prof. Beate Fricke, UC Berkeley; 2015-16 Ossorio Takes the Lead,” New York, 2017. History,” Kyoto, 2014; “Worlding,” Tokyo, Fellow of the Wissenschaftskolleg zu Berlin News: Kent Minturn enjoyed his second year 2014; “Site, Sphere, Self: The Problem of (invited); 2014 Iris Foundation Awardee for as Visiting Assistant Professor at the Institute, Place in Cultural Interpretation,” Outstanding Scholarship in the Decorative especially his time acting as Director of the Global Japan Studies Workshop, Tokyo, 2014; Arts, Design History, and Material Culture. Fall 2017 Foundations I class, required of all “The Salus Populi Romani Madonna, the Current Research: Islam and Image: incoming MA students. In the spring he led a Printing Press, and the Catholic Reform of Polemics, Theology and Modernity: A seminar on “Modernism’s Reception of the Art the Image,” Kyoto Art History Colloquium: transhistorical exploration of the ‘prohibition of the Insane,” the first of its kind to be taught Sacred and Profane in Early Modern Art, 17 Faculty Updates CONTINuED

Kyoto, 2014; “The Tokyo World Map Discovery (with Elizabeth Horodowich), Hsueh-Man Shen Screens and the Elusive Coordinates of Place 2016-19. Assistant Professor; Ehrenkranz Chair in in Art History,” Kyoto, 2014; “Poetics and Current Research: “Amerasia in the Mirror World Art Pragmatics in the Portuguese Empire,” in of the European Imaginary.” I am researching “Mobilities and Materialities of the Early and writing chapters towards a book on the Modern World,” Berkeley, 2014. imagined extension between America and Recent Honors & Awards: Ashgate Editor’s Asia during the two centuries following Choice Selection for The Netherlandish Image Columbus’ discoveries, as seen in maps, after Iconoclasm, 1566-1672, 2015; Visiting texts, and works of art, in collaboration Research Scholar Fellowship, International with Elizabeth Horodowich, Professor of Research Center for Japanese Studies History, New Mexico State University; Publications: Authentic Replicas: Buddhist Art (Nichibunken), Kyoto, 2014; Publication “Mireya Lafuente and Gabriela Mistral.” in Medieval China (in press); “Art, Spirituality, Award for The Nomadic Object: Early I am leading the organization and web Cultural Heritage: the Buddhist Caves of Modern Religious Art in Global Contact, New upload of archival material related to the Dunhuang” in Cave Temples of Dunhuang: York University Abu Dhabi, Abu Dhabi, work of Mireya Lafuente, Chilean painter Buddhist Art on China’s Silk Road (2016); 2016; Primary Investigator, International (and my grandmother), and her lifelong “The China-Abbasid Ceramics Trade during Conference, “The Nomadic Object: Early correspondence with the poet Gabriela the Ninth and Tenth Centuries: Chinese Modern Religious Art in Global Contact,” Mistral. Ceramics Circulating in the Middle East” New York University Abu Dhabi, Abu Dhabi, News: Member, Institute for Advanced Study, in Blackwell Companion to Islamic Art and 2016. Princeton, Fall, 2017; Visiting Professor, Villa Architecture (2015); “Copies without the I Tatti, Florence, Spring, 2018. Original: King Aśoka’s 84,000 Stupas and Philippe de Montebello Their Replications in China” in Between Fiske Kimball Professor in the History and Hannelore Roemich East and West: Reproductions in Art (2014); Culture of Museums Chairman of the “Familiar Differences: Chinese Polychromes Special Lectures: “The Museum from the Conservation in the Indian Ocean Trade during the Ninth Outside In: The Indexical role and the Center; Professor of Century,” Beiträge zur Islamischen Archäologie Vicissitudes of the Classical in the Origins of Conservation Science (2014). the Museum as a Building Type,” New York, Publications: “Long­ Special Lectures: Keynote at U.S.-China 2016; Conversation with filmmaker Alejandro term Preservation of Museum Summit, organized by the American Jodorowsky Paris, 2016; Panel at the Prado for the Collection at the Federation of Arts and Asia Society, 2016; NYU Leadership Conference, Madrid, 2016. Egyptian Museum “Creating and Re-creating the Mogao Recent Honors & Awards: Edmund Burke – Pilot Project on Grottoes at Dunhuang,” Princeton, 2014; Award for Service to Culture and Society Environmental “Art and Material Culture of the Non- from the New Criterion, 2017; honored by the Monitoring,” ARCE Bulletin (2015); Han Regimes of Liao, Jin, and Yuan,” San American Austrian Foundation, 2017. “Recent Advances in Glass and Ceramics Francisco, 2013. Conservation” for the ICOM-CC Glass and News: Visiting Professor, Kyushu University Alexander Nagel Ceramics Working Group Interim Meeting, (Feb-Mar 2017). Deputy Director for Academic Affairs; Wroclaw (2016). Director of Graduate Studies Robert Slifkin Publications: “Flemish Portraits,” in Veronica Patricia Rubin Associate Professor of Fine Arts Roberts, ed., Nina Katchadourian: Curiouser, Judy and Michael Steinhardt Director; Publications: “Christian Marclay’s Real Time (2017); “Why do you peel me from myself?” Professor of Fine Arts Fiction,” in Jas Elsner, ed. Comparativism in in Evan Penny: Ask Your Body (2017). Publications: Seen from Behind: Perspectives Art History (2016); “Methodological Position Special Lectures: Keynote address: “Neither on the Male Body and Renaissance Art for a Second Degree Art History,” in Sabine Dead nor Alive,” in “Dead or Alive! On (forthcoming 2018). Kreibel and Andrés Zervigon, eds. Photography the Animation of Matter in Art and Visual Special Lectures: “(Be)hindsight: and Doubt (2016); “Joan Miró and Detrital Culture,” Copenhagen, 2016; “The Earth in Michelangelo, Modernity, and the Spectre Monumentalism in Postwar Sculpture,” Motion ca. 1500,” Washington DC, 2016; of the Ideal Male Nude,” Kent, 2014 and in Robert Lubar Messier, ed. Miró and “Amerasia: A Renaissance Discovery” (with London, 2016; “The View from Behind: Twentieth Century Sculpture, (2016); “Reality Elizabeth Horodowich), New York, 2016. the Male Bottom and the Meanings of Art,” Testing: Photography and/as Mass Media,” in Recent Honors & Awards: National Philadelphia, 2016. Photography at MoMA: 1960 until Now, III Endowment for the Humanities Collaborative (2015). Fellowship, for Amerasia: A Renaissance Recent Honors & Awards: Beinecke Fellow, Clark Art Institute, 2016.

18 Current Research: Book Project: The New Historiography (2017); “Jesús María Lazkano: Deux décennies d’exposition et d’étude de Monuments and the End of Man: U.S. Sculpture Meditations on Light, Air and Space” in Jesús l’art haïtien aux États-Unies et en Grande- Between War and Peace, 1945-1975. María Lazkano (2016); “Francisco Toledo: Bretagne” in Gradhiva - Revue d’Anthropologie the 1970s – Creativity and Consolidation” in et d’Histoires des Arts (2015); “Artists Before Edward Sullivan Francisco Toledo, Catalogue Raisonné (2017); the Lens: Painters and Photographers in Haiti” Helen Gould Sheppard Professor in the ed. and introductory essay in The Americas in rough the Lens: Haiti from Within and History of Art Revealed: Collecting Colonial and Modern Latin Without (2015). Publications: “Entre la estática y el American Art in the United States (2016); Special Lectures: “Radical Modernities on movimiento: La Naturaleza muerta de José “The Power of Words: Writings on Art and Both Sides of the Border: Santo Domingo Gurvich,” Naturalezas muertas: José Gurvich Society by Julio Le Parc” in Julio Le Parc: Form and Port-au-Prince in the 1940s,” “Art, Race (2017); “El dilema de las formas: el diálogo into Action (2016); “Carmen Herrera: South and Fluidity in the Dominican Republic and del espacio,” in Silvia Ortiz, ed. Ramiro to North” in Carmen Herrera: Lines of Sight Haiti,” New York, 2016; “El Caribe: Paisajes Llona (2017);“Esteban Lisa: from Margin to (2016); “Landscapes of Desire: The Land as del Deseo: Francisco Oller y su Mundo,” Mainstream,” in Esteban Lisa: The Abstract Resource in the Caribbean” in From Tierra del Washington DC, 2016; “Caribbean Art,” New Cabinet (2017); “Portuguese Art History: A Fuego to the Arctic: Landscape Painting in the York, 2016. View from North America,” Journal of Art Americas (2015); “‘La magie de l’authenticité:’

19 Alumni Updates

1960s ...... 20 Baroque Masterworks from the Phoebe Dent Weil and Upcoming Projects: Academic collaborator, Mark S. Weil Collection (2017). under the auspices of the Allard Pierson Museum, 1970s ...... 20 Lectures: “The Crusader Bible: Materials, Making Amsterdam, on the Edfu Connection, an and Meaning,” Austin, 2015; “The Hidden Life of international project dealing with the images 1980s ...... 22 Paintings,” St. Louis, 2014. and motifs found on the clay seal impressions Honors & Awards: 2015 St. Louis Visionary Arts discovered at the Egyptian site of Edfu; academic 1990s ...... 24 Award. collaborator for the J. Paul Getty Museum on its planned international exhibition, Egypt-Greece- 2000s ...... 25 John Willenbecher Rome: Cultures in Contact (27 March -9 September, 1958-61 2018); external expert for SigNet, an international 2010s ...... 27 consortium under the auspices of the Allard Pierson Museum, Amsterdam, the objective of which is the creation of a comprehensive and multifunctional database of images of seal impressions incorporating relevant numismatic and glyptic images as digital 1960s metadata available for statistical analysis through time and space; guest curator and academic Carol Krinsky collaborator for an international exhibition on the MA 1960; PhD 1965 ancient Egyptian genius Bes under the auspices of Latest Position: Professor of Art History, New York Primary Advisor: Craig Hugh Smyth the August Kestner Museum, Hannover, Germany; University Mailing Address: 145 West Broadway, New York, advisor, Museum of Fine Arts, St. Petersburg, Publications: “Why Hand G of the Turin- NY 10013 Florida, on “Historical Mosaics,” the recovery, Milan Hours Was Not Jan van Eyck,” Artibus et Email Address: [email protected] conservation, and ultimate exhibiting of several Historiae (2015); “The Turin-Milan Hours: Revised Additional News: Construction in “Los Angeles to mosaics from the ancient city of Antioch. Dating and Attribution,” Journal of Historians of New York: Dwan Gallery, 1959-1971,” Los Angeles Netherlandish Art (2014). County Museum of Art, 2017. There is a section Wanda Corn Lectures: Various topics in Augsburg, Berlin, Bern, in the exhibition devoted to a now legendary MA 1965; Chicago, Mainz, and Münster. exhibition Dwan mounted in Los Angeles in 1964 PhD 1974 Upcoming Projects: Book on Forty-Second Street; called “BOXES.” Included in that show was a Primary will lecture on various topics in Braunschweig, construction of mine from 1963. It was, in fact, Advisors: Darmstadt, London, and Münster. among the first I made after leaving the Institute Robert (after three years) in 1961 to become an artist. I Goldwater; Stephen Scher was happy to be able to lend the very piece that was H.W. Janson MA 1961 in the “BOXES” show to the LACMA exhibition. Mailing Address: Photo:Tim Hout Primary Advisor: Richard Krautheimer PO Box 1299, Mailing Address: 1185 Park Avenue, #9B, New Sagamore Beach, MA 02562 York, NY 10128 1970s Email Address: [email protected] Email Address: [email protected] Latest Position: Robert and Ruth Halperin Latest Position: President and CEO, Scher Robert Steven Bianchi Professor Emerita in Art History, Chemicals Inc. PhD 1976 Stanford University Lectures: “Heads and Tales: The Odyssey of a Primary Advisor: Bernard V. Bothmer Publications: Georgia O’Keeffe: Living Modern Medal Collector,” New York, 2017. Mailing Address: 2032 Barracuda Court, Holiday, (2017). Recent Honors & Awards: The Yale Medal, 2015. FL 3469-9798 Recent Honors & Awards: Honorary Doctor Upcoming Projects: Exhibition of my collection Email Address: [email protected] of Fine Arts, Bates College, 2017; Distinguished of medals at the Frick Collection, opening May Latest Position: Fondation Gandur pour l’Art, Scholar Session, CAA 2014. 8th, 2017; publication in 2018 of my collection of Geneva: Conservateur en chef et conservateur Additional News: Guest curator of “Georgia commemorative medals. collection antiquités O’Keeffe: Living Modern,” an exhibition of the Publications: Essay, in Ramses: Göttlicher Herrscher artist’s style in art, dress, and photographs at the Phoebe Weil am Nil (2016); “A Group of Bronze, Egyptianizing Brooklyn Museum. The exhibition will be seen in MA 1966 ba-birds,” Chronique d’Égypte (2016); “A Seated two more venues: Reynolda House Museum of Primary Advisor: Donald Posner Female Figure Holding Two Smaller Figures,” American Art in Winston-Salem, North Carolina; Mailing Address: 2158 Oak Drive, St. Louis, MO Göttinger Miszellen. Beiträge zur ägyptologischen and Peabody Essex Museum in Salem, MA. 63131 Diskussion (2016); essay in Canal de Isabel II, Email Address: [email protected] Cleopatra y la fascinacion de Egipto (2015); “A Madeleine Fidell-Beaufort Latest Position: Research Assistant and Director Hippopotamus for Hera,” The Bulletin of the MA 1968; PhD 1974 of the Conservation Laboratory, Center for Egyptological Society of New York (2015); “Ancient Primary Advisors: Robert Goldwater; Gert Schiff Archeometry, Department of Physics, Washington Egyptian Art and Magic, Treasures on View at Mailing Address: 21 rue de Montreuil, 75011 Paris University in St. Louis Four Japanese Venues,” KMT. A Modern Journal of Email Address: [email protected] Publications: “A Conservator’s Reflection on Ancient Egypt (2015). Latest Position: Senior Lecturer Art History, Collecting,” in Learning to See: Renaissance and A.U.P. Paris 20 Publications: Charles-François Daubigny: Drawings ‘Chinese Christian Art,’” Yishu, Journal of Chinese of Academic Achievement,” Studi Rosenthaliana for the Voyage en Bateau (2014). Contemporary Art (2017); “Contemporary Art by (2014); “Jewish Art/Jewish Law: A Case of Inverse Lectures: “Samuel P. Avery as an Agent, Dealer, Chinese Diaspora in a Global Age,” East Asian Proportions,” Erfurter Schriften zur jüdischen and Expert in Building American Art Collections,” Journal of Popular Culture (2016); “Cui Xiuwen,” Geschichte. Band 3: Zu Bild und Text in jüdisch­ New York, 2017; “Daubigny’s Drawings and Their Yishu, Journal of Chinese Contemporary Art (2016); christlichen Kontext im Mittelalter (2014). Legacy,” Cincinnati, 2016; “Samuel P. Avery and Infinite Compassion: Avalokiteshvara, Staten Island Lectures: “The Exhibition: ‘Jerusalem,’” New the Emerging American Art Market of the late 19th Museum (2016); Tang Desheng: Educated Youth: York, 2016; “Using Art to Engage,” New York, Century,” Paris, 2016. A Fading Living Evidence, Bard College and 2016; “The History of the Ezrat Nashim,” San Philadelphia (2016); Making Sense of Buddhist Diego, 2016; “Decorating Synagogues in the Patricia Hills Art and Architecture (2015); “Subterranean Blues: Western Islamic World: The Role of Sephardi PhD 1973 Nostalgia and Regret in Contemporary Art,” Traditionalism,” New York, 2015; “Remembering Primary Advisor: Robert Goldwater in Crossing Borders: Transition and Nostalgia in the Temple in the Decoration and Furnishings of Mailing Address: 60 Plaza Street East, #1H, Contemporary Art (2015); “The Transformations of Synagogues,” Boston, 2015; “Jewish Patronage Brooklyn, NY 11238 Xuanwu/Zhenwu,” Journal of Daoist Studies (2015); in Medieval Cologne,” Cologne, 2014; “The Email Address: [email protected] “Tangled Up in Blue: Women in the Art of Ma New in Medieval Jewish Art & Architecture,” Latest Position: Professor, Dept. of History of Art Yanling,” Yishu, Journal of Chinese Contemporary Toronto, 2014; “Jewish Art and Material Culture,” and Architecture, Boston University Art (2015); Chinese Religious Art (2014); “Xu Bing’s Baltimore, 2014. Publications: “Foreword,” in Image & Word: A Magical Mystery Tour,” Yishu, Journal of Chinese Recent Honors & Awards: Became Director Dialectic, Bonnie Bostrom Responds to Vytas Sakalas Contemporary Art (2014); “The Image of Woman Emerita of the MA Program in Jewish Art and (2017); “Jacob Lawrence: Letter to Edith Halpert, as a Reflection of Change in China,” Revista de Visual Culture, 2016. January 1944,” in Mary Savig, ed. Pen to Paper: Cultura (Macao) (2014). Upcoming Projects: “Myer Myers and the Spanish Artists’ Handwritten Letters from the Smithsonian’s Lectures: “Foreign Influences in the Creation of the Portuguese Ledger”; “A Suite of Seventeenth- Archives of American Art, (2016); “Foreword,” in Buddhist Deity Hāritī,” Delhi, 2017 (in absentia); Century Venetian Textiles for a Synagogue.” Rachel Tolano, curator, Making Connections: The “Mara and the Faces of Fear Along the Silk Road,” Art and Life of Herbert Gentry (2014). Delhi, 2016; “The Formation of a Daoist Pictorial Kathleen Matics Lectures: “History as Symbols of Struggle: Jacob Iconography in the Tang,” Taiwan, 2016; “The MA 1970; PhD 1978 Lawrence Re-Presents a Revisionist History of Impact of the Curriculum of Chinese Art Schools: Primary Advisor: Alexander C. Soper America,” Charlottesville, 2016; “Cultural Legacies: Western Influences in Chinese Contemporary Art,” Mailing Address: 5/272 Prachaniwet 2, Pakkret, From Jacob Lawrence to Winfred Rembert,” Beijing, 2016; “Xuangzang and Evidence for the Nonthaburi 11120 Thailand Medford, MA, 2015; “John Singer Sargent Worship of Avalokiteshvara Along the Silk Road,” Email Address: [email protected] and World War I,” Boston, 2014; “Geography, Delhi, 2015 (in absentia); “Chinese Contemporary Latest Position: Program Officer, Mekong River Democracy, and Modernity: Stuart Davis at Mid- Literati Culture,” Nanjing, 2015; “Mara’s Monsters Commission Career,” Detroit, 2014. and the Faces of Fear,” Vienna, 2014. Publications: Going Places, Letting Go (2017); Recent Honors & Awards: 2016 Andrew Wyeth Upcoming Projects: “Human Rights in China: Something Else Again (2016); Revolving Doors Foundation for American Art grant to complete the Contemporary Chinese Art,” John Jay College of (2015); Behind the Folding Fan (2014). Eastman Johnson Catalogue Raisonné Data Base Criminal Justice, New York, 2017. Upcoming Projects: Another novel, A Matter of and explore public access platforms; Symposium in Acculturation (2018). Honor of Patricia Hills, Boston University, 2014. Vivian Mann Upcoming Projects: Preparing a catalogue raisonné PhD 1977 Marc H. Miller of the American portrait and genre painter Eastman Primary Advisors: Harry Bober; Hugo Buchthal PhD 1979 Johnson (1824-1906); writing a book on the Mailing Address: 144 East 84th Street, #5B, New Primary contemporary public artist, painter, feminist, and York, NY 10028 Advisor: activist Joyce Kozloff; finishing a book, A People’s Email Address: [email protected] Robert Art: Democracy, Race, and the Visual Arts in 1930s Latest Position: Director of the MA Program, Rosenblum New York. Jewish Theological Seminary Mailing Additional News: I retired from Boston University Publications: “Synagogues of Spain and Portugal Address: in June 2014 and moved to Brooklyn in August during the Middle Ages,” Cambridge World History 134 South Oxford Street, Brooklyn, NY 11217 2016. I still have five doctoral students I am of Religious Architecture, (in press); “A Set of Email Address: [email protected] shepherding through the program. Circumcision Implements” (in press); “Decorating Latest Position: Writer/curator/director online Synagogues in the Sephardi Diaspora: The Role Gallery 98 Patricia Eichenbaum Karetzky of Tradition,” in Synagogues in the Islamic World: Additional News: Co-curator, Hey! Ho! Let’s Go! PhD 1979 Architecture, Design and Identity (2017); “The New Ramones and the Birth of Punk, Queens Museum Primary Advisor: Alexander C. Soper in Medieval Jewish Art & Architecture,” in The (New York) and Grammy Museum (Los Angeles), Mailing Address: 150 East 69th Street, #10N, State of Jewish Studies: Perspectives on Premodern 2016–17; completed the website “98 Bowery: A New York, NY 10021 Periods (2016); “Medieval Jewish Marriage Rings View From the Top Floor, 1969–89,” a personal Email Address: [email protected] and their Symbolism,” in Jerusalem in the Middle history of art and music on the Lower East Side. Latest Position: O. Munsterberg Chair of Asian Ages (2016); “A Shared Tradition: The Decorated Includes three out-of-print catalogues, now Art, Bard College NY; Adjunct Professor, Lehman Pages of Medieval Bibles and Qur’ans,” in The digitized. http://www.98bowery.com; continuing College Edinburgh Companion to the Bible and the Arts, additions to Gallery 98, an online resource for art Publications: “Amazing Grace: Contemporary (2014); “Jewish Art and Visual Culture: A Century and ephemera from 1970s and ‘80s downtown 21 Alumni Updates CONTINuED 1970’s

New York. Recent online exhibitions have included Latest Position: Professor Emeritus, Art History, Email Address: [email protected] “40 Top Art Events of the Downtown Era,” University of Illinois at Chicago Latest Position: Faculty Affiliate, University of “Andrew Castrucci and Bullet Space, an Art Squat Publications: Changing Perspectives: the Landscapes Houston in the 1980s and ‘90s,” and “The Anomalous Baird of Harold Gregor (2016). Publications: Ed., and Introduction, Examining Jones (1955–2008).” Lectures: “The Art of Harold Gregor,” Peoria, Giovanni Bellini: An Art ‘More Human and More Illinois, 2016; “The Arts at Hull-House,” Oak Park, Divine’ (2015). Anita Moskowitz Illinois, 2014. Lectures: “Moving Forward: Bellini’s Pesaro MA 1971; PhD 1978 Additional News: Member, Historic Preservation Altarpiece in View of New Advances,” Venice, Primary Advisor: Marvin Trachtenberg Commission, Oak Park, Illinois; Board Member, 2016; “Giovanni Bellini’s Lamentation Altarpiece Mailing Address: 420 Riverside Drive, #8G, New Illinois State Museum. for Santa Maria dei Servi in Venice: Observations York, NY 10025 and Two Proposals,” Berlin, 2015; “The Lost Email Address: [email protected] Joyce Hill Stoner Marble St. Joseph Altarpiece for Milan Cathedral: Latest Position: Professor of Art History (Emerita) MA 1970, Influence and Context,” New York, 2014. Publications: “Collecting Trecento Art: Mavericks Conservation Upcoming Projects: “The Image of Saint Joseph in the Marketplace. Who, Where, Why and Why Certificate 1973 in a Selection of Colonial Paintings in Bolivian Not?,” Predella (in press); Stefano Bardini “Principe Primary Advisor: Collections,” (in press); “Giovanni Bellini’s degli Antiquari” - Prolegomenon to a Biography Lawrence Lamentation Altarpiece for Santa Maria dei (2015). Majewski Servi in Venice: Observations and Two Proposals,” Lectures: “Some Trecento Objects in the Collection Mailing (in press). of Stefano Bardini: Additions, Subtractions, and Address: Winterthur Museum, 5105 Kennet Pike, Restorations,” Andrew Ladis Trecento Forum, New Winterthur, DE 19735 Orleans, 2016. Email Address: [email protected] 1980s Latest Position: Edward F. and Elizabeth JoAnne Olian Goodman Rosenberg Professor of Material Culture Claude Cernuschi MA 1971; Museum Training Certificate 1972 Studies, University of Delaware PhD 1988 Primary Advisor: Colin Eisler Publications: “Embedded Meanings: The Primary Advisor: Gert Schiff Mailing Address: 700 Park Avenue, #10C, New Last Tempera” in Andrew Wyeth: In Retrospect Email Address: [email protected] York, NY 10021 (2017);“The Heritage of Powerful Personalities Latest Position: Professor, Boston College Email Address: [email protected] and Pioneers of Painting Conservation,” in Publications: “Fragmented Body and Fragmented Latest Position: Curator of Costume, Museum of Painting Conservation: the Picture so Far (2017); Self: The Theme of Exile in the Neo-Surrealist the City of New York “Vignettes of Interdisciplinary Technical Art Works of Rafael Soriano [El cuerpo y el yo Additional News: Guest co-curator, Garden Party, History Investigations Supplemented by the fragmentados: el tema del exilio en las obras Nassau County Museum of Art, 2014. FAIC Oral History Archive in Honor of Roger H. neosurrealistas de Rafael Soriano],” in Rafael Marijnissen,” CerOArt (2015); “The Messages in Soriano: The Artist as Mystic (2017); “El arte de Merribell Parsons Andrew Wyeth’s Medium,” in Rethinking Andrew Wifredo Lam y la antropología de Lucien Lévy- PhD 1970 Wyeth (2014). Bruhl y Claude Lévi-Strauss,” in Wifredo Lam: Primary Advisors: Walter Friedlander; Olga Lectures: “The Use of Oral History in Imaginando nuevos mundos (2016); “The Art of Raggio Documenting Disasters [the Florence Flood],” Wifredo Lam and the Anthropology of Lucien Mailing Address: 486 E. Olmos Dr., San Antonio, Montreal, 2016; “Degrees of Authenticities: What Lévy-Bruhl and Claude Lévi-Strauss,” in Wifredo TX 78212 are We Really Seeing on that Wall?” New York, Lam: Imaging New Worlds (2014). Email Address: [email protected] 2016; “Messages of the Mediums—Looking at Lectures: “Fragmented Body and Fragmented Self: Latest Position: Curator of European Art, San Wyeth Paintings from Inside-Out,” Wilmington, The Theme of Exile in the Neo-Surrealist Works of Antonio Museum of Art (SAMA) 2016; “Looking at Wyeth Paintings: Realism Rafael Soriano,” Boston, 2017; “Wifredo Lam’s The Publications: Articles in Museum Now, San informed by Abstraction,” Stockbridge, MA, 2016; Jungle: Decolonization and the Slave Body,” New Antonio Museum of Art. “Brandywine River School Murals: Big Ideas and York, 2017; “What’s the Big Deal about Picasso?” Lectures: “Cusp of Change: European Art,” SAMA Even Bigger Conservation Challenges,” Boston, 2017; “Andy Warhol and the Spirit of 2017; “Auguste Rodin,” SAMA, 2016; “Josiah Dover, Delaware, 2015; “Whistler’s Painting Pop Art,” Boston, 2017; “Frida Kahlo and the Wedgwood, Creative Genius,” SAMA 2015; Techniques: a Closer Look,” Washington DC, Surrealist Imagination,” Boston, 2016; “The Art “Glories of the Baroque: San Antonio Museum of 2014; “Passing the Brush from Father to Son to of Jackson Pollock,” Boston, 2016; “El tema de la Art Collections,” 2014. Grandson: Techniques of the Wyeths,” naturaleza in las obras de Jackson Pollock,” Havana, Upcoming Projects: Reinstallation of European Boston, 2014. 2016; “Picasso and Braque: Inventing Cubism,” Collection, SAMA 2017-18. Recent Honors & Awards: Joyce Hill Stoner Boston, 2016; “Mental Illness and Physical Fellowship in Paintings Conservation Deformation as Metaphor: Wifredo Lam and the David Sokol established at the University of Delaware, 2016. Surrealist Appropriation of Medical Illustration,” MA 1966; PhD 1970 Washington, DC, 2016; “Van Gogh and After,” Primary Advisors: H.W. Janson; Robert Goldwater Carolyn C. Wilson Boston, 2015; “Gustav Klimt and His Followers: Mailing Address: 222 N. Marion Street, Oak Park, MA 1970; PhD 1977 Oskar Kokoschka and Egon Schiele,” Boston, 2015. Illinois 60302 Primary Advisor: Colin Eisler Upcoming Projects: Wifredo Lam: Art, Email Address: [email protected] Mailing Address: 2222 Goldsmith St., Anthropology, Politics. Houston, TX 77030 22 Alan Darr Carol Eliel and Beyond,” the Hague, 2016; “Hendrick ter MA 1975; PhD 1980 MA 1979; Brugghen’s Paintings of the Crucifixion in New Primary Advisors: Kathleen Weil-Garris Brandt; PhD 1985 York and Turin and the Problem of His Early Colin Eisler; John Pope-Hennessy; Olga Raggio Primary Chronology,” London, 2016; “Schalcken in Mailing Address: European Art Department, Advisor: London: Self-Portraiture as Self Promotion,” Detroit Institute of Arts, 5200 Woodward Avenue, Robert Cologne, 2016. Detroit, MI 48202 Rosenblum Recent Honors & Awards: Appointed Email Address: [email protected] Mailing Distinguished Professor of Art History, Syracuse Latest Position: Senior Curator of the European Address: University (2017). Art Department and Walter B. Ford II Curator of Department of Modern Art, LACMA, 5905 Upcoming Projects: I have recently completed European Sculpture and Decorative Arts Wilshire Boulevard, Los Angeles, CA 90036 a book on the London period of Godefridus Publications: “Reconsidering Pietro Torrigiani’s Email Address: [email protected] Schalcken. Three Polychromed Terracotta Portrait Busts,” Latest Position: Curator of Modern Art, Los in Encountering the Renaissance: Celebrating Gary Angeles County Museum of Art Barbara Matilsky M. Radke and 50 Years of the Syracuse University Publications: “The Spirit of Experimentation: MA 1977; PhD 1983 Graduate Program in Renaissance Art (2016); Barbara Kasten and László Moholy-Nagy,” Leonardo Primary Advisor: Robert Rosenblum “Recent Acquisitions (2007-15) of European (2017); Moholy-Nagy: Future Present (2016); Mailing Address: 1125 Undine Street, Bellingham, Sculpture and Decorative Arts at the Detroit “Leger’s Purism,” in Cubism: The Leonard A. Lauder WA Institute of Arts,” (co-authored with Megan Collection (2015); John Altoon (2014); Helen Email Address: [email protected] Reddicks and Yao-Fen You), The Burlington Pashgian (2014). Latest Position: Curator of Art, Whatcom Magazine (2016); “The Doccia Porcelain Sculpture Lectures: “László Moholy-Nagy,” Los Angeles, Museum Collection in the Detroit Institute of Arts,” Amici 2017; “Moholy-Nagy: Present Future,” New Publications: Unhinged: Book Art on the Cutting di Doccia Quaderni (2015); “From Algardi to York, 2016; “Helen Pashgian: Transcending the Edge (2015). Zoffoli: The Collection of Baroque Sculpture and Material,” Los Angeles, 2014; “Helen Pashgian: Upcoming Projects: Endangered Species: Artists on Doccia Porcelain Sculpture at the Detroit Institute Light Invisible,” Nashville, 2014; “John Altoon,” the Front Line of Biodiversity (2018). of Arts,” in The Eternal Baroque: Studies in Honour Waltham, MA, 2014. of Jennifer Montagu (2015). Recent Honors & Awards: Association of Art Ellen Pearlstein Lectures: “The Legacy of William Valentiner Museum Curators (AAMC) Publication Award Conservation in shaping the display of European sculpture in for Excellence, Honorable Mention, for Moholy- Certificate 1982 American museums, 1900-present: Case Studies,” Nagy: Future Present (2017); Center for Curatorial Email Address: New York, 2017; “The Role of Sculpture in Leadership Fellow (2015). [email protected] French Decorative Arts: Case Studies of Notable Upcoming Projects: Exhibition on Betye Saar Latest Position: Acquisitions at the Detroit Institute of Arts,” (LACMA 2019). Professor, UCLA, International Conference on the Role of Sculpture Information Studies and in Parisian Decorative Arts in Europe (1715­ Wayne Franits UCLA/Getty Program 1815) for the Low Countries Sculpture Society, PhD 1987 in the Conservation Paris, 2016; “A Decade of Notable Acquisitions Primary Advisor: Egbert of Archaeological and of European Sculpture and Decorative Arts at the Haverkamp-Begemann Ethnographic Materials Detroit Institute of Arts,” Detroit, 2016; “An Mailing Address: Publications: Conservation of Featherwork from Evening with the Masters: Collecting Italian Department of Art and Central and South America (2017); “Displaying Sculpture and Decorative Arts at the Detroit Music Histories, Syracuse Feathers, What History Tells Us,” in Images Take Institute of Arts,” Clinton Township, Michigan, University, Suite 308 Flight: Feather Art in Mexico and Europe (2016); 2014. Bowne Hall, Syracuse, “Teaching Sustainable Collection Care,” Journal Additional News: Head Curator of Detroit NY 13244 of the American Institute for Conservation (2016); iteration of “The Edible Monument: The Art Email Address: “Conserving Ourselves; Embedding Significance of Food for Festivals,” with the Getty Research [email protected] into Conservation Decision-making in Graduate Institute, Los Angeles, The Detroit Institute of Latest Position: Distinguished Professor of Art Education,” Studies in Conservation (2016). Arts, December 16, 2016-April 16, 2017; Head History, Syracuse University Lectures: Panelist at “Lighting a Pathway: Curator of Detroit iteration of “Make a Joyful Publications: “Hendrick ter Brugghen’s Paintings Community + Museum Guidelines for Noise: Renaissance Art and Music from Florence of the Crucifixion in New York and Turin and the Collaboration,” in “110 Years at SAR: Preservation, Cathedral,” with the High Museum, Atlanta, Problem of His Early Chronology,” Journal of the Policy, and Thought Leadership” Santa Fe, 2017; The Detroit Institute of Arts, October 25, 2014 – Historians of Netherlandish Art (2017); ed., The “Assessment of Significance and Decision-Making May 17, 2015. Ashgate Research Companion to Dutch Art of the in Object Conservation,” Claremont, CA, 2017; Seventeenth-Century (2016); “Schalcken in London; “California Tribal Baskets: Creation, Culture and Self-Portraiture as Self Promotion,” Wallraf- Conservation,” Riverside CA, 2016; “Assessment Richartz-Jahrbuch (2016); “’Een zeer beroemde of Significance and Decision-Making in Object Hollandse kunstenaar’. Schalcken in Engeland, Conservation”, Cape Town, 2016; “History and 1692-1696,” in Schalcken: kunstenaar van het Current Practices of Preventive Conservation,” verleiden (2016); Vermeer (2015). Cape Town, 2016; “Teaching Tribally Collaborative Lectures: “Dutch Genre Painting, 1976-2016 Conservation of Native Baskets,” Palm Springs, 23 Alumni Updates CONTINuED 1980’s

2016; “Implementing Collaborative Models for Additional News: Co-organizer, with Alisa Bernice Jones Conservation Documentation, Decision-making, Luxenberg (also an Institute alumna), of the MA 1979; PhD 1998 and Treatment of Indigenous Collections,” Santa symposium “Freemasonry and the Visual Arts,” Primary Advisor: Evelyn Fe, 2015; “Featherwork Collections Review,” a program in the second World Conference on Harrison; Günter Kopcke National Museum of the American Indian, Fraternalism, Freemasonry, and History, held at the Mailing Address: 6730 Suitland, MD, 2015; “Defining Conservation,” Bibliothèque Nationale de France, Paris, May 2017. West Country Club Lane, Conservation of Indigenous Collections Seminars, Sarasota, FL 34243 Santa Fe, 2015; “…what happens after university Email Address: coursework is completed,” Arts and Cultural 1990s [email protected] Heritage Workshop, Pretoria, 2015; “Feathers and Latest Position: Adjunct Exhibitions: Lighting for the Birds,” Washington Michaël Amy Professor DC, 2015. MA 1989; PhD 1997 Publications: “The Three Primary Advisor: Minoan ‘Snake Goddesses,’” in Studies in Aegean Harriet F. Senie Kathleen Weil-Garris Art and Culture: a New York Aegean Bronze Age PhD 1981 Brandt Colloquium in Memory of Ellen N. Davis (2016); “A Primary Advisors: H.W. Mailing Address: New Reading of the Fresco Program and the Ritual Janson; H.R.Hitchcock College of Imaging Arts in Xeste 3, Thera,” Metaphysis (2016); Ariadne’s Mailing Address: 64 East and Sciences, Rochester Threads: The Construction and Significance of Clothes 94th Street, #3E, Institute of Technology, in the Aegean Bronze Age (2015); “Revisiting the New York, NY 10128 73 Lomb Memorial Figures and Landscapes on the Frescoes from Email Address: Drive, Rochester, NY Room 14 at Hagia Triada,” Physis (2014); “A New [email protected] 14623 Discovery and Interpretation of the Fragmentary Latest Position: Director, Email Address: [email protected] Figure Fresco from the House of the Ladies, Thera,” MA Art History/Art Latest Position: Professor of Art History, Rochester JPR (2014). Museum Studies Institute of Technology Lectures: “Texts and Material Culture in Bronze Publications: Co-ed. and Publications: “The Ones Who Are Left Behind: A Age Greece,” Tampa, 2017; “Minoan Haute contributor, The Wiley Blackwell Companion to Short History of Lamentation in Western Art,” in Couture: Replicas of Minoan Textiles and Clothes Public Art (2016); Memorials to Shattered Myths: Heide Hatry, Icons in Ash, a Collaborative Conceptual and Their Impact on Material Culture,” Berlin, Vietnam to 9/11 (Oxford, 2015). Artist’s Book (2016); “From Brussels to New York: 2017; “Deciphering Clothing of Aegean Women,” Lectures: “Encounters with Public Art: The Journey of an International Art Historian” Sarasota, 2014; “The Three Minoan ‘Snake Conversations We Do (and Don’t) Have,” in VUB Today (2016); “Robert Gober: Ordinary Goddesses,’” New York, 2014; “The Ritual on the St. Louis, 2016; Book talk: “Memorials to Ambiguity” in Sculpture (2016); “An Empire of Thera Adyton Fresco,” Vienna, 2014. Shattered Myths,” Brooklyn, 2016; Panel co­ Signs” in Pintomeira: Painting, Photography (2016). Recent Honors & Awards: The Institute for chair, “Museums and Public Art: Coexistence or Lectures: “The Introduction of Modern Design Aegean Prehistory Research and Travel Grant for Collaboration?” New York, 2015; “Redefining into 20th and 21st Century European and book, Crowns of Distinction: Headdresses of the Memorials: The Conflations of Heroes and American Art,” Ferrara, 2017; “Alberto Burri: Aegean Bronze Age, 2015; The Institute for Aegean Victims,” St. Louis, 2014. Reinventing Painting,” Rochester, 2017. Prehistory Subvention for Color Plates for book Upcoming Projects: Under contract: Co­ Upcoming Projects: Essays on the sculpture of Ariadne’s Threads: The Construction and Significance editor and contributor, Museums and Public Art Johan Tahon and Michael Taylor, and on the of Clothes in the Aegean Bronze Age, 2014. (Cambridge Scholars Press); in development: photography of Pavel Romaniko; interviews Upcoming Projects: Traveling Thrones: Replica Windshield Visions: Themes of the Road in with Michelle Segre, Mathilde Roussel, and Alisa Knowledge, exhibition at Humboldt Universität American Art. Barenboym for Sculpture. zu Berlin, 1 September 2017- 31 March 2018; “Minoan Haute Couture: Replicas of Minoan Reva Wolf Sharon E. J. Gerstel Textiles and Clothes and Their Impact on Material MA 1981; PhD 1987 PhD 1993 Culture,” article for exhibition Traveling Thrones: Primary Advisors: Jonathan Brown; Robert Latest Position: Professor of Byzantine Art and Replica Knowledge, Humboldt Universität zu Berlin, Rosenblum Associate Director of the Center for Medieval and 2-4 February 2017; Haute Couture in Ancient Mailing Address: Art History Department (SAB Renaissance Studies, UCLA Greece, exhibition at National Archaeological 108), State University of New York at New Paltz, 1 Publications: Rural Lives and Landscapes in Late Museum, Athens, May 2018- October 2018; Hawk Drive, New Paltz, NY 12561 Byzantium: Art, Archaeology, and Anthropology Costumes in Ancient Greece and Rome, exhibition Email Address: [email protected] (2015). at Museum of Fine Arts, Tampa, 2019; Crowns of Latest Position: Professor of Art History, SUNY Recent Honors & Awards: The following were Distinction: Headdresses of the Aegean Bronze Age New Paltz awarded for Rural Lives and Landscapes in Late (book in progress). Lectures: “Goya and Freemasonry: The Case of Byzantium: the Runciman Award; International Portraiture,” Paris, 2017. Center for Medieval Art book prize and the Maria Recent Honors & Awards: Ailsa Mellon Bruce Theocharis Prize, Christian Archaeological Society Visiting Senior Fellowship, Center for Advanced in Greece. Study in the Visual Arts (CASVA), National Gallery of Art, 2017 (to pursue ongoing work on the topic of Goya and Freemasonry). 24 Gail Stavistky and Presence: Tourism and the Morbid Material Allen Memorial Art Museum, July 2017-June MA 1978; PhD 1990 Culture of Death in Brittany” in Death Tourism 2018; planning with AMAM staff for FRONT (2014). International, a new art triennial, July-September Lectures: “Material Ecology on the French 2018; co-leading the panel “TEACH VISUAL: Atlantic Shore,” New York, 2017; “Grief, Sharing Object-Based Teaching Tools” at the Longing and Maritime Things” in “Mourning Association of Academic Museums and Galleries, and Remembering the Sea,” Charleston, 2017; Eugene, OR, June 2017; organizing a symposium “Immersion: Nineteenth‐Century Coastline on the history of the Allen Memorial Art Museum, Paintings,” Montreal, 2016; “Kicking a Pig: October 7, 2017. Living Closely with Animals,” Providence, 2016; “Across the Strand: Material Flow on the French Shalibar Abigal Fojas White Primary Advisor: Gert Schiff Atlantic Coast,” Liverpool, 2015; “Discovering MA 2003 Mailing Address: 23 Macopin Avenue, Montclair, the ‘Primitive’ Underground in Rural France,” Primary Advisor: Jonathan Alexander NJ 07043 Moscow, ID, 2015; “Bring me rocks bring me Mailing Address: Fine Arts Library, Harvard Email Address: gstavitsky@montclairartmuseum. stones: Discovering Primitive Pasts in Nineteenth- University, 1805 Cambridge St, Littauer Center, org Century France,” Boston, 2015; “Bedeviling Cambridge, MA 02138 Latest Position: Chief Curator, Montclair Art Realism: Materiality, Courbet and Taxidermy,” New Email Address: [email protected] Museum York, 2015; “Reading the Wrack Line: Atlantic Latest Position: Herman and Joan Suit Librarian, Publications: Matisse and American Art (2017). Flow on the Brittany Coast,” London, 2014; “The Fine Arts Library, Harvard University Additional News: Matisse and American Art was Animal in the City: Courbet’s Hunting Paintings on view at the Montclair Art Museum through and Taxidermy at the Universal Exposition of Carina Fryklund June 18, 2017. 1867,” Chicago, 2014. MA 1985; PhD 2000) Recent Honors & Awards: 2017 Nineteenth- Primary Advisor: Century Studies Association (NCSA) President’s Colin Eisler 2000s Award: “For sustained service to the association Mailing Address: and significant contributions to nineteenth-century Nationalmuseum, Andaleeb Banta studies.” Box 161 76, 103 24 MA 1999; PhD 2007 Upcoming Projects: Collection of essays, co­ Stockholm, Sweden Primary Advisors: Donald Posner; Jonathan edited with Emily Gephart (Tufts University) on Email address: Brown Eco-critical Nineteenth-Century Art and Visual carina.fryklund@ Mailing Address: Allen Memorial Art Museum, Culture. nationalmuseum.se Oberlin College, 87 North Main Street, Oberlin, Latest Position: OH 44074 Andrea Derstine Senior Curator, Collections and Research, Email Address: [email protected] MA 1996; PhD 2004 National Museum, Stockholm Latest Position: Curator of European and Primary Advisor: Donald Posner Publications: with Xavier Salmon, Juliette Trey et American Art, Allen Memorial Art Museum Mailing Address: Allen Memorial Art Museum, al., Un Suedois a Paris, Les Collections de Carl Gustaf Upcoming Projects: I am co-curating the Oberlin College, 87 North Main Street, Oberlin, Tessin (2016); Colin Bailey, Carina Fryklund, exhibition Lines of Inquiry: Learning from OH 44074 John Marciari, Magnus Olausson and Jennifer Rembrandt’s Etchings, which will be on view Email Address: [email protected] Tonkovich, Treasures from the Nationalmuseum, at the Herbert F. Johnson Museum at Cornell Latest Position: John G. W. Cowles Director, Allen Stockholm: The Collection of Count Tessin (2017). University (September 23 – December 17, 2017) Memorial Art Museum, Oberlin College and then at the Allen Memorial Art Museum at Publications: “The Detroit Institute of Arts and Deborah Goldberg Oberlin College (February 6 – May 13, 2018). Italian Baroque Painting”, in Buying Baroque: MA 1990; PhD 2000 An exhibition catalogue exploring the history and Italian Seventeenth-Century Paintings Come to Primary Advisor: Robert Lubar role of Rembrandt’s prints in academic museum America (2017); Forward, Acknowledgments, and Mailing Address: 10 East End Avenue, #6FG, collections is forthcoming. “A Conversation with Fred Wilson”, in Fred Wilson New York, NY 10075 at Oberlin (2017). Email Address: [email protected] Maura Coughlin Lectures: “Cass Gilbert and the King Sculpture Latest Position: Independent Art Historian PhD 2001 Court Ceiling and Clerestory at the Allen Memorial Publications: “The Human Figure in Bronze: From Primary Advisor: Linda Nochlin Art Museum,” Oberlin, 2017; “Growing Cultural the Finn Family Collection,” in Shaping a Legacy: Mailing Address: 129 Hudson St., Assets: An Open Conversation About Managing Sculpture from the Finn Family Collection, (2017); Somerville, MA 02144 Collections,” Gambier, OH, 2016; “Partnerships in “Pablo Picasso: Le Peintre et son Modèle,” in Pablo Email Address: [email protected] Fundraising,” Oberlin, 2016. Picasso: Le Peintre et son Modèle, from the Collection Latest Position: Assistant Professor of Visual Recent Honors & Awards: Awarded the Heritage of Joan Oestreich Kend (2016); “Isamu Noguchi: Studies, Bryant University Guardian Award from the Oberlin Heritage Center Visionary Designer and ‘World Citizen,’” in Patent Publications: “Biotopes and Ecotones: Slippery for work to conserve and clean the Cass Gilbert Holder, Isamu Noguchi: Designing the World of Images on the Edge of the French Atlantic,” King Sculpture Court ceiling and clerestory in the Tomorrow (2015). Landscapes (2016); “Death at Sea: Symbolism and Allen Memorial Art Museum, 2017. Lectures: “Collections in Focus: Sculpture of the Charles Cottet’s Subjective Realism” in Decadence, Upcoming Projects: Exhibition Maidenform 1960s–1970s,” Tarrytown, 2017; “Collections in Degeneration and the End (2014); “Sites of Absence to Modernism: The Bissett Collection at the Focus: Sculpture of the 1950s-60s,” Tarrytown, 25 Alumni Updates CONTINuED 2000’s

2016; “Isamu Noguchi and Edward A. Rumely: Melinda Hartwig Venetian Renaissance,” Research Triangle Park, The Artist and His Patron,” College Art PhD 2000 NC, 2017; “Curator’s Talk: Glory of Venice: Association, Washington, DC, 2016; “Talking Primary Advisor: David O’Connor Renaissance Paintings 1470–1520,” Raleigh, 2017; with Stone,” Long Island City, 2016; “Everything Mailing Address: 1045 Lanier Blvd NE, Atlanta, “A Lombard Choirbook Cutting Uncovered at Is Sculpture,” New York, 2015; “Isamu Noguchi, GA 30306 the North Carolina Museum of Art: Celotti’s ‘B. Patent Holder: Designing the World of Tomorrow,” Email Address: [email protected] F.’ Under Scrutiny,” Boston, 2016; “Pages Torn Queens, 2015; “Isamu Noguchi: Visionary Latest Position: Curator, Emory University; from the Record of Venetian Art: Mariegole After Designer,” New York, 2014. Professor, Georgia State University the Fall of the Republic,” Boston, 2016; “Painting Recent Honors and Awards: Travel Award, School Publications: “Method in Ancient Egyptian at the Court of Milan Before, During, and After of Visual Arts, 2016. Painting,” Artists and Colour in Painting (2017); Leonardo,” Raleigh, 2016. A Companion to Ancient Egyptian Art, Blackwell Additional News: Co-curator, Glory of Venice: Michele Greet Companions to the Ancient World (2015). Renaissance Paintings 1470–1520, North Carolina PhD 2004 Lectures: “Every Tomb Tells a Story,” Los Angeles Museum of Art, March 4–June 18, 2017. Primary Advisor: Edward Sullivan and San Francisco, 2016; “The Scribe Senenu’s Mailing Address: 3825 Jancie Rd, Fairfax, VA Legacy in TT 43 and Beyond,” Baltimore, 2016; Leslie Jones 22030 “A Relief Block of Akhenaten From a Long-Lost MA 1994; PhD 2003 Email Address: [email protected] Shrine at Amarna,” Atlanta, 2016; “It isn’t just Latest Position: Director, Art History Program, Isis: Cultural Destruction in the Near East,” George Mason University Atlanta, 2016; “Conservation and Documentation Publications: “Rivera and the Language of in the 21st century: A Case Study of the Tomb Classicism,” in Picasso and Rivera: Conversations Chapel of Menna (TT 69),” Atlanta, 2015; “The Across Time (2016); “Mapping Cultural Exchange: Unfinished Tomb Chapel of Neferrenpet, TT43,” Latin American Artists in Paris between the Florence, 2015; “Draw Like an Egyptian: Artistic Wars,” Circulations in the Global History of Art; Conventions in Ancient Egypt,” Albany, 2014; Studies in Art Historiography (2015); “Devouring “The Art of Interior Design for the Afterlife,” Primary Advisor: Robert Lubar Surrealism: Tarsila do Amaral’s Abaporu,” Papers Portland and Seattle, 2014. Mailing Address: Dept. of Prints and Drawings, of Surrealism (2015); “Occupying Paris: The First Recent Honors & Awards: Winner of 2016 LACMA, 5905 Wilshire Blvd., Los Angeles, CA Survey Exhibition of Latin American Art,” Journal PROSE Award for Single Volume Reference in the 90036 of Curatorial Studies (2014); “From Cubism Humanities and Social Sciences for A Companion Email Address: [email protected] to Muralism: Ángel Zárraga in Paris,” in Ángel to Ancient Egyptian Art; President of the Board of Latest Position: Curator, Prints and Drawing, Zárraga. Retrospectiva (2014). Governors American Research Center in Egypt LACMA Lectures: “Modernism and Classicism, Picasso 2014-2018. Publications: Ed Moses: Drawings from the 1960s and Rivera,” Los Angeles, 2017; “Transatlantic Upcoming Projects: Reinstallation of Ancient and 70s (2015); Allen Ruppersberg Drawing (2014). Encounters: Latin American Artists in Early Near Eastern and Ancient Egyptian Galleries at the Upcoming Projects: Exhibition: Coded: Art and the 20th century Paris,” Washington, DC, 2017; Michael C. Carlos Museum. Computer at the Dawn of the Computer Age, 1960­ “Structuring Representation: Art Museums of Latin 1980. America,” Los Angeles, 2017; “Andean Abstraction Lyle Humphrey Additional News: Current Exhibition: Tony Smith: as Displayed at the OAS,” Madrid, 2016; “Defining MA 1998; PhD 2007 Smoke. ‘Latin American Art’: Raymond Cogniat, Parisian Primary Advisor: Critic,” New York, 2016; “Rómulo Rozo: un Jonathan Alexander Ilona Katzew escultor colombiano en París,” Bogota, 2014; Mailing Address: MA 1992, PhD 2000 “Mapping Cultural Exchange: Strategies for 1535 Carr St, Primary Advisors: Robert Lubar; Edward Sullivan Locating the Narrative in the Digital World,” Raleigh, NC 27608 Mailing Address: LACMA, 5905 Wilshire Blvd., Washington, DC, 2014. Email Address: Los Angeles, CA 90036 Recent Honors & Awards: Millard Meiss [email protected] Email Address: [email protected] Publication Grant for Transatlantic Encounters: Latest Position: Latest Position: Department Head and Curator, Latin American Artists in Paris between the Wars, Assistant Curator of Latin American Art, LACMA 2016; LASA Mexico Humanities Essay Award, European Art, North Publications: Editor and contributing author: Honorable Mention for “From Cubism to Carolina Museum of Art Painted in Mexico, 1700–1790: Pinxit Mexici Muralism: Ángel Zárraga in Paris,” 2015; New Publications: La miniatura per le confraternite e le (2017), separate Spanish edition (2017); “White England Council of Latin American Studies Joseph arti veneziane. Mariegole dal 1260 al 1460, (2015); or Black? Albinism and Spotted Blacks in the T. Criscenti Best Article Prize for “César Moro’s “Collecting Christianity on the Nile circa 1900: Eighteenth-Century Atlantic World,” in Envisioning Transnational Surrealism,” 2014. J. Pierpont Morgan and the Metropolitan Museum Others: Race, Color, and the Visual in Iberia and Upcoming Projects: Transatlantic Encounters: of Art,” in Age of Transition: Byzantine Culture in Latin America (2016); “Valiant Styles: New Spanish Latin American Artists in Paris between the Wars the Islamic World (2015); “Detached Manuscript Painting, 1700–1785,” in Painting in Spanish (forthcoming with Yale University Press, 2018); Illuminations from the Scuola di San Giovanni America: From Conquest to Independence (2014). Co-editor of Art Museums of Latin America: Evangelista of Venice and the Confraternity’s Lectures: Chair of “The Evolving Canon: Structuring Representation (forthcoming with Mariegole in the Archivio di Stato di Venezia,” in Il Collecting and Displaying Spanish Colonial Art, Routledge, 2018). Codice Miniato in Europa (2014). College Art Association, New York, 2017; “Sense of Lectures: “Books and Fragments from the Mission, Aesthetic Sense: Why Build a Collection 26 of Spanish Colonial Art,” in “The Americas Upcoming Projects: Curating Only Connect, Sandra Sider Revealed: Collecting Colonial and Modern Art in a performance and video art program MA 2004 the United States,” New York, 2014. June 18-25, 2017, Stavros Niarchos Foundation Primary Advisor: Upcoming Projects: Project Director and Curator: Cultural Center, Athens. Colin Eisler “Painted in Mexico: Pinxit Mexici, 1700-1790,” Mailing Address: LACMA; Fomento Cultural Banamex, Mexico Adela Oppenheim 3811 Orloff Avenue, City; and the Metropolitan Museum of Art, New PhD 2008 Bronx, NY 10463 York (Fall 2017 through Summer 2018); Book Primary Advisor: David O’Connor Email Address: manuscript on the history of collecting Spanish Mailing Address: 178 60 Wexford Terrace, #6C, [email protected] Colonial art in the US from independence to Jamaica Estates, NY 11432 Latest Position: Curator, present (in preparation). Email Address: [email protected] Texas Quilt Museum; Latest Position: Curator, Department of Egyptian Editor, Art Quilt Collector magazine Lynda Klich Art, The Metropolitan Museum of Art Upcoming Projects: Editor of new book, Art Quilt PhD 2008 Publications: “The New Metropolitan Museum Retrospective: 50 Years of Innovation Primary Advisors: Robert Lubar; Edward Sullivan of Art Storeroom at Dahshur and the Relief Mailing Address: 351 W 24th St, #14C, New Decoration from the Pyramid Complex of Adriaan Waiboer York, NY 10011 Senwosret III,” Bulletin of the American Research MA 1999; PhD 2007 Email Address: [email protected] Center in Egypt (2017); “’Ancient Egypt Primary Advisor: Egbert Haverkamp-Begemann Latest Position: Assistant Professor, Hunter Transformed’ The Middle Kingdom at the Email Address: [email protected] College Metropolitan Museum of Art,” KMT (2016); Latest Position: Head of Collections and Research, Recent Honors & Awards: Phillips Collection “Treasures of the Middle Kingdom,” Minerva National Gallery of Ireland University of Maryland 2016 Book Prize for: The (2015); ed., with Dorothea Arnold, Dieter Arnold, Noisemakers: Estridentismo, Vanguardism, and Social and Kei Yamamoto, Ancient Egypt Transformed: Roberta Wue Action in Postrevolutionary Mexico (1921-1927) The Middle Kingdom (2015); selected catalogue PhD 2001 (forthcoming, University of California Press, 2018). entries and “Introduction: What Was the Primary Advisor: Middle Kingdom,” “Artists and Workshops: The Jonathan Hay Kalliopi Minioudaki Complexity of Creation,” “Temples: Secluded Mailing Address: MA 2001; PhD 2009 Domains for Kings and Gods,” “Excavations by the Department of Art History, Primary Advisor: Linda Nochlin Metropolitan Museum of Art at Middle Kingdom 2000 Humanities Way, Mailing Address: Nikolaou Plastira 3, Pefki 15121, Sites” (with Dieter Arnold) in Ancient Egypt University of California Athens, Greece Transformed (2015); “Le complexe pyramidal de Irvine, Irvine, CA 92697 Email Address: [email protected] Sésostris III à Dahchour,” with Dieter Arnold and Email Address: Latest Position: Independent Scholar and Curator, Isabel Stünkel in Sésostris III: pharaon de légende [email protected] Athens and New York (2014). Latest Position: Publications: “Sakar Sleman: Circles of Suffering, Upcoming Projects: Publication of the decoration Associate Professor, Art History, Remembrance and Hope,” Iraqi Pavilion, Venice of Middle Kingdom mastabas in Dahshur, Egypt. University of California Irvine Biennale (2017); “Rosalyn Drexler: Madly and Publications: Ed., Portraiture and Early Studio Transgressively Embracing the Vulgarity of Life,” Elizabeth Pergam Photography in China and Japan (2017). in Rosalyn Drexler: Who Does She Think She Is? PhD 2001 (2016); “Proto-Féminisme(s) et Pop Art: Le retour Primary Advisor: Robert Rosenblum du Refoulé,” in Pop Impact: Women Artists (2016); Mailing Address: 105 East 63rd Street, #5A, 2010s “Feminist Eruptions in Pop, beyond Borders,” in New York, NY 10065 The World Goes Pop (2015); “Beyond her Own Email Address: [email protected] Denise Birkhofer Body or Carolee Schneemann’s Transgressions Latest Position: Faculty, Sotheby’s Institute of Art, MA 2007; PhD 2013 in Love, Sorrow and Research,” in Carolee New York Primary Advisor: Schneemann: Infinity Kisses (2015); “Démasquer et Publications: The Manchester Art Treasures Edward Sullivan réimag(in)er le feminin: Les Mères de Niki de Saint Exhibition of 1857: Entrepreneurs, Connoisseurs and Mailing Address: Phalle,” in Niki de Saint Phalle (2014); “Not just the Public (first published by Ashgate; has been Ryerson Image Centre, Funny: May Wilson’s Avant-Gardes,” Konsthistorisk reissued 2017 as a paperback by Routledge). 350 Victoria St., Toronto, Tidskrift/Journal of Art History (2014). Lectures: “Expanding the Definition of British ON, Canada, M5B 2K3 Lectures: “Other(’s) Pop(s),” Philadelphia, 2016; Art: The Importation of British Taste to America,” Email Address: “Carolee Schneemann: The Renowned Unknown,” College Art Association, New York, 2017; “Death [email protected] Amsterdam, 2015; “Collaboration and Collective and Taxes: The American-ness of American Latest Position: Identity: The Past or Future of Feminist Exhibition Collecting,” College Art Association, Washington, Collections Curator, Ryerson Image Centre, Making?” New York, 2015; “Reframing Marisol,” DC, 2016. Toronto New York, 2015; “Towards Transnational Upcoming Projects: “Sir J. C. Robinson in 1868: Publications: Fred Wilson at Oberlin (2017); Feminisms in the Arts?” College Art Association, A Museum Curator’s Private Collection on the Judit Reigl: Body of Music (2016). Chicago, 2014; “Women, Pop and Feminism,” Block,” for Elizabeth Heath’s edited issue on the Lectures: “Conversation with Pat Steir,” Oberlin, Wolverhampton, UK, 2014. professionalization of curatorial practice for the 2016; “The Legacy of ‘mexicanidad’,” Oberlin, Journal of Art Historiography. 2015; “The Body and the Void in the Art of Mira 27 Alumni Updates CONTINuED 2010’s

Schendel and Eva Hesse,” New York, 2015; “Matta Harrison Jackson Technique in the Maison du Peuple of Clichy, and the Exploding Dome,” Oberlin, 2014. MA 2015 1935-1940,” Sarasota, 2014; Co-chair, “From Upcoming Projects: The Faraway Nearby: Primary Advisor: Patricia Rubin Study Abroad to Global Programs: Beyond the Photographs of Canada from The New York Times Mailing Address: 520 East 88th Street, #4A Grand Tour” double session, ACSA, Miami, 2014. Photo Archive (Sept. 13 - Dec. 10, 2017, at the New York, NY 10128 Upcoming Projects: Danser l’architecture - a book Ryerson Image Centre, Toronto) Email Address: [email protected] on site specific dance, architecture and architectural Additional News: Curated the following Latest Position: Collections Management education, in collaboration with choreographer exhibitions: Form and Light: Brett Weston Assistant, Department of Drawings and Prints, Julie Desprairies. Photographs (2017); Fred Wilson: Black to the Powers The Metropolitan Museum of Art Additional News: Researcher, Architecture, of Ten (2016-17); Judit Reigl: Body of Music (2016); Culture, Société XIXe-XXIe siècles (ACS) research Body Proxy: Clothing in Contemporary Art (2015); Lorraine Karafel laboratory of the UMR AUSSER, CNRS, Paris, avaf@AMAM (2015). PhD 2010 2016-present. Primary Advisor: Claire Brandon Colin Eisler Rebecca Kasmin PhD 2016 Mailing Address: 103 MA 2015 Primary Advisors: Jean-Louis Cohen; Alexander East 84th Street, #PHE, Primary Advisor: Katherine Welch Nagel; Jeffrey Weiss New York, NY 10028 Mailing Address: 520 East 72nd Street, #3-O, Mailing Address: Calle de Claudio Coello, 23. Email Address: Lorraine. New York, NY 10021 28001 Madrid, Spain [email protected] Email Address: [email protected] Email Address: [email protected] Latest Position: Latest Position: Telephone Bid Coordinator, Latest Position: Artist and Editorial Projects, Assistant Professor of Christie’s Ivorypress Spain Art and Design History, Additional News: Co-principal investigator for Upcoming Projects: 25 Years of Ivorypress (2020). Parsons School of Design, New York a planning grant from the Andrew W. Mellon Publications: Raphael’s Tapestries: The Grotesques of Foundation to strengthen collaborations between Elizabeth Buhe Leo X (2016). the Allen Memorial Art Museum and the Oberlin MA 2013 College Libraries, as of December 2016. Primary Advisor: Thomas Crow Ariela Katz Mailing Address: 3101 Vernon Blvd., #606, PhD 2014 Theresa Ketterer Astoria, NY 11106 Primary Advisor: MA 2014 Email Address: [email protected] Jean-Louis Cohen Primary Advisor: William Hood Recent Honors & Awards: 2017-2018 Luce/ACLS Mailing Address: Mailing Address: 3225 Canterbury Street, #12, Dissertation Fellowship in American Art. 9, rue Charlot, 75003 Manhattan, KS 66503 Paris, France Email Address: [email protected] Marc Hajjar Email Address: ariela. Latest Position: Assistant Registrar/Collections MA 2015 [email protected] Manager at the Marianna Kistler Beach Museum Primary Advisor: Jonathan Brown Latest Position: of Art Mailing Address: 200 East 66th Street, #E306, Associate Professor, Additional News: Session chair, “Implementing New York, NY 10065 École nationale Data Standards,” Mountain Plains Museum Email Address: [email protected] supérieure d’architecture Paris-Malaquais Conference, 2016. Latest Position: Associate Director, Business Publications: “Des Lieux pour l’éducation Development at the Winston Art Group populaire de l’entre deux guerres: la Maison Marci Kwon du peuple de Belfort, le Palais du travail de PhD 2016 Matthew Israel Villeurbanne et le Palais des arts, des sports et du Primary Advisor: Thomas Crow PhD 2011 travail de Narbonn,” in Des Lieux pour l’éducation Mailing Address: 355 Roth Way, McMurtry Primary Advisor: populaire : Conceptions, architecture et usage des Building, Stanford, CA, 94305 Robert Storr équipements depuis les années 1930 (forthcoming, Email Address: [email protected] Mailing Address: 2017); “Building the Machine in the Workshop: Latest Position: Assistant Professor, Art History, 807 Union Street, #3, Modernity and Technique in the Maison du Peuple Stanford Brooklyn, NY 11215 of Clichy, 1935-1940,” in Journal of Modern Craft Recent Honors & Awards: University of Email Address: (forthcoming, 2017); “Hindsight is 20/20: Bernard Pennsylvania, McNeil Center, 2017 Zuckerman [email protected] Tschumi at the Centre Pompidou,” in JAE Online, Prize for best dissertation connecting American Latest Position: with Tricia Meehan (2014). history, literature, and/or art. Curator at Large, Artsy Lectures: “Craft in the Machine Age: Jean Prouvé, Upcoming Projects: Enchantments: The Art of Publications: The Big Prototypes and the Maison du Peuple of Clichy, Joseph Cornell (under contract with Princeton Picture: Contemporary Art in 10 Artworks by 10 1935-40,” New York, 2017; “Des Lieux pour University Press); The Fence and the Chair: Artists (2017). l’éducation populaire de l’entre deux guerres: la Appalachian Spring and Settlement as Modernist Maison du peuple de Belfort, le Palais du travail Setting (forthcoming). de Villeurbanne et le Palais des arts, des sports et du travail de Narbonne,” Paris, 2014; “Building the Machine in the Workshop: Modernity and 28 Rory O’Dea Research, Preservation, Cultural Tourism (2016); John Teo PhD 2013 “Exhibiting Westernization: Aleksei Venetsianov’s MA 2013 Primary Advisor: Robert Storr Nudes and the Russian Art Market 1820-1850,” Primary Advisor: Hsueh-Man Shen Mailing Address: 371 Cumberland Street, #3, Nineteenth Century Studies (2015); “‘Serving Art’: Mailing Address: 11 Mount Emily Road, #04-29, Brooklyn, NY 11238 The Artist’s Model in the 19th-century Russian Art Singapore 228493 Email Address: [email protected] World,” Iskusstvoznanie (2014); “Making a Case Email Address: [email protected] Latest Position: Assistant Professor of for Realism: The Female Nude in Russian Satirical Latest Position: Deputy Director, Asian Contemporary Art and Design, Parsons School of Images of the 1860s,” in From Realism to the Silver Civilisations Museum, Singapore, and General Design Age: New Studies in Russian Artistic Culture (2014); Manager, The Peranakan Museum, Singapore ed. From Realism to the Silver Age: New Studies in Publications: Great Peranakan (2015). Jeongho Park Russian Artistic Culture (2014). Upcoming Projects: Exhibitions with Asian PhD 2017 Lectures: “Historical and Political Context Civilisations Museum and The Peranakan Museum. Primary Advisor: of Russian Art Collecting in America: Boris Jonathan Brown Bakhmeteff,” Palo Alto, 2016; “Classical St. Lindsey Tyne Mailing Address: Petersburg,” Wellesley, MA, 2016; “Peter the MA 2010, Conservation Certificate 2010 3003 Ammunition Dr., Great’s Roman Venus: Problems of Research and Primary Advisor: Margaret Holben Ellis Austin, TX 78748 Interpretation,” St. Petersburg, 2015; “The Artist’s Mailing Address: Thaw Conservation Center, The Email Address: j.justin. Model in Nineteenth-Century Russia: Images and Morgan Library & Museum, 225 Madison Avenue, [email protected] Reality,” New York, 2014. New York, NY 10016 Latest Position: Recent Honors & Awards: Franklin Research Email Address: [email protected] Assistant Curator of Grant, from American Philosophical Society, 2017; Latest Position: Associate Paper Conservator, The European Art, Blanton Writer in Residence, at NYU Jordan Center for Morgan Library & Museum. Museum of Art, The the Advanced Study of Russia, 2016-2017; Mary Publications: “Myth and Manipulation: University of Texas at Austin Zirin Prize, from Association for Women in Slavic Deconstructing and Reconstructing: Dubuffet’s Publications: Men in Armor: El Greco and Pulzone Studies, 2016. Imprints and Their Assemblages” in Dubuffet Face to Face (2014). Upcoming Projects: The French Reception of Karl Drawings, 1935-1962 (2016); “Perilous Message, Lectures: “Vincenzo Anastagi, El Greco, and Briullov’s Painting The Last Day of Pompeii (1834) Precarious Medium” in Dreams in Dust: The Pastels Henry Clay Frick,” New York, 2014; “Between of Lucas Samaras (2016). Convention and Invention: El Greco’s Italian Ileana Selejan Portraits,” Madrid, 2014. PhD 2014 Julianna White Upcoming Projects: Exhibition on Luisa Roldán; Primary Advisor: Thomas Crow MA 2013 Exhibitions on Italian drawings 1500–1800. Mailing Address: University College London, Mailing Address: 2700 Q St. NW, #320, Department of Anthropology, 14 Taviton Street, Washington, DC 20007 Tola Porter London WC1H 0BW Email Address: [email protected] MA 2015 Email Address: [email protected] Latest Position: Editor at the Smithsonian Primary Advisor: Jean-Louis Cohen Latest Position: Research Associate in the American Art Museum Mailing Address: 40 North Kingshighway Blvd., Department of Anthropology at University College #15F, St. Louis, MO 63108 London Evan D. Williams Email Address: [email protected] Publications: “The Margin of Life: Post- MA 2012 Latest Position: PhD Candidate at Washington War Concerned Photography in Mexico and Mailing Address: Box 856, Ithaca NY 14851 University in St. Louis Guatemala,1947-1960,” co-authored with Email Address: [email protected] Publications: “Reanimating the Affect in Henry Andrianna Campbell, in Collaboration and its (Dis) Latest Position: Director of Fine Art and Special Moore’s THE ARCH, 1980,” Public Art Dialogue Contents: Art, Architecture, and Photography since Collections, Worth Auctions (2017). 1950 (2017); (2017); essay in Charlotte Brooks at Publications: “Interview: Jamaal Sheats,” Number Lectures: “Reanimating the Possibilities of Affect LOOK, 1951-1971 (2016). (2015); “Ever Drifting: Anna Atkins and the Birth in Henry Moore’s THE ARCH, 1980,” College Art Recent Honors & Awards: Linda Wyatt Gruber of the Photobook,” Antennae (2014); “Lynda Association, New York, 2017; “Recreating Public ‘66 Curatorial Fellow in Photography at The Davis Benglis’s Female Sensibility,” The Chimera Book Meaning for Nonfunctional Abstract Public Art,” Museum, Wellesley College, 09/2014 to 12/2016. (2014). Midwest Art History Society, 2017. Upcoming Projects: My position is a part of Lectures: “The Sea Vast and Empty: Erasing Van the European Research Council (ERC) funded Anthonissen’s Whale,” Richmond, KY, 2017; Margaret Samu project, “Citizens of Photography: The Camera “Bouncing in the Corner: Pulsatile and Vertical MA 2004; PhD 2010 and the Political Imagination” http://www. Time in the Works of Nauman and Reich,” Primary Advisor: Linda Nochlin christopherpinney.org/photodemos; I am writing Pittsburgh, 2015. Mailing Address: 3535 75 Street, #522, a monograph on photography and the Sandinista Upcoming Projects: Not Far From Home, Jackson Heights, NY 11372 revolution in Nicaragua; the project builds on photography exhibition and lecture at Earlville Email Address: [email protected] research conducted for my IFA dissertation. Opera House, Sept-Oct 2017. Latest Position: Lecturer, Parsons School of Additional News: Certified Member of the Design, The New School Appraisers Association of America, 2016; Board Publications: “Peter the Great’s Roman Venus: Member, Ink Shop Printmaking Center, 2015. Problems of Research and Interpretation,” in Petrine Monuments of Russia and Europe: 29 Degrees Conferred in 2016-2017

Doctor of Philosophy Peter Jonathan Bell Lindsay Anne Peterson Jason Andrew Vrooman “the reinvention of the Bronze statuette “Building the Home Front: the lanham Act “Crossing the threshold: nabi Depictions of in renaissance Italy: Presentation, Material, and the Modernization of Housing in the Men in Public, Private, and Pretend spaces” Facture” United states” Advisor: linda nochlin Advisor: Alexander nagel Advisor: Jean-louis Cohen Allison K. Young Kara Fiedorek Tara Christine Prakash “torn and Most whole: the Art of Zarina “Priests of the sun: Photography and Faith, “statues of the ‘Other’: An examination Bhimji, 1987-2002” 1860-1910” of three-Dimensional representations of Advisor: thomas Crow Advisor: robert slifkin Foreigners in Ancient egypt” Advisor: David O’Connor Matthew Hayes “what Burckhardt saw: restoration and the Blanca Serrano Ortiz De Solórzano Invention of the renaissance c.1855-1904” “Between limit and Possibility: Art 7 in Cuba Advisor: Patricia rubin During the special Period” Advisor: edward sullivan Sean Alexander Nesselrode “the Harvest of Modernity: Art, Oil, Lillian Stoner and Industry in the Venezuelan twentieth “Hair in Archaic and Classical Greek Art: An Century” Anthropological Approach” Advisor: edward sullivan Advisor: Clemente Marconi

Master of Arts and Master of Science Dual-Degree

Emily Hishta Cohen* Rebecca Gridley* Bermet Nishanova “wild women: the Botanical Artists of late “luca’s labors: luca della robbia’s working “A late Antique Christian textile Icon of nineteenth- and early twentieth-Century Methods, works, and Medici Magnificence” the Holy Mary: A tapestry Hanging in the wildflower Field Guides in north America” Advisor: Patricia rubin Cleveland Museum of Art 1967” Advisor: thomas Crow Advisor: thelma thomas Shannon Mulshine* Harral Joseph DeBauche “roy lichtenstein’s Pyramids: A study in Laura Panadero “stud-Horse Frames” Put to Pasture: the Perspective” “the role of Material experimentation in Deframing of the Guggenheim” Advisor: thomas Crow Irving Penn’s nudes, 1949-50” Advisor: Colin eisler Advisor: Margaret Holben ellis

Master of Arts Cristina Sol Arnedo Aldrich Paige Allyn Bart* Lauren Durling “Pioneers of Catalan romanesque: new “An Uneasy Alliance: the role of the “Dalí’s Desire to Integrate” Perspectives on the Contributions of walter Metropolitan Museum of Art in Forging of Advisor: robert lubar w.s. Cook (1923-1963)” the Identity of the Museum of Modern Art” Advisor: robert Maxwell Advisor: Philippe De Montebello Ellis Edwards “Out of the Ashes: the sanctity of Modern Tiffany Maria Apostolou Rebecca Rose Cuomo* Art in France’s Post-war Chapels” “Altering Perception of space and Place: An “BlACK MAtter: notes on Being & Advisor: Jean-louis Cohen Approach to Byzantine Mosaic effects in two Becoming / Black women & Brazil” Churches” Advisor: edward J. sullivan Mariam Saleem Farooqi Advisor: thelma K. thomas “Grotesque Guardians: Using the Mansurah Maria Fernanda Dominguez* Bronzes to explore Indo-Islamic sculptural Ellen Margaretta Archie “the Portraits of epifanio Garay: Intersections Hybridity in Medieval sind” “the triumph of tryphe: Dionysian themes Between Painting and Photography in Advisor: Finbarr Barry Flood on luxury Goods From Ptolemaic Alexandria” nineteenth-Century Colombia” Advisor: Clemente Marconi Advisor: edward J. sullivan

30 Katherine Ann Halcrow So a Kofodimos* Theresa Kathryn Rodewald “Monumental in the Making: the “Collages in Motion: the transformations “rebuilding the Box: Mark Bradford, Development of Greek and roman water and Dispersal of ray Johnson’s Moticos” theaster Gates, Museum education, and the structures” Advisor: thomas Crow Collaborative work of Art Accessibility” Advisor: Clemente Marconi Advisor: thelma K. thomas Naomi Kuromiya* Connor Hamm “In search of a specific sekai-se: How the Kelley Stone “Unsettle the score: Benjamin Patterson, Avant-Garde Calligraphy Group Bokujin-kai “Circling an elite Model: evaluating the Fluxus, and the Post-Visual Impulse in Art” Aspired For “world relevance” in an Age of Continuity and Adaptation of the tumulus by Advisor: thomas Crow Abstract Painting (1951-1960) the roman empire” Advisor: Kent Minturn Advisor: Katherine welch Regina Sarah Harsanyi “the early Cinema of exhibition: Projection Jiete Li* Luis Andres Tescaroli Espinosa* in the Gallery space Between 1921-1952” “the late Ming Courtesan Painter Ma “Gustave Moreau’s Salome: Ornament, Deadly Advisor: robert slifkin shouzhen’s ‘super-Brand’: the Contribution theatrics, and Phantasmagoria” of Inauthentic Paintings to a Discursive Field” Advisor: thelma K. thomas Qing Huang Advisor: Jonathan Hay “Cinematic representation as History: Molly Katharine Thrailkill* (re-)Making Yang Fudong” Kunhua Liu* “Coding the Message to America” Advisor: Jonathan Hay “A study on the Painting Deities Descending to Advisor: robert slifkin the Western Sacred Mountain” Bettina Anna Jackson Cantador Advisor: Jonathan Hay Anna Toptchi* “engagement, temporality, and Mediation: “Contemporary Icelandic Artists: rectifying luca Giordano’s Apotheosis of the spanish Augusta Loomis* the Breach Between Humanity and nature Monarchy” “the lucid Dream: language and the Art of through Geography” Advisor: Alexander nagel James turrell” Advisor: Kent Minturn Advisor: thomas Crow Da Hyung Jeong Sarah Beatrice Vogelman* “A Double Modernism: reconsidering soviet Elizabeth Lyons “remembering and Preserving: the realities Architecture of the Post-stalinist Period, “Frenhofer, lantier, and Cézanne: Artistic of Political Violence in the early work of 1953-1991” Genius and Failure in nineteenth-Century María Fernanda Cardoso and Doris salcedo” Advisor: Jean-louis Cohen French Art and literature” Advisor: edward J. sullivan Advisor: Kent Minturn Angel Jiang* Rachel Lynn Vorsanger “Guillem sagrera in naples: stones of Lisa Machi* “the Bi-Continental surrealism of remedios Mallorca and the Architecture In-Between” “selective Identity Formation Processes of Varo” Advisor: robert Maxwell the Caucasian Iberian elite as expressed in Advisor: edward J. sullivan Glyptic Art” Clarence Johns Advisor: Katherine welch Mengqi Xu “Pop Icons: the Album Covers of Andy “Panche tu (transport Cart Painting) in warhol” Sarah Walsh Mallory the northern song Dynasty (960-1126): Advisor: thomas Crow “Placing Dutch realism in Global landscapes: Meanings and Possibilities” Printed Images of Dutch Mauritius, c. 1600” Advisor: Jonathan Hay Kathleen Robin Joyce* Advisor: Mia Mochizuki “Jasper Johns: Printmaking as a technology of Linda Yun Doubt” JuWon Park “new Media and Politics in the works of Hito Advisor: robert slifkin “Music-Image Interplay in a Movie by Bruce steyerl” Conner” Advisor: Kent Minturn Soyoung Kim Advisor: Ara Merjian “Homes Across Continents: the nomadic touch of Do Ho suh and His Art” Jared Quinton* Advisor: Kent Minturn “rené Peña and the racialized Body” Advisor: edward J. sullivan Jessica Eileen Kitz “the Art of letter writing: Personal letters in the Visual Culture of the American Civil war” Advisor: robert slifkin *Indicates an M.A. thesis marked with distinction

31 Institute Donors

the Institute of Fine Arts gratefully acknowledges the generosity of our supporters. listed below are alumni and friends who contributed $100 or more from July 1, 2016 to July 1, 2017. thank you!

$1,000,000-$6,000,000 lise scott and D. ronald Daniel eliot stewart estate of robert H. ellsworth sheldon H. solow Courtney F. taylor Judy and Michael steinhardt rachel G. wilf* Mariët westermann* and Anonymous (2) Charles H. Pardoe II $100,000-$999,999 Anonymous (3) suzanne Deal Booth* $10,000-$24,999 the Dedalus Foundation Patricia and stephen Beckwith samuel H. Kress Foundation Georgia riley de Havenon and $1,000-$4,999 nancy lee* Michael de Havenon Dita G. Amory* leon levy Foundation Hester Diamond Andrew Berdon the Andrew w. Mellon Foundation Julie e. Herzig* and robert J. Desnick ruth A. Butler* Valeria and Gregorio napoleone lorena and Javier lumbreras laura Isabel Uppercu Collier* Malcolm Hewitt wiener Foundation James r. McCredie Philippe de Montebello* Charles williams II Alexandra Munroe* Margaret Holben ellis* Anonymous (3) Victoria and samuel I. newhouse Jennifer eskin* Cynthia H. Polsky shelley Fletcher* $50,000-$99,999 Jonathan rabinowitz Frances B. Goodwin and Daniel and estrellita* Brodsky elizabeth richards Donn M. Mosenfelder t. Kimball Brooker lois severini* and enrique Foster Gittes Kathryn Moore Heleniak* rachel Davidson and Mark Fisch Alice M. and thomas J. tisch Anne C. Hrychuk Kontokosta* and Anne* and Joel ehrenkranz Julie and David tobey Constantine Kontokosta roberta and richard Huber Alicia and norman Volk Colleen ritzau leth* the Hagop Kevorkian Fund Daniel wolf Jay A. levenson* Bernard t. selz Anonymous Charles t. little* Deanie and Jay stein Dorothy robinson Mahon* Harriet stratis* $5,000-$9,999 terrence s. Mahon* Jan t. and Marica Vilcek Mary lee Baranger* Michele D. Marincola* Ildiko and Gilbert Butler Performa, Inc. $25,000-$49,999 Mariana r. Cook Paul n. Perrot* Ariel Aisiks nancy B. Fessenden* Anne litle Poulet* Catherine Coleman Brawer* and elisabeth Hackspiel-Mikosch Anne n. rorimer* robert Brawer laleh Javaheri-saatchi and Deborah* and David rothschild larry Gagosian Cyrus Pouraghabagher Mary schuette the Anna-Maria & Jack A. Josephson and Magda A A G saleh Claire svetlik Mann* stephen Kellen Foundation Mary ellen and richard Oldenburg tru Vue, Inc. stephen s. lash Janice Carlson Oresman* Paula J. Volent* Arthur loeb Foundation Barbara Pine Phoebe Dent weil* Pierre and tana Matisse Foundation Patricia A. ross reva June wolf* estate of Mercedes Mestre Bonnie sacerdote Dale* and rafael Zaklad Ida and william rosenthal Foundation Fredric t. schneider Anonymous lauren Berkley saunders* Virginia st. George smith

* Institute alumnus/a

32 $500-$999 Diana Howard Bonnie e. Yochelson* and Mary w. Ballard* Abdallah M Kahil* Paul schechtman Andria Derstine* lorraine M. Karafel* eric M. Zafran* Christine Frohnert Anna D. Kartsonis* Orestes H. Zervos* lewis I. Haber Charles* and roberta Katz Karyn leslie Zieve* Gregory s. Hedberg* norman l. Kleeblatt* Alice M. Zrebiec* Michael Jacoff * lynda Klich* shelley e. Zuraw* Victoria M. Jenssen* Dorothy Kosinski* Mary theresa Khawly susana* and Pierre leval $100-$199 Jan lynn leja* Judith levinson* and Mark B. Abbe* Caroline Mary lukaszewski John r. Oppenheimer william nash Ambler* Barbara G. Mathes* roger w. lipsey* Patrick Amsellem* laura A. Morowitz* elizabeth J. lytton* Michael J. Amy* Cynthia wolk nachmani* Vivian B. Mann* Carla Caccamise Ash* Ann wood norton* lys Mclaughlin Pike Konstanze Bachmann* Mary Oey* Beth Merfish* lisa Banner* Janko rasic Architects PllC Margaret M. Miles Daniel M. Belasco* Diane H. schafer lee w. Miller Jo Anne G. Bernstein* Katherine A. schwab* Marc H. Miller* leslie Davidson Bruning* Marjorie n. shelley* Anne* and James Morganstern* Marian Burleigh-Motley* Paul stanwick* F. thomas Muller, Jr. Helen Burnham* Mary stofflet* linda nochlin* Jeffrey Carr robert C. troccoli Jo Anne C. Olian* lucy A. Commoner Ian B. wardropper* stephen e. Ostrow* emily salas Crowley Anonymous Joan H. Pachner* rachel l. Danzing* Jennifer Perry* Hope Davis Braddick $200-$499 Debra D. Pincus* Peter Daniel De staebler* lynne D. Ambrosini* Bridget J. Quinn* Margaret Fields Denton* lawrence B. Anzelowitz Beatrice C. rehl* Arlene Hirsch elkind susan staples Arms* and nancy r. reinish* rosa and Aaron esman richard G. Arms, Jr.* sabine rewald* Miss Priscilla Farah norbert and Janet Baer Valrae reynolds* shalimar Abigail Fojas white* linda Freeman Bauer* Jennifer russell* eric M. Frank* Olga G. Bequillard Christa C. Mayer thurman sala* suzanne P. Fredericks* thomas A. Buser* Karin Ann sanders* susan G. Galassi* Brian Cavanaugh Polly J. sartori* stephen H. Gansl Judith Colton* shelley K. sass* Jorge A. Garcia-tuduri* wanda Marie Corn* stephen K. scher* Jasper Gaunt* stephen Paul Crenshaw* Catherine sweeney singer* lisa A. Goldberg* Carol s. eliel* Priscilla Parsons soucek* lois r. Granato* Marianne V. elrick-Manley* Barbara e. Pollard stein* and Michele M. Greet* Kathryn tripp Feldman Mitchell stein steven r. Haas* leslie M.* and tom l. Freudenheim* Harold l. strauss Andrée M. Hayum Kathryn Calley Galitz* Marlene Barasch strauss* Ariel H. Herrmann* evan whitney Gray* Marie C. tanner* Penelope Hunter-stiebel* Ashley etter Hagwell Deborah lee trupin* Matthew winer Israel* Georgia lynne Harrell Anne w. Umland* Mai Z. James shepherd M. Holcombe, Jr.* Gertje r. Utley* lyle Humphrey Johnson*

33 Institute Donors CONTINuED

Margaret Kavesh Anita* and Martin Moskowitz Deborah s. shinn* suzannah Kellner* Jonathan nelson* Christine M. singer* elizabeth Ann Kihara* Hilary st. Clair ney* elizabeth B. smith* Florence C. Korf won Y. ng* sharon Dunlap smith* Desiree G. Koslin* Mr. and Mrs. Guy nordenson webster smith* linda Konheim Kramer* Andrea spaulding norris* David M. sokol* Carol Herselle Krinsky* and ronald Y. Otsuka* Jack soultanian, Jr.* robert D. Krinsky elizabeth A. Oustinoff* Florence J. staats Peter Ian Kuniholm David t. Owsley* Donna Michele stein Korn* Marsa laird* Jessica lian Pace* elizabeth rosen stone* richard s. lanier* elizabeth C. Parker* Cecil leopold striker* A. Floyd lattin* elizabeth A. Pergam* James w. sykes, Jr.* Dene A. leopold* ruth r. Perlin* Carol F. tabler* william A. lieber* regina Claire Petinos william s. talbot* Deborah lipton* Alan Phipps Darr* Marcia r. toledano* rosa lowinger* Faith Pleasanton David P. tunick Deborah A. lyons* laurie-Ann J. Porstner* lindsey tyne* susan D. Marcus* william l. Pressly* emily trevor Van Vleck* Ira s. Mark* stuart w. Pyhrr* Patricia A. waddy* Maria Markovich Zhijian Qian* Judith s. weinraub* Anna e. Martin* linda Jones roccos* walter F. wientge, Jr. leatrice Mendelsohn* Allen rosenbaum* Carolyn C. wilson* Jerry D. Meyer* lisa A. rotmil* Peter M. wolf* eugenie Milroy Diana P. rowan* Christine elaine wraga* Kalliopi Minioudaki* rebecca A. rushfield-wittert* Kirsten J. Younger* rabia J. Mitchell Amy Incornata russo* Jeffrey M. Zalusky* susan e. Modlin-Markowitz* sheila schwartz* lynda A. Zycherman* Denyse l. Montegut* Ann seibert* Frances land Moore* Kent John severson* * Institute alumnus/a

34 If you make a gift of $100 or more you will receive one year of membership to the Institute’s Alumni Association, and enjoy access to our library, invitations to alumni receptions and special events, and a copy of the Annual Alumni Newsletter. Thank you for your generosity and support of your alma mater.

NAME: PREF. DONOR PUBLICATION NAME:

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AMOUNT OF GIFT: ¨ $100 ¨ $250 ¨ $500 ¨ $1,000 ¨ Other $______¨ I would like my gift to be considered anonymous

DESIGNATION: ¨ Connoisseurs Circle (22-89000-R2124) (Friend $7,500, Patron $10,000, and Benefactor $15,000) Fellowship support for IFA students

¨ Alumni Fund (10-89540) Supports stipends for student summer travel and research, the Alumni Newsletter, Annual Alumni Reunion, and the Walter W.S. Cook Lecture

¨ Annual Fund (10-89540-AF002) Essential support for IFA students and general operations

¨ Conservation Center Annual Fund (22-89000-R2145) Essential support for areas of greatest need at the Conservation Center

¨ 1932 Fund for Student Fellowships (10-89540-AF006) Student financial aid

PAYMENT METHOD: Secure electronic payment is available online at http://giving.nyu.edu

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Mail to: The Institute of Fine Arts Office of Development and Public Affairs 1 East 78th Street New York, NY 10075

The Institute is part of the Graduate School of Arts & Science at New York University, a not-for-profit 501(c)(3) organization. All gifts to NYU, including the Institute of Fine Arts, are tax-deductible to the full extent of the law.